Esko DeskPack PowerLayout 16 Prepress Software User Manual
Pubblicità
Pubblicità
DeskPack PowerLayout 16
User Manual
10 - 2016
DeskPack PowerLayout ii
Contents
1. Copyright Notice........................................................................................................................................5
2. About DeskPack PowerLayout................................................................................................................7
3. Data Exchange............................................................................................................................................8
3.1 Introduction to Data Exchange ......................................................................................................... 8
3.1.1 Data Exchange Preferences .................................................................................................... 8
3.2 The PDF Export Plug-In ......................................................................................................................8
3.2.1 Introduction .............................................................................................................................. 8
3.2.2 Saving a File as Normalized PDF ............................................................................................ 9
3.2.3 Linked ArtiosCAD Graphics ................................................................................................... 17
3.3 The Ink Manager Plug-in ................................................................................................................. 18
3.3.1 Using the Ink Manager palette .............................................................................................18
3.3.2 Ink Options ............................................................................................................................. 19
3.3.3 The Ink Manager flyout menu ..............................................................................................20
3.3.4 Printing Method ..................................................................................................................... 22
3.3.5 Job Setup ................................................................................................................................ 23
3.3.6 Ink Manager Preferences ...................................................................................................... 24
3.3.7 Known limitations .................................................................................................................. 25
3.4 The Structural Design Plug-in ......................................................................................................... 26
3.4.1 Introduction ............................................................................................................................ 26
3.4.2 Structural Design Import .......................................................................................................26
3.4.3 Structural Design Export ....................................................................................................... 38
3.5 The Page Box Plug-in .......................................................................................................................53
3.5.1 Introduction ............................................................................................................................ 53
3.5.2 Trim Box and Media Box .......................................................................................................53
3.5.3 All Page Boxes ........................................................................................................................57
3.6 The Inspection Setup Plug-In .......................................................................................................... 58
3.6.1 Adding and changing Inspection points .............................................................................. 59
3.6.2 Adding and changing Inspection boxes ...............................................................................60
3.6.3 Dynamic Art Placeholders .....................................................................................................60
3.6.4 Import and Export ................................................................................................................. 60
3.7 Messages ...........................................................................................................................................61
3.7.1 The Messages Palette ............................................................................................................61
3.7.2 Filtering the Messages ...........................................................................................................62
3.7.3 Saving the Messages ............................................................................................................. 63
3.7.4 Clearing the Messages .......................................................................................................... 64
3.8 Esko Document Setup ..................................................................................................................... 64
3.8.1 Distortion ................................................................................................................................ 64
3.8.2 Screen Registration ................................................................................................................64
Contents
3.9 Annotations .......................................................................................................................................65
3.9.1 Loading XFDF files ..................................................................................................................65
3.9.2 The Annotations palette ........................................................................................................66
3.9.3 Multipage PDF files with Annotations ..................................................................................67
3.9.4 Updating ................................................................................................................................. 67
4. Dynamic Marks........................................................................................................................................ 68
4.1 Getting started ................................................................................................................................. 68
4.1.1 Creating a first Mark Set ....................................................................................................... 68
4.2 The Dynamic Marks palette ............................................................................................................ 69
4.2.1 Adding a Standard Mark ....................................................................................................... 70
4.2.2 Adding objects as Mark .........................................................................................................71
4.3 Dynamic Mark Properties ................................................................................................................71
4.3.1 Position ................................................................................................................................... 71
4.3.2 Color ........................................................................................................................................74
4.3.3 Specific Mark Properties ....................................................................................................... 75
4.3.4 Changing the Symbol of a Standard Mark .......................................................................... 96
4.4 Mark Sets .......................................................................................................................................... 96
4.4.1 Load Mark Set ........................................................................................................................96
4.4.2 Save Mark Set ........................................................................................................................ 97
4.4.3 Delete Mark Set ..................................................................................................................... 98
