1) First, how did you get talked into handling CMYK to spot colour conversions? I don't know how many ads you have, but if you've got more than a handful, you could be in for a LOT of work here. But to answer your Q, if the designer sent you an AI file where all the linked stuff (fonts and images) was also embedded, then no, you don't need to have all the links. But in all likeliehood you'll be exporting the images to work into two colour in Photoshop anyhow. There are a few 'quickie' tricks for going from 4 to 2 -- or even from 1 (grayscale) to 2 (some of these you can do in AI) but it's very subjective to what your images are and what the second colour is.

2) Masking has been covered extensively in many threads here. Hopefully, our beautiful moderator Morea will drop by and share some of the better thread links.

Q: Jenny, if you don't mind me asking-- how much print production experience have you had--and how much time do you have in the schedule to pick up what you need? Without any more details, it's hard for me to guess-- on the other hand, sometimes the best way to learn is to just jump in there sweating and praying...

Thank you!

Hi Broacher,

Thank you so much for your help...

Luckily, there is only one page I have to convert from 4 to 2 colors. I just went ahead and requested the designer send me the original file and the links. I guess I was embarassed to ask for it because I didn't know 100% if the PDF I was given could or couldn't be broken down/extracted and used for what I needed or if somewhere down the line when I placed it in Indesign and then sent it off to the printer, they would get missing link warnings, couldn't print it with what I gave them or the like.

I have done a few basic projects (postcards, brochures) that have gone to press for printing ---hee hee, and I know exactly what you mean about the sweating and praying. I have learned so much that way, but obviously have a looooooong ways to go.

I will search out those masking threads! Those would be a great place to start asI need to start from square one.

I have a few weeks on this project, so I think for now if I can figure out those two things I can squeak by on this project.

Thank you again for your help!

Jen

You did the right thing in requesting the source files-- especially if there is only the one page. You don't want to get into the habit of cracking open submitted PDF ads-- we all do it, of course, but unless you didn't tell the submitter about the colour limitation, it really is THEIR responsibility to get it right. Undoubtedly, the most common reason I DO crack open PDFs is for something like that-- is when the creator of a submitted file did not bother to read the specs I gave them (and have left for their trip to Zurich, or wherever).

As for missing links warning-- you'd get that from InDesign's preflight, or even (I think) when placing the file. And certainly at the packaging or printing stage.

Good luck with your project. Keep us posted on its progress or drop in with any problems you might encounter.

Thank you so much, Broacher!

Jenny

Hi Jenny,

I'm always using masks, etc with indesign and printed out perfect on both our local inhouse printer and the ones sent to the lithographic printers.

I use psds of the original image, using layer masks (that way they can be re-editied/re-used later if need be). and just place them in Indesign and use the defaults. then only if needed (option > clipping paths > alpha channel) and play around with the settings a bit. I usually don't need to add a clipping path as i do perfect the mask in photoshop using my wacom (removing ugly suround "white" edges). clipping can help speed up some things to just a few clicks though.

Thank you!

Thank you, FlipSide!

I appreciate you breaking it down like that and am now feeling braver to venture out into the world of layer masks and clipping paths since you've mentioned psds with layer mask printed perfectly (which I have been avoiding! All my designs: photo in a box, photo in a box, photos in a box)

Thanks again!

Jenny

Jenny-- just be careful about PSD's with alpha masks (layer mask) instead of clipping paths and where in the page object order you placed them. Any sort of transparency (this also includes drop shadows, and feathering) needs to be below your type or you could get unwanted artifacts and other problems creeping in. Clipping paths, being on/off don't have that limitation.

Yikes! Thank you, Broacher!

This is very good to know. Maybe I better stick to mastering clipping paths.

There always is a catch with this graphic design stuff, isn't there???

Thank you again,

Jenny

^ No, it's really not that hard a rule to follow-- just when you use text around transparent objects, make sure that the text is on 'top' of the objects. Sometimes, the alpha transparency mode (feathering, drop shadows, gradient fades, and PSD alpha channels) are the quickest and most efficient way to go--you just have to learn when this is. The help files and Adobe's online tech docs go a long way towards teaching you how to use these tools safely.

Don't talk yourself into avoiding tools that have potential for danger-- a knife may seriously hurt someone, but it's still a very useful tool.

you are good my sir

Not the greatest analogy-- but imagine a world where all tools and weapons had an undo?

Wait a sec... Playstation? Wii? Xbox?

The thing about design is that we really do play 'God' in the 2D (and sometimes 3D) virtual sense. The trick in prepress (which is closer to the reality of atoms than the virtual truth of pixels) is in recognizing when and how a virtual decision effects a real one, and vice versa. And how knowing the rules and limitations well allows you more flexibility and ultimately more solutions.

I though it was a great analogy, Broacher

Wow...you mentioned Adobe online. It has lots of good stuff to read up on. Thanks for mentioning it!