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If the terminal window has anything more than a single line ending with "$" or "#," it may be that a script is being run by terminal at startup/login. If so, preventing terminal from starting will also prevent that script from running. In addition to the account login items, it could be started...

Create the line, then Object>Transform>Move..., enter a horizontal distance (0 for vertical) and click "Copy." With the pen tool, click the top point of one of the paths, then the top point of the other (or use both bottom points - doesn't matter). This should join them into a single path with...

As long as the screen tiles in a RIP are well made, higher line frequencies generally increase banding (above a certain threshold). At a given resolution, a lower lpi yields a larger dot, and therefore more possible sizes (levels). As an extreme example, consider 2400 dpi, 45 degrees, 1,697...

Dov: Indesign appears to work with lab colors equally well as spots for native elements, with one exception: you can't tell it to convert lab to spot when exporting to PDF but you can convert spot to lab if that is the alternate color space. If you use spots that are defined in lab, then the...

I would expect that they could handle that easily enough, as long as there is no ambiguity in the image preventing them from knowing which way it should be (like a spot varnish plate with a knockout area and no text). If they are making film and want to have the emulsion on the opposite side as...

Dov: Fair point, but in that case, I think it would be better for the colors to be defined as CIELAB. That would be less ambiguous and would allow the creation of a PDF file with colors converted to the destination space or preserved as CIELAB. Either way, the PDF would not be crippled by a...

If you're using a Mac, find the following file: /Applications/Adobe Illustrator CS4/Adobe Illustrator.app/Contents/Frameworks/AdobeAGM.framework/Versions/A/AdobeAGM Make a backup copy of the file Using a hex file editor (TextEdit may work - it seems to preserve unedited portions of binary...

Leonard: Maybe you could add a warning when a user selects a spot color library that reads "Please note: this is not your box of crayons."

I definitely agree. A custom CMYK profile can be handy in a pinch when you want to specifically control black generation (how much black versus CMY is used to make gray and dark colors) and the color appearance is not critical. There are certainly better ways of doing that also. At my last job...

If you use a custom CMYK profile, you are not converting to one of the "Japan..." profiles, you're just converting from SWOP to a custom CMYK profile. The dot gain curve should be an input to output function with image tints as the input and final result on press as the output. It should not...

Assigning a profile will not change the values, only the appearance on screen (and potentially how the image is converted later if the profile is saved with the image and, e.g., your RIP is configured to honor embedded profiles and perform conversions based on them). If you edit an image, it is...

Knocking out just means the overprint attribute is not applied. If the object is CMYK and everything underneath is CMYK, then overprinting with "standard" mode would be the same as knocking out. One of the elements involved must be a spot color for the standard mode to make any difference.

The Finder view mode and state of open and closed disclosures are stored in files named .DS_Store (which you don't normally see in Finder because it hides all files beginning with a period). You can prevent clients from creating these files on network volumes by doing the following from each...

For a spot object, either mode should have the same result. For a CMYK object, the Illustrator overprint mode yields the familiar result, whereas "standard" overprint mode will knock out other CMYK but overprint spot inks. I don't think any current or recent Adobe applications discriminate...

I would guess that you would see more degradation after a given number of saving iterations if you alternated back and forth between medium and maximum than if you used medium every time, because the algorithm would be swapping back and forth, preventing the preservation of the existing...

Select all, change stroke colors (and fills if you have any) to CMYK white, then change the blending mode to "difference" in the transparency palette, making sure the opacity is 100%. This should hide all of the unique objects and show the duplicates in black. Then revert the document and delete...

You must have used warm red.

To use the built-in unix ftp command: Create a single ZIP file to upload if you have more than one file to send. Activate finder (e.g., by clicking on the desktop). Press Cmd-Shift-U to open a finder window in the utilities directory. Open Terminal.app. At the shell prompt, type ftp...

If an object is set to be a tint of a CMYK color, the result is the same as multiplying the "solid" values by the tint. E.g., a 50% tint of 100/0/80/10 is exactly the same as a 100% tint of 50/0/40/5. There is no difference in the output. The only distinction is that within Indesign, you can...

The rectangle mark will not work because the page and template images are always added using OR logic (sort of like the multiply blending mode). If you are ripping to a Printdrive server and are using DQS, you can adjust the pages separately in Printdrive after the job is ripped. You would have...