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Fold compensation has been just been set from 3/32 to 1/8th as a "Standard". But I feel that I should be able to find some way to factor it using the caliper of the stock and some reasonable latitude for machine variation in the process.

I did this and all the posts assume I have a caliper reading to work with not how to get a good reading. I read one post that took 100 sheets and divided this into the reading, which sounds like a good working measure. But there are others that reference a 6 to 9 foot pounds pressure or...

That makes a good practical point. but if the color work is important you no doubt request original files right?

Good idea, but the Green photo filter is not true Green.. I had to go into the color picker and set the value in HSB Values, but even then I am not seeing the expected effects in the magenta values in the info palette where I set a sample point... Any ideas?

Do you have a list of proofing marks that are useful for Color Rounds? Also keeping it all non destructive make sense, but then I have to ask: Do you work in RGB or CMYK? and your working color modes are they set for the particular print profile and paper combination so that you can do some...

What are the best Photoshop tools for percentage changes in CMYK?

I have been looking at fold compensation and was interested how to go about figuring it based on the caliper of the paper and some reasonable value that accounts for production variations... I just hate the general 3/32 in and 1/16th figures I read about. Also, how can one best caliper a paper.

Well this is where it gets tricky... If the crop marks are created, rather than "designated" in illustrator, the file will not recognize the crop marks as a trim area, but as art as it is passed alone from program to program. Currently there are a number of limits to using "designated" crop...

Actually, the documents I have set up are for making magnesium dies for the letterpress and were thoroughly vetted by both our cut suppliers. My question was more about the a precision in the process, that I can't find any information on. I know the truth is that it does not matter in the actual...

Looking for some input: I was wondering if anyone had a preference for the exact placement of crop marks. I attached a file that shows two possible optional positions. One with the crop mark centered on the trim line and another with the width of the Crop Mark aligned to the edge of the trim...

Hey I got two: Yea, I know your logo looks good on your screen, but it is not good for print. and I understand you re-sized your logo, but starting with a low resolution file and up-sampling did not make it better for print.

Greg or Rich, I can see how you can take a client request to -m slightly in a Hue & Saturation Adjustment layer, but how do you take out 2% Magenta using the same layer adjustment?

Rich, are you saying that by doing color work in RGB I can perform your edits on an RGB working file and never exceed the total ink limit. Even if I have values like R 256, G 256, B 256 they convert to C 75, M 68, Y 67, K 90? Now my Total Ink Limit setting is safe because my color settings are...

I would think that various areas of an image will have values that exceed a total Ink Limit of say 320. (ex: 90 C, 100 M, 100 Y, 50 K color build) I was told that any color sensitive work has to be done in CMYK and that relaying on any print profile to make further adjustments on output is...

I can imagine how the character of the edges will play into the decision to use a pen tool mask or a graded soft edge, or if the color target is a localized or diffused, but in respects to the actual changes what do you rely on the most to make color moves for sensitive color work? I can imagine...

What tools do some of these prepress companies use to make localized adjustments and intricate masking? If I am looking to remove 9% Cyan in one area of an image are the color separators using simple masking and levels or are they using more specific tools for particular ends? Does anyone do...

Re: Marking a design for a cut out. "But it MUST be a spot color so that it can be left behind when the other colors are printed!" Can you explain this a bit more, I do not follow why he could not just use a 100% Cyan line to mark die-cut lines, rather than pay for the extra plate?

Re: PC VS Mac Platforms So these alternative work flows that you use, do they depend on the file type and version you are pending to your RIP(s)? Also, Is there a separate concern for the font names as I have described-despite the need for parallel work flows? I am just wondering if this is...

Re: PC VS Mac Platforms When it comes to fonts is there still a problem with the file naming conventions in the typographic industry: where the font file information can point to the wrong font file on another platform or different computer? I read this once, but I believe the paper said that...

Re: PC VS Mac Platforms How do you think the pre-press person can tell if a native Adobe file was produced on a Mac? File info or looking at the XMP information?