4.4.4 Manage Mark Sets ................................................................................................................. 98
4.4.5 Export Mark Sets ................................................................................................................... 99
4.4.6 Dynamic Marks Preferences ............................................................................................... 100
4.4.7 Esko Mark Sets .....................................................................................................................100
4.5 Dynamic Marks Layer .................................................................................................................... 102
4.6 Dynamic Panels in Dynamic Marks .............................................................................................. 103
4.7 Tips and tricks ................................................................................................................................ 104
5. PDF Import..............................................................................................................................................105
5.1 The PDF Import plug-in ................................................................................................................. 105
5.2 Opening a PDF file .........................................................................................................................105
5.3 High-level information preserved by PDF Import ....................................................................... 106
5.3.1 Layers ....................................................................................................................................106
5.3.2 Named objects ..................................................................................................................... 107
5.3.3 Inks ........................................................................................................................................ 107
5.3.4 Object based screening .......................................................................................................107
5.3.5 Structural Design (CAD) data .............................................................................................. 107
5.3.6 Page boxes ........................................................................................................................... 107
5.3.7 Text and fonts ...................................................................................................................... 107
5.3.8 Linework with mixed (DeviceN) colors ...............................................................................108
5.3.9 Linked images ...................................................................................................................... 108
5.3.10 Dynamic Barcodes ............................................................................................................. 110
5.3.11 Notes ...................................................................................................................................110
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5.3.12 Inspection Points ............................................................................................................... 110
5.4 Working with Notes ....................................................................................................................... 110
6. PowerLayout Standalone.....................................................................................................................113
6.1 Introduction .................................................................................................................................... 113
6.1.1 Creating a first repetition ....................................................................................................113
6.2 The PowerLayout Standalone palette .......................................................................................... 115
6.2.1 The one-up ........................................................................................................................... 116
6.2.2 The Repeat ........................................................................................................................... 119
6.2.3 Position the Repetition ........................................................................................................121
6.2.4 Stagger .................................................................................................................................. 122
6.2.5 PowerLayout Standalone Presets .......................................................................................124
6.2.6 Export Template ...................................................................................................................125
6.2.7 Importing PowerLayout Client files ....................................................................................125
6.3 Working with bleed ........................................................................................................................126
7. Seamless Repeat....................................................................................................................................130
7.1 Introduction .................................................................................................................................... 130
7.2 One-up document ..........................................................................................................................131
7.3 Seamless Repeat document ..........................................................................................................132
7.4 From a one-up document to a seamless document .................................................................. 134
7.4.1 Non-seamless .......................................................................................................................134
7.4.2 Seamless ............................................................................................................................... 135
7.5 From a Seamless Repeat document to a Seamless Repeat document ..................................... 137
7.5.1 Use the same pattern ......................................................................................................... 137
7.5.2 Use another pattern ............................................................................................................139
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1. Copyright Notice
©
Copyright 2016 Esko Software BVBA, Gent, Belgium
All rights reserved. This material, information and instructions for use contained herein are the property of Esko Software BVBA. The material, information and instructions are provided on an AS IS basis without warranty of any kind. There are no warranties granted or extended by this document. Furthermore Esko Software BVBA does not warrant, guarantee or make any representations regarding the use, or the results of the use of the software or the information contained herein. Esko Software BVBA shall not be liable for any direct, indirect, consequential or incidental damages arising out of the use or inability to use the software or the information contained herein.
The information contained herein is subject to change without notice. Revisions may be issued from time to time to advise of such changes and/or additions.
No part of this document may be reproduced, stored in a data base or retrieval system, or published, in any form or in any way, electronically, mechanically, by print, photoprint, microfilm or any other means without prior written permission from Esko Software BVBA.
This document supersedes all previous dated versions.
PANTONE
®
, PantoneLIVE and other Pantone trademarks are the property of Pantone LLC.
All other trademarks or registered trademarks are the property of their respective owners.
Pantone is a wholly owned subsidiary of X-Rite, Incorporated.
©
Pantone LLC, 2015. All rights reserved.
This software is based in part on the work of the Independent JPEG Group.
Portions of this software are copyright
©
1996-2002 The FreeType Project (www.freetype.org).
All rights reserved.
Portions of this software are copyright 2006 Feeling Software, copyright 2005-2006 Autodesk
Media Entertainment.
