Illustrator :: Trapping All 3 Layers Of Color In Design - Screen Printing As Poster
Feb 25, 2013
I was wondering if I need to "trap" all 3 layers of color in this design which will be screen-printed as a 16x20 sized poster. In some parts of the design, I purposely made the colors a bit offset. But the printer says I must use trapping. I watched a bunch of video tutorials, but none of them seem applicable to this particular kind of artwork, in which I WANT some of the background/paper to show through. But not everywhere. I work in Illustrator CS6.
I have a large project (shirt block pattern) that I need to print as a poster, I'm wondering if there's any way to add a border around each tile when printing, since I can't print to the edges of the paper it would save me having to draw in each border before cutting (to ensure I don't cut the edge crookedly).
I do prepress work for a label manufacturer/printer, and all of our trapping is currently done manually. The art files we work with continue to grow in their complexity, and doing all the trapping manually can sometimes be quite difficult and incredibly time consuming.
I know that Illustrator has a built-in trapping option, but it doesn't allow for a whole lot of control. I've played around with a demo of PowerTrapper (from Esko), but it's fairly pricy, and I haven't been able to get my boss to bite yet. Any plugins that handle trapping.
When using a DVD/CD template to do a design to print onto a DVD/CD even though the template shows the circular shapes of both the outer circumfrance and the central hole etc if I paste a square design onto the circular template the design is not restricted to the printable area of the DVD. How do I achive a design that is just printed onto the printable are of the disk?
Some of the lighter, saturated colors in the PANTONE+ swatches library appear to be a different color in the swatch list than they are when applied to a design. see below for screen shots.
i can duplicate this situation on calibrated NEC MultiSync monitors and uncalibrated laptops. We are running on Mac OS X.8x and above.
Designers are complaining about not being able to pick a color from the Swatch Library in AICS6 or AICC. InDesignCC does not seem to have the same issue.
Well as much as I do design work for customers for tee shirts,I never had to do color separation, for the screens.I’m wondering how do you do this? ( how do you separate colors in corel, for screen printing) .
I am asked to do a large print of an A1 size poster which is 840mm x594mm,so would it be wiser to half those dimensions given,or even 1/4 of that size in order to avoid my maching going slow? would the printer still understand how hes meant to go about,if i specify the actual dimensions?
Look at this picture, it's a still from the TV series Dexter, and season 1 and 2 of Dexter are somewhat sacred to me as far as cinema goes. The image is taken from season 2, where a love interest of Dexter creates a painting that totally embodies his character. It would be amazing to have it printed and mounted in my entertainment room!
The image is quite raw, and I have such little experience with any kind of photo editing that I wouldn't have any clue what would need to be done to improve the quality or resolution for a decent sized poster, but Any kind of artistic flair is totally welcome as long as the essence of the image/character remain.
I'm relatively new to Illustrator (I'm a fine artist not a graphics professional) and having some difficulty with preparing pdf files for screen printing positives.I passed some of my photos through Vector Magic anf got a 3 color vector pdf.I converted the colors to global spot cmyk.What I need to do is get each color onto a separate layer. I don't have a postscript printer and would like to have everything prepared before I take artwork to a print shop to get screen positives printed.For some reason when I go Select > Same > Fill color (and either cut to a new layer or select inverse and delete on a duplicated layer) I'm not getting everything showing up. It looks like the document needs to be flattened or something, though I have tried that with no effect.
I am unable to save .pdf versions of color separations. I followed the tutorials (changed all colors to cmyk or spot colors, selected the printer adobe post script, changed the output to Separations (host-based), desected the colors I didn't want on the separations), but something goes wrong when I save. When I click save, I am given no option to save the separation as a .pdf. The program seems to be unable to save the separation as any sort of readable file. In the drop down box where it should provide a .pdf option, it merely says "All Files." If I save my separation using this option, then Illustrator creates a file unreadable by Acrobat Reader.
I run an online wedding invitation design business. I first create the digital files of the invitations in Adobe Illustrator CS5, then secondly I email the PDF file to my customers, and finally the customers are responsible for printing the invitations themselves. Some people print from a home computer, some have a local print shop print them (professional OR places like Staples and Office Max), and some upload the design to an online print service.
I use Adobe Illustrator CS5 and cmyk colors to create my file.
