Not sure I understand either, but I just use the right arrow and click thru the entire document....   

Quote from: DigitalCrapShoveler on August 30, 2010, 09:04:39 AM

Quote from: determined on August 30, 2010, 08:22:10 AM

Quote from: DigitalCrapShoveler on August 27, 2010, 02:38:48 PM

Quote from: Farabomb on August 27, 2010, 02:34:30 PMThis file was definitely a cluster F. Job should have been set up as a 4c cover and 2c text, it also shouldn't have been 50 pages either. I fix the PDF and plate it and notice the designer put a 4c black stroke around things. What pisses me off the most is we have done these at least 3 times before. The salesman refuses to tell the customer the issues so they can fix it before they send the next one. Probably cause he rarely charges for AA's and prepress time. 

THAT right there is the underlining problem. The fact they get out of paying, further exacerbates the situation making the customer think they have done a great job. It's lose lose for us.

Job security?

I will never EVER believe that. No matter the economy, Prepress has always saved someone's ass. Every single job that comes in requires some fixing or another... even the supposed "experts." If I thought for a second the only thing keeping my job intact was stupid customers I might have a different outlook. The fact is, printing and stupid customers go hand in hand. It's not rocket science, but it's not unwrapping Twinkies either.

My point exactly...

Quite frankly, the more stuff I have to fix, the happier I am (is there something wrong with me?)

Quote from: DigitalCrapShoveler on August 27, 2010, 02:38:48 PM

Quote from: Farabomb on August 27, 2010, 02:34:30 PMThis file was definitely a cluster F. Job should have been set up as a 4c cover and 2c text, it also shouldn't have been 50 pages either. I fix the PDF and plate it and notice the designer put a 4c black stroke around things. What pisses me off the most is we have done these at least 3 times before. The salesman refuses to tell the customer the issues so they can fix it before they send the next one. Probably cause he rarely charges for AA's and prepress time. 

THAT right there is the underlining problem. The fact they get out of paying, further exacerbates the situation making the customer think they have done a great job. It's lose lose for us.

Job security?

There's another possibility (depending on how desperate you are to get the type out of photoshop)....as long as the type is still on a layer, you can select it, go to layer>type>convert to shape. Then you can export paths to illustrator.

Like I said, depending on how desperate you are....  :undecided:

Quote from: gnubler on August 11, 2010, 12:13:37 PM

Quote from: beck  on August 10, 2010, 08:25:13 PM

Quote from: gnubler on August 10, 2010, 04:32:29 PMWhy would customers provide you with prescreened files? And how are they doing it?

They are doing it so us lowly printers "don't alter their files".

They want us to "just drop their tiffs into our layout" and hit the PRINT button.  Yet they never take the time to learn ANYTHING about our process.

Arrogant pricks.

beck

That's what I figured. Must be the very *advanced* desingers who insist on such a workflow. :snort:

BTW, is scanning old film called a copy dot?

Yeah, old film seps into digital are copy dot files (and they're usually done as DCS files with a lo res that gets placed) At least where I used to work, that was the deal. Don't think you see much of it anymore, it was basically a way to use old film without having to burn plates the old fashioned way.

Quote from: DigitalCrapShoveler on August 06, 2010, 10:27:56 AMAnyone who uses PS for a layout app is a buffoon. No, I am NOT being sarcastic.

My sentiments exactly

what I want to know is why the default black in photoshop is 75, 67, 67, 90.....I mean they know that printing is usually a CMYK deal, so why not make black 100% K?  :angry:

Quote from: digital@sig-1.com on August 06, 2010, 08:17:58 AM

Quote from: determined on August 06, 2010, 07:55:18 AM

Quote from: Joe on August 05, 2010, 10:20:52 PM

Quote from: gnubler on August 05, 2010, 09:39:39 PMWhy do they have to be a compound path?