Portions of this software are copyright
©
1998-2003 Daniel Veillard. All rights reserved.
Portions of this software are copyright
©
1999-2006 The Botan Project. All rights reserved.
Part of the software embedded in this product is gSOAP software. Portions created by gSOAP are Copyright
©
2001-2004 Robert A. van Engelen, Genivia inc. All rights reserved.
Portions of this software are copyright
©
1998-2008 The OpenSSL Project and
©
1995-1998 Eric
Young ([email protected]). All rights reserved.
This product includes software developed by the Apache Software Foundation (http:// www.apache.org/).
Adobe, the Adobe logo, Acrobat, the Acrobat logo, Adobe Creative Suite, Illustrator, InDesign,
PDF, Photoshop, PostScript, XMP and the Powered by XMP logo are either registered trademarks or trademarks of Adobe Systems Incorporated in the United States and/or other countries.
Microsoft and the Microsoft logo are registered trademarks of Microsoft Corporation in the
United States and other countries.
SolidWorks is a registered trademark of SolidWorks Corporation.
Portions of this software are owned by Spatial Corp. 1986 2003. All Rights Reserved.
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JDF and the JDF logo are trademarks of the CIP4 Organisation. Copyright 2001 The International
Cooperation for the Integration of Processes in Prepress, Press and Postpress (CIP4). All rights reserved.
The Esko software contains the RSA Data Security, Inc. MD5 Message-Digest Algorithm.
Java and all Java-based trademarks and logos are trademarks or registered trademarks of Sun
Microsystems in the U.S. and other countries.
Part of this software uses technology by Best Color Technology (EFI). EFI and Bestcolor are registered trademarks of Electronics For Imaging GmbH in the U.S. Patent and Trademark
Office.
Contains PowerNest library Copyrighted and Licensed by Alma, 2005 – 2007.
Part of this software uses technology by Global Vision. ArtProof and ScanProof are registered trademarks of Global Vision Inc.
All other product names are trademarks or registered trademarks of their respective owners.
Correspondence regarding this publication should be forwarded to:
Esko Software BVBA
Kortrijksesteenweg 1095
B – 9051 Gent [email protected]
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2. About DeskPack PowerLayout
The ‘DeskPack PowerLayout for Illustrator’ bundle offers dedicated step and repeat functionality, combined with PDF import and the ability to add dynamic marks.
It combines the following plug-ins:
•
•
on page 68
•
•
on page 113
•
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3. Data Exchange
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3.1 Introduction to Data Exchange
The Esko Data Exchange plug-in for Adobe
®
Illustrator
®
combines several plug-ins into one package for easier installation. The combined plug-ins are:
•
•
•
on page 18
•
on page 53
•
•
The WebCenter Connector Plug-In
Along with a combined installation, there are new features in the updated plug-ins:
• Support for OPI (Open Press Interface) server mapping in PDF Export
• A combined Preferences dialog for PDF Export, and TrimBox/MediaBox that also works with Shuttle and Launch Task in client-server configurations
• The ability to always save (or not save) XMP data in Illustrator documents when you save them.
• Esko Document Setup
3.1.1 Data Exchange Preferences
Update XMP on Document Save directly on the Preferences > Esko menu controls if the document’s XMP data is updated when the document is saved in the .AI format or as Adobe
PDF with preserved Illustrator editing capabilities, and is turned on by default. Deselecting this option results in slightly faster document saves
3.2 The PDF Export Plug-In
3.2.1 Introduction
The PDF Export plug-in allows you to directly export your Illustrator files to the Normalized
PDF format.
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The Normalized PDF format contains all the Esko metadata necessary to ensure compatibility with your Esko workflow:
• list of linked images,
• barcode information,
• placed CAD graphics metadata,
• inks information,
... and other document properties.
3.2.2 Saving a File as Normalized PDF
To save your Illustrator file as Normalized PDF using PDF Export:
1. Go to File > Export...
2. In the dialog that opens, choose your file’s name and location, and choose the Normalized
PDF (pdf) format.
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3. Click Export.
4. In the PDF Export Settings dialog that opens, fill in the export settings (see
on page 9).