2 times this year I have run across a problem that I don't know how to fix. The customer says that when they print the PDF at home AND at a local print shop (Staples or otherwise), the colors are not right. Specifically, my Peach color was printing Brown for her, and my light Pink color was printing Tan for her.
The first file I sent her was a PDF that I created from Illustrator. I also imported the .ai file into my Photoshop Elements 5.0, and then saved it as a JPG and PSD. Those two printed the same results for her. She printed from home and from Staples. Both printed wrong.
I have made 250+ sales in the last 12 months, and this is only the second time it has happened.
(I use Macromedia Freehand MX), I just recently download the trial illustrator, and my question is to know how to open points in Illustrator images for screen printing in freehand using the Halftone in Illustrator I've tried but is not the same as the finish is different and of very poor quality here is a sample as freehand and illustrator as stated in:
Look at the difference of points:
As you can see in Illustrator can only do that from the menu: Effects / Pixelate / Color Halftone... , not sharp as seen in the picture above and therefore the image does not get to see very well, while in freehand if you can manipulate the points from large fine to a point, points also can be made round, linear or ellipse and therefore may work better for screenprints and other designs that open nesecitan points at home. What I'm interested to know if there is another way to work so that the image is sharp with the open items as well as in freehand.
I must be using the wrong terms or words. I NEED to make a wedding seating chart (yup, my wedding) and this is what I am trying to do. I have a picture that I want to use and I want to have about 18 or 20 pictures surrounding the main picture. Then I need to be able to type in names alphabetically with their table number....
I then need to be able to have the picture printed poster size. I am trying to use the layers but the layered pic covers like half the main picture.
I'm using A Mac OS 10.6.8, and Illustrator CS5. I do garment screen printing. In my designs I use a gradient, which needs to have the halftone dots controlled, and a certain size, to expose properly on my screens to then print. I can't seem to figure out how to adjust the frequency or LPI, and the angle so that they work. It still prints out as a seen on screen
For my business card design I have white text overlapping an area of very white grey- causing readability issues (insufficient contrast). It looks great apart from this one problem, so I still want to keep my white text and light background and fix it by separating the text and background with a darker drop shadow..
First, I added a black drop shadow to the text- but this was not enough to increase readability (text still looked faded on background as drop shadow was too subtle at 85% opacity, 0.04" blur) so I added a drop shadow to my drop shadow (100% opacity, 0.02" blur + 18% opacity, 0.02" blur). This produced a heavier drop shadow effect for my text as desired but, for some reason, the text came out slightly grey in print (offset run). It seems the drop shadow somehow got printed over the text itself to some extent- turning the white text somewhat grey (and so not looking as clean as intended).
How could this dropshadow bleed into the text happen? Is it to do with the fact I added a drop shadow to my drop shadow? I would have thought that, even then, the text should entirely overlap all of the drop shadow as the text is the top layer in the group.
What can I do to ensure that drop shadow does not print over text in any way in future? Do I have to stick to only one layer of dropshadow-or is there something else I'm missing?
When I print RGB documents from AI CS6 (and earlier ai versions as well) to an Epson Photo 2200, the color is wrong. In order to print decent color, I must copy the ai files to Photoshop (at 300+ dpi) and print from there. Only then is the color good (as expected). I am using Adobe RGB (1998) as my document color space, and being very careful to allow ai/ps to manage color, matching the driver with the proper print speed, stock, etc, using Epson's paper-specific ICC profiles for each print.
What is it about the way ai sends color to a printer that is so "wrong?"
I have a group of several objects – text box; rule line and some colored rectangles that act as jigs for someone to develop a layout. I do not want the jigs to print. Is there a way to suppress printing for just certain objects or make certain colors non-printing? Note: Non-printing layers will not work because the grouped objects puts everything on the same layer and I need the text and rule lines to print.
My problem is Adobe Illustrator will not print certain parts of a flyer I created in color. The Left side picture prints ok but the text "Art Department" prints in b&w.
When using the gradient mesh tool or paintbrush in Illustrator - the technique is not reflected ACCURATELY on the screen. For example when painting with a red brush - the screen shows a different color. Sometimes a different magnification will resolve the issue other times it will not.
Running MAC OS6 10.7.5 This is currently happening in Illustrator CS6 Illustrator 5.5 is also on the machine too.