The problem is that there is 2 varnishes as I understand it. The spot red is a glossy varnish that covers everything but the photos and the spot yellow is the matt varnish that covers the photos. He made boxes that covered the photos and colored as spot yellow and set to overprint. Then he made a box to cover the whole page for the glossy varnish and set it to overprint and then made white boxes (over the photos that gets the matt varnish) where he wanted the glossy varnish knocked out. The problem though is when the white box knocks out the spot red it also knocks out the spot yellow and the images below it. By making a compound path by selecting the spot red and the white box it punches a whole though the spot red while allowing the spot yellow to show though which is overprinting the photos. This way he ends up with a composite PDF, 4 color plus the two spots, and he can turn off the spots to see the 4 color process below and when he is ready to output the spot yellow and red output exactly as they need to be.

With the varnishes set up this way (compound path), can they be trapped? I almost always end up creating my varnishes (that need to trap) as layers over the process in Indd but have to export them as
two separate (process & varnish) files in order to trap. Could just be the way my rip works, though (and I have never used the compound path method)

Came in late on this, but I have run in to the compound path problem when working with layers; your items all need to be on the same layer before attempting to make the compound path. I have also run into the overprint problem as well. Sometimes it's easier to create the varnish in Rampage... sometimes you have to make the compound path to get Rampage to get it to trap properly.

In ID what I have done is create a varnish layer, and then draw a box over the page and assign a fill of a varnish color. I then dupe the images to knock out of the varnish and paste in place on the varnish layer. Then I remove the fill or image of the knockout items and use Pathfinder-->Subtract to create the compound path... if the items knocked out need a different varnish (say a gloss vs. a dull) I will re-pate in place the boxes (and redelete their content) and then assign the fill color to the new varnish. Then I set them all to overprint and when they go through Rampage, I select the varnish option for trapping and they will overprint and trap to each other.

OK, the difference being, I never used the compound path method (I just duped the images on top of the varnish layer and filled them accordingly)....which is also why I've had to rip them separately (you can't tell the one varnish that isn't knocked out to overprint)....

Learn something new everyday (can I go home now?)

Thanks  :cool:

Quote from: Joe on August 05, 2010, 10:20:52 PM

Quote from: gnubler on August 05, 2010, 09:39:39 PMWhy do they have to be a compound path?

The problem is that there is 2 varnishes as I understand it. The spot red is a glossy varnish that covers everything but the photos and the spot yellow is the matt varnish that covers the photos. He made boxes that covered the photos and colored as spot yellow and set to overprint. Then he made a box to cover the whole page for the glossy varnish and set it to overprint and then made white boxes (over the photos that gets the matt varnish) where he wanted the glossy varnish knocked out. The problem though is when the white box knocks out the spot red it also knocks out the spot yellow and the images below it. By making a compound path by selecting the spot red and the white box it punches a whole though the spot red while allowing the spot yellow to show though which is overprinting the photos. This way he ends up with a composite PDF, 4 color plus the two spots, and he can turn off the spots to see the 4 color process below and when he is ready to output the spot yellow and red output exactly as they need to be.

With the varnishes set up this way (compound path), can they be trapped? I almost always end up creating my varnishes (that need to trap) as layers over the process in Indd but have to export them as
two separate (process & varnish) files in order to trap. Could just be the way my rip works, though (and I have never used the compound path method)

So it IS a layout program now   

But here's the interesting part...it was saved out as a pdf and when you reopened it in Photoshop, it opened with layers and even the type layers intact...It just wouldn't save the type in the pdf as vector

I guess I'd have a hard time rationalizing spending that to the powers that be (since they just bought FontXChange that can't do half the stuff Fontographer can do)  :sad:

yeah and if a frog had wings, it wouldn't bump it's ass a-hoppin'  : :grin:

And, yes, you can release the clipping textlines and fill them (you have to delete the image that was the fill before)

I was remembering a different thread, I guess  :embarrassed:

How'd I miss that one, anyway?

I wonder if you can release the mask from the clipping textlines and fill them (making them vector for real)...I'll have to give it a try