5. Click OK to export the file.
PDF Export Settings
When exporting your files to the Normalized PDF format, you need to set the PDF Export
Settings.
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10
Preset
Using Presets you can store and reuse the settings for the PDF Export dialog.
You can save the current settings as a Preset by selecting Save... and entering a name. The
location for the Presets is defined in the PDF Export Preferences. See
on page 17
You can load a Preset by selecting it in the dropdown.
If you set the Preset to Default, the parameters as set in the PDF Export Preferences will be used. See
If the current settings are not saved as a setting, the Preset dropdown will show "Custom".
Images and Linked Files
1. In the Images and Linked Files group, choose to either Embed Images in the Normalized
PDF, or Save Links to the images.
• If you choose to embed the images, you don’t have any more preferences to fill in and you can just click OK.
Note: This doesn’t save the images’ link information (except for linked ArtiosCAD graphics, see
• If you choose to use linked images, fill in the other preferences of the dialog.
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2. Enable Add Preview (max 72 DPI) if you want your Normalized PDF to have a low resolution preview of the linked images.
This preview allows you to view the linked images when opening your file in Acrobat
™
for example.
3. Choose where to copy the linked images:
• Choose Copy Images Next To Output File to copy them next to the folder in which you will save the Normalized PDF (so other applications like ArtPro or PackEdge can still open them when the links are broken).
• Choose Use Links And Apply Server Mapping to keep the images where they are but update the links (for example if the images are in a shared folder located on a different machine).
4. When choosing Use Links And Apply Server Mapping, fill in a Server Mapping if the share names on the client machine and on the other server do not match.
a) When checked, Copy Links If Not On File Servers verifies if linked images are already on fileservers and if they are not, copies them along with the exported Normalized PDF file. Choosing this option also enables the File Servers... button where you add the machines that store linked images so that Esko workflow servers can find them.
For more information, see
What is a Server Mapping?
and
Adding a Server Mapping
.
OPI and Server Mapping
When you click Settings in the OPI and Server Mapping group of the PDF Export
Preferences dialog of Data Exchange Preferences, the OPI and Server Mapping dialog
appears:
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Note:
This dialog is available only when you have chosen to Save Links in exported Normalized
PDF files. When you export a Normalized PDF, OPI Mapping is applied first and then Server
Mapping.
Servers
The top pane of the dialog configures Server Mappings. You need to use Server Mappings when the Normalized PDF you output:
• has linked images that are located on a different machine (file server),
• will be used on another machine (not your local machine or the file server).
Server Mappings allow you to map the image links from one share name to another automatically on output. This ensures that the links are not broken when the Normalized PDF is used on another machine.
For example:
• the linked images are saved on a file server called “Server”, in a shared folder called
“Images”,
• your copy of Illustrator with PDF Export is on a Mac, and the shared folder containing the images is mounted as “Hi-Res_Images”.
• the Normalized PDF you export will be used on a PC, where the shared folder containing the images is mounted as “Shared_Images”.
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The link to an image called “My_Image.psd” is “Server/Hi-Res_Images/My_Image.psd” on the Mac, and should be “\\Server\Shared_Images\My_Image.psd” on the PC.
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When adding the Server Mapping in the OPI And Server Mapping dialog, you should enter the Share Details as follows by:
• name of the file server in Server Name,
• name of the shared folder containing the images as seen from your local Mac in
Local
Share,
• name of the shared folder containing the images as seen from the other PC in
Server
Share.
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Note:
• You can use subfolders in a Server Mapping.
• You can also use Server Mappings to replace images (for example to swap low-resolution
for high-resolution images
when the low-resolution and high-resolution images have
identical separations).
To add the Server Mapping, do the following:
1. In the OPI And Server Mapping dialog, click the plus sign button to the lower left of the
Servers pane. This opens the Share Details dialog.
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2. Enter or choose the name of the file server containing your linked images in Server Name.
3. Enter or choose the name of the file server’s share containing your linked images as it
appears on your local machine in Local Share.
4. Enter the name of the file server’s share containing your linked images as it appears on
the other machine that will use your Normalized PDF in Server Share.