I am working on iphone case packaging that will be printed so my project is in CMYK, all settings in CMYK. The colors on my screen look correct in CMYK but when I send it to the manufacturer it is then printing in a different (similiar) color. Can this be from my screens not being calibrated to CMYK?
I did a few searches for rgb to cmyk converters and I put in the rgb color that looks correct and it spits out a CMYK color that looks far different that the CMYK colors in illustrator. I am using CS6, I could use the converter for now but I would like to see the correct colors in the future if at all possible.
I'm trying to print colour to my epsom inkjet but for some reason Illustrator keeps converting my colour image to greyscale.
Now I've been using Illustrator for years and this is a new problem I've not come across before. Is there something I can do to stop it doing it - maybe there's a setting that has accidentally switched on that converts all to greyscale.
If not then I suppose I'll have to revert to "turning it on and off again"!
I just need to go from K and tones of K to a spot color and tones of a spot color.
I'm using recolor artwork because I can't merge into K. The art comes in from our customers as K so we can't just design differently.
The rectangles on the right are k and tones of k. The rectangles on the left are the results after converting to a spot color with recolor artwork. Using recolor artwork. I just need a way to accurately move the tones from k to a spot.
When 4-color process printing (CMYK), how might one remove the black plate from the process, but maintain the same "shade", or very close to, of all process colors?
Top swatch is the original. Bottom is the closes I could get while keeping Black at 0%.
I find myself constantly changing the color of new layers back to my favorite: Magenta. Is there a way to just make this the default new layer color?
I understand the reasoning of using different colors for each layer, but so many standard colors do not preview well, with the artwork, I find them useless. I'd just as soon use one color.
Now that my 22" CRT screen is slowly dying on me, it is time to find a replacement within my max 800 EURO budget. CRT are unfortunately barely available anymore and those few come at premium prices. So a LCD screen...
As a professional multimedia designer I value IQ and decent color reproduction/depth, and I would use the screen for (web)design, photo editing, illustration, some animation and occasionaly design for print, apart from playing sometimes dvds, webbrowsing and very rarely a game.
b Question #1: I haven't decided yet if I should go for one 24" screen or go for a dual screen setup of 2x 21/22" (or perhaps 22" and 19", since the secondary screen is mainly used for Adobe panels).
What is your experience and opinion about this?
b Question #2: Now I know that for the best color reproduction I should opt for a 24" S-IPS panel. And would I live in the USA I would have likely chosen the much praised NEC2490WUX. However, I live in Europe and there this NEC 2490 is not for sale.
Even worse, at 24" size there are almost no S-IPS screens at all on the market and certainly not within my 800 EURO budget.
"So why not focuss on finding a good 22" S-IPS screen", I hear you cry... well, they don't exist either. Most 22" panels are TN, an occasional one VA. I could find some 20" S-IPS screens, but at huge cost (around 600 EUR). So that doesn't seem to be a good choice.
Alas, I have to focuss on finding the best M/PVA screen 'for (web)design, photo editing, illustration, some animation and occasionaly design for print, apart from playing sometimes dvds, webbrowsing and very rarely a game', and preferably one at a good price/quality ratio. And therefore dealing with issues as gamma and colorshift which are apparantly inherent to this type of panel.
So my question to you is... do you have experience with a M/PVA LCD screen that you would advice me (or not ofcourse). I have been shortlisting the Eizo S2431 (based on a PRAD.de review), the NEC2470WVN... but both are fairly expensive screens (though within budget) and I cannot really judge if either one of these VA screens is worth the extra money and useful for my needs.
i'm doing a layout in ps and there are some images, do i have to flatten it before printing and what is the best extension file name to have a quality print??? (psd.tiff.jpg)
how to create this mottled texture used in the poster below? Looks like a noise filter of some kind. Would I be better using Photoshop or Illustrator for this? I am using the texture in the context of a book, repeating the texture on certain pages.
I am redesigning my website. and i know when yo design for a certain resolution youave to take a few things in consideration. I know that even if the res. is set to 800x600 you loose a lot of space due to the toolbars, scrollbars and windows status bars so you woul effectively have to set the image parameters at something like 740x420 or something (please correct me if inaccurate) so what i wanted to know is... what is the modified size for a screen resolution of 1024x768? also should i design for the 800x600 people or for the 1024x768 people?
