Yes, you are absolutely right, I'm sorry, I was fooled by the difference in appearance. I didn't suppose it would change unless I switch to proof view. But it does. Thanks so much for your patient and kind replies! ... View more

Thanks so much! I didn’t yet get to try this, my clients sent me a new file and I needed to rush to work on it. I’ll try it as soon as things relax a little and report back. Thanks again! ... View more

Hello James, yes, I saved it as .indd. Result is that 2.71 GB file. (I then tried saving that one as .idml once more, and it did, resuliting in a 3MB file but that one won’t open at all. Most certainly the file is in a deplorable state due to mishandling by clients who better not set up files themselves but well, here we are.) ... View more

firstly, a great thanks to all! So very helpful. What little I can contribute: After resizing a two-Master 34 pages document, file size appears to remain unaltered.  ... View more

The type is not that large type, that's the problem, but really since the matter is pressing a bit, I think I’ll enlarge it and live with the stroke not aligned to the inside. ... View more

Update and apology—I just figured out that Illustrator takes the outer line (of that letter converted to paths seen in the attached image) as an individual vector, independent from the inner line. Or at least I can select them individually. That explains why the Align Stroke to Inside is inactive: A two-dimensional line has no inside. Ok. On the other hand, Illustrator still offers the option to Fill—certainly not the two dimensional line. Instead, it fills what has formerly been the first text line. The layer panel says compound path, and (as far as I see) there is no level beneath that. Still, with nothing more selected, the fill is applied to the next higher level of compound path. Maybe I lack some basics here. I’ll do some reading about compound paths.  ... View more

Ok, right, Steve, I totally agree of course. In this somewhat hasty job (as a graphic designer’s gigs can sometimes be), like I said, the print shop demands it because that’s how they do it, period (I’m quoting here). So I simply try to comply to get my client his shirts printed. That’s the story here. ... View more

Sorry, I didn’t reload before posting so I missed Steve’s last. I’ll read and answer.  ... View more

Hello Mike, Peter, Steve, thanks for your answers. I totally agree with Peters larger question, I have never have done such a thing before, but I’m dealing with a client who’s print shop is to print on textile and demands outline strokes with a weight and no fill inside the outline. No idea why, difficult communication with those guys. Anyway. Peter was right in assuming that I have to put some colour to those outlining strokes, so I tried and went for Mike’s suggestion. Now, in Illustrator, the option to Align Stroke to Inside appears greyed out (as shown in the attached pic). I tried to find out why, but all I could find was that this might be the case because one applies the appearance set at group level, which doesn’t seem to be the case in my attempt. Any idea why else? Might this have to do with the fact that while in InDesign, the letter a is shown with inner and outer outline (blue on white), in Illustrator, the inner outline (green on white) appears to be lacking? Thanks ! ... View more

Interesting, thanks, I wasn’t familiar with that term. Not presently, but for a future occasion I may actually aim for that.  Thanks to both of you! ... View more

Quite possible, although in theory, I imagine such a possibility could exist—I realise however that in order to have it done really accurately, each and every halftone mix would have to be examined in experimental print setting, which obviously would be far more effortsome than, say, flying to Mars. A rough approximation might be possible—numerically determine more or less what value ensues by what mix, but it may very well be that absolutely nobody is interested in that but me.  ... View more

No. I mean that this image could be composed by a halftone not of C, M, Y and K, but of Pantone P 31-1, 51-16, 100-5, and K instead (or something like that). While the gradient map you describe distributes those colours according to lighness section, an actual separation (the kind that happens when converting an RGB image, or an L*A*B image, into CMYK) would ideally look almost like the RGB I posted. Photoshop (or another engine) would separate, but not into C, M, Y, K, but into P 31-1, 51-16, 100-5, K. That image would have a great amount of P 31-1, a smaller amount of P 100-5, a still smaller amount of K, and tiny hints of P 51-16 (the blueish).  ... View more

Sure. Here you go. Does it matter how the image looks? ... View more

(And, sorry, very tired, forgot to finish my explanation: Idea is to stack the grain layer under the image layer and mask the white areas in the image so the grain layer shows.) ... View more

Here’s the attachments ... View more

Hello Trevor,    you are right of course, it took me a moment to realize that all languages go into the same forum, and that English was indeed an option. So, thanks for taking the other thread out.    Now, I'll attach an image of the pixel size version of the texture, one of the entire layer I aim to fill, and a section from the result I obtain by content aware filling and then doing some adjustments—interestingly enough, high pass doesn’t seem to do much in this case (still, thanks for the hint). I used curves mainly, along with some simple sharpening.   Ultimately it is about a print from a scan of a more than 100 years old photograph, a glass plate that is damaged in the lightest parts. The idea is to fill those with light grain simply to avoid non printing areas. I’ll attach the image and a zoom in of it so you get the idea.  ... View more

Hello Pfaffenbichler, thanks for your reply. You are exatly right, I intend to spread the grain, the noise in the shape, not the shape itself. By filling it up you refer to content aware fill I suppose?  ... View more

True. Two good ideas. I’ll do both. Thanks! ... View more

Yes, good idea. I failed to mention that the silk screen printer I’m looking to work with demands a Pantone colour, but your second hint—that in fact he will print whatever he likes to pour into his machine—is helpful, too.  ... View more

Hello Dave,   yes, you are right, “full black” is an expression very much wanting in precision. I initially looked into the Pantone+ Solid Uncoated library, yet according to the Swatch Options panel when set to Lab, Pantone P Process Black U is L17, a4, b8, whereas the blackest blacks from the Pantone+ solid uncoated library seem to be  Neutral Black U with L31 (!), a 1, b2, actually a darkish grey, and  Pantone Black 6 U with an even lighter L33, a1, b-5.    I was surprised that the entire Pantone uncoated library shouldn’t contain any actual black, but so it seems. And since in fact I would love to employ an even darker black, maybe some high pigment black, I went for the nearest thing I could find, being Pantone P Process Black U, being actually K with a different name. It may very well be though that I get something wrong here. Did I? ... View more

Hello Rob, thanks for asking. I am preparing a silk screen print, the print shop explicitely demands all colours (only one in this case) be set up as Pantone colours. They didn’t specify what type of, and I initially went for Pantone+ solid uncoated, but according to the Swatch Options panel when set to Lab, – Pantone P Process Black U is L17, a4, b8, whereas the blackest blacks from the Pantone+ solid uncoated library seem to be – Neutral Black U with L31 (!), a 1, b2, actually a darkish grey, and – Pantone Black 6 U with an even lighter L33, a1, b-5.  A bit surprising that the entire Pantone uncoated library shouldn’t contain any actual black, but so it seems. And since in fact I would love to employ an even darker black, ideally L0, a0, b0, some high pigment black, I went for the nearest thing I could find, being simply K with a different name. If I got anything wrong here, wich may very well be, I'd be grateful for corrections. And if anyone happens to know of a richer black in any of the Pantone libraries, for that hint too I’d thank you. ... View more

Hello Rob, thanks so much for your reply. It was not. I took that swatch from Windows > Swatch Libraries > Colour Books > Pantone+ CMYK Uncoated. This opens, as you of course know, a separate window of swatches that can be added to document swatches by simply clicking it. Only upon double clicking the swatch already added, I get the Swatch Options displayed in your first screen shot. Default settings are Process and RGB. Changing them to the settings you propose solved my problem fully. Very happy. Thanks again!! ... View more