5. If you want to add another Server Mapping (to use your Normalized PDF on yet another machine), repeat steps 1 to 4.
To edit a Server Mapping, double-click it. To remove a Server Mapping, select it and click the minus button to the lower left of the Servers pane.
OPI Mapping
The lower half of the OPI And Server Mapping dialog configures OPI Mapping, which defines the rules for image substitution when exporting a Normalized PDF in a more specific way than
Server Mapping. OPI stands for Open Press Interface.
To add an OPI mapping, do the following:
1. Click the plus sign to the lower left of the list pane. This opens the OPI Rule Editor dialog.
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2. After the word If, decide how many conditions that must be true for this mapping rule to take effect: All, Any, or None.
3. For the condition In the top pane of the dialog, choose the element of the image file’s path to examine in the first field. Image paths are in URI (Uniform Resource Identifier) format, such as file://mymac/MacHD/images/lowres/tests/Spacebar_CMYK.eps. As you select elements, further controls appear on the same line to refine the condition. For example, if you choose Full Path Is, you can click ... to browse for a folder, or click x to revert to the previous folder. To add a condition, click +; to remove a condition, click -.
4. Once you have defined the conditions, define the changes to the path in the lower pane of the window. Use the same process to define the changes as you did to define the conditions: choose the change, then set its options on the same line. To add a change, click
+; to remove a change, click -.
5. Click OK to finish defining the rule.
6. To add another rule, click +; to remove a rule, click -.
Consider again this example URI file name: file://ImageServer/LOWRES/images/lowres/ tests/Spacebar_CMYK.eps.
• The condition Extension, Is Equal To, EPS will match.
• Folder Name, Starts With, lowres/ will match. You can specify the text ending with / to state that it must be the entire Folder name and to make sure that directories starting with
(for example) lowres plus/ will not match.
• Server Name, Is Equal To, imageserver will also match as the case is not compared.
When you use more than one condition in a rule, the Replace 1st Matching Part Of Path and
Replace 2nd Part Of Matching Path changes become effective.
Consider this file: file://Serv/SharedImg/LORESIMAGES/ANIMALS/LOWRES/ myimage.eps
• with conditions of Folder Name, Contains, LORESIMAGES, and Folder Name, Contains,
LOWRES.
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• and changes of Replace 1st Matching Part Of Path, HIGHRESIMAGES, and Replace 2nd
Part Of Matching Path, HIGHRES.
The first change will replace LOWRESIMAGES with HIGHRESIMAGES (since it was first), and the second change will replace LOWRES with HIGHRES.
Notes and Restrictions
To copy the OPI settings between computers so they all are the same, copy AE10-
OPISettings.prefs. In Windows, that file can be at C:\Documents and Settings
\username\AppData\Roaming\Adobe\Adobe Illustrator CSx Settings, but its exact location depends on the type of login (local or domain) and Illustrator version (CSx where x is a number). On the Mac, this file is normally in Users/username/Library/Preferences/
Adobe illustrator CSx Settings/. Copy the file to the same location on the target machines.
There are a few restrictions when using OPI Mapping:
• The high-resolution images must be accessible from the client workstation.
• Ink Manager will not show extra inks that are present in the high-resolution images.
• When exporting the file using Shuttle, only the inks from Ink Manager are shown, not any extra ones present in the high-resolution images.
• PDF Export, Viewer for Illustrator, and PowerTrapper Client and Standalone will use the high-resolution images and will know about any extra inks.
Trim Box and Other Settings
Trim Box
In the Trim Box (Borders) group of the PDF Export Preferences dialog, the Trim Box
(Borders) drop-down list lets you choose how the edge of the exported PDF file is chosen: using the Trim Box from Document, using the Current Artboard, or by using the Artwork
Bounding Box.
Fit Media Box to Artwork expands or shrinks the Media Box as appropriate.
Other
Outline All Text converts all text to outlines.
Include Hidden Objects and Layers includes hidden objects when the PDF file is exported.
Include Notes allows to include annotations in the PDF. This option is only available in combination with the PDF Import plug-in.
If Expand Patterns is selected, patterns will be replaced by actual objects. The path containing the pattern fill, will then be filled with the objects as defined in the pattern.
Contourize Bitmaps will convert 1-bit images (linked or embedded) into vectors.
Convert Blended Objects to Images will convert blended objects to images. You can set the resolution for this images to High (600dpi), Medium (300dpi) or Low (150dpi)
Note: In case of converting blended objects with different oveprint setting (one is overprinting, the other is not), the convertion might change the final result. The following message is shown:
"Rasterized Blend combines art in overprint and not in overprint mode. Rasterization may have caused changed appearance."
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PDF Export Preferences
You can open the PDF Export Preferences by choosing Illustrator > Preferences > Esko > PDF
Export Preferences
The main part of the Preferences contain the same settings as the PDF Export Settings. These settings will be used if the "Default" preset is selected. See:
•
•
on page 11
•
on page 16
The PDF Export Preset Settings Folder defines the location where the Presets are saved: either the Default Preference Folder, or a custom folder you can select by clicking the
Browse...
on page 10
3.2.3 Linked ArtiosCAD Graphics
When you export a document with linked ArtiosCAD graphics to Normalized PDF, the graphics are treated slightly differently:
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When choosing “Embed Images” in the Preferences:
• The ArtiosCAD graphics are embedded in your Normalized PDF.
• The original link information is saved in your Normalized PDF.
When choosing “Save Links” in the Preferences:
• The ArtiosCAD graphics are embedded in your Normalized PDF.
• They are also copied to the location you define: Next To Output File or on another server
(according to a Server Mapping if defined).
• The link to the copied graphics is saved in your Normalized PDF.
3.3 The Ink Manager Plug-in
3.3.1 Using the Ink Manager palette
The Ink Manager palette is a powerful pre-press color editing and proofing tool. Easily identify where Pantone colors are used within a document or where custom spot colors can be found, then convert these colors to a custom spot color or to process colors.
The Ink Manager palette also allows you to specify crucial ink parameters such as the ink type, angle and lineature. Once defined, these parameters are saved inside the Illustrator document.
Note:
Screening for Illustrator allows you to make exceptions to these ink parameters. With
Screening for Illustrator objects can have different settings for ruling, angle and dotshape.
Please refer to the Screening for Illustrator documentation for more information.
To use the Ink Manager palette, choose Window > Esko > Ink Manager . The Ink Manager palette appears.
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Delete Ink Variant. To delete an Ink Variant made with Screening for Illustrator, select the ink variant which needs to be removed and click the 'Delete Ink Variant' button. The objects will get the ink settings of the parent ink.
Refresh. To update the lists of inks used within your document, click the Refresh button.
After modifying a document, click the refresh button to update the list of used inks.
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Select. To identify objects containing specific inks within a job, select the ink you wish to search for and click the 'Select' button. It is possible to select more than one ink at a time.
Convert to Other. To convert a selected ink from your document Ink list to another ink, click 'Convert to other'. More than one ink can be selected at a time.
Note:
Converting an ink will affect only line art. However, if you have the Channel Mapping or Color
Engine plug-in installed and licensed, converting an ink will also result in the corresponding channel mapping for all images. See the Channel Mapping documentation for more information.
Convert to CMYK. To convert a selected Spot Color from your document Ink list to a
Process Color Mix, CMYK, click 'Convert to CMYK'. More than one ink can be selected at a time.
Note:
Convert to Other and Convert to CMYK are only available if you have a license for boostX,
Channel Mapping or Color Engine Plugin.
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3.3.2 Ink Options
Double-click an Ink from the list to open the associated Ink Options dialog. There you can specify the Ink Type, Lineature, Angle and Dotshape of the selected ink.
If you have multiple inks selected, you can change the properties of all the inks at the same time. The dialog will show "≠" for settings that have different values.
The Ink Book dropdown contains all Ink Books that have the current ink defined. By default the last used ink book is shown.
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Available Ink Types are: Normal, Opaque, Varnish and Technical. The ink type for process inks cannot be changed. The ink type is always normal. The following Pantone inks are always opaque inks: Pantone 8003 C, Pantone 8021 C, Pantone 8062 C, Pantone 8100 C, Pantone 8201
C, Pantone 8281 C, Pantone 8321 C, Pantone 871 C, Pantone 872 C, Pantone 873 C, Pantone
874 C, Pantone 875 C, Pantone 876 C, Pantone 877 C. The ink type of these inks cannot be changed.
Note: If you change an Ink to Technical or Opaque, the ink will be moved to the bottom of the Ink list. If you change the ink order afterwards, this new order will be respected.
Dotshape shows a list of all dotshapes available for the FlexRip. However, it is possible to enter any dot that is available on your rip instead of the proposed dotshapes. Only use a dotshape that is installed on the rip that will be used to expose the document.
Note: Entering a dotshape is not compatible with Nexus RIP.
These Ink options are stored in the Illustrator document and are used by other DeskPack plug-ins like PowerTrapper Client, PowerLayout Client, etc. For example, PowerTrapper Client will ignore varnish and technical inks and will take the opaqueness of inks in account when determining trap directions.
You can define the Printing Method. See
on page 22
Note:
Global swatches cannot be converted.
3.3.3 The Ink Manager flyout menu
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• Ink Options... opens the ink options dialog.
• Convert Ink to... has the same functionality as the 'Convert to Other' button
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• Convert Ink to CMYK has the same functionality as the 'Convert to CMYK' button
• Convert all Spot Inks to CMYK converts all the spot inks in the document to their CMYK equivalent.
Note:
Keep in mind that this function will also convert white objects created by the White
Underprint plugin, using a special spot ink.
• Update Ink list refreshes the ink list.
• Process Inks In Images… The plug-in uses Illustrator to determine which inks are used in external images. Illustrator has some limitations:
• With linked EPS images it is not possible to detect whether CMYK was used in the linked image. Ink Manager will assume that CMYK is present in the linked EPS images, unless the user has specified otherwise.
• TIFF images with spot channels always have CMYK channels, even if those channels are empty.
So with externally linked images, the plug-in doesn’t really know whether CMYK is used.
“Process Inks in Images” offers a manual solution. If you click this option, the “Process Inks in Images” dialog box appears:
3
By default all toggles are switched on, which means that the plug-in will assume that external images contain cyan, magenta, yellow and black.
If you know that there is no cyan in the externally placed images, you can switch Process
Cyan off. Click 'Apply' and at the bottom of the Ink Manager the indication “Disabled in
Images: C” will appear.
The plug-in will assume that only magenta, yellow and black were used in the externally placed images. If cyan is used in other objects of the document, it will be listed in ink manager.
• Using
Display Columns you can set what columns of the Ink Manager should be shown: the Ink Type, Ink Book, Screening Details (LPI, Angle and dotshape), Printing Method (see
on page 22) and Job Setup (see
on page 23)
• Reverse Ink Order will turn the order of the inks upside down.
• By default, the process colors are in Cyan - Magenta - Yellow - Black order. If you change this order and apply Save CMYK Ink Order as Default, the changed order will be used
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as default order. By selecting Restore Default CMYK order, the original default order is restored.
• By using Sort Light To Dark or Sort Dark To Light, you can rearrange the order of inks based on the luminocity. Note that Opaque and Technical inks are placed at the bottom of the list, but also sorted light to dark or dark to light.
• If you have to reuse the same Ink Parameters frequently, you can use
Save Ink Preset ...
to save all ink parameters, including Ink Name, Type, Ink Book, Ruling, Angle, Dotshape and
Printing Method. You can Load Ink Preset... to overwrite all ink parameters in the current document with the parameters you saved earlier. You can set the location for the saved Ink
Presets in the Preferences. See
on page 24
• By enabling Use Properties from Job Setup, the inks and ink parameters defined in the Job
Setup will be enforced. See
3.3.4 Printing Method
You can set the Printing Method for every ink.
The Printing Method information can be used in SmartNames, or for Automation Engine task that handle the printing method.
By default, the Printing Method column is hidden. By selecting Show Printing Method in the fly-out menu you can make it visible.
You can change the Printing Method in the Ink Manager palette.
You can select one of the predefined printing methods, or create a new printing method.
Presets
As from version 12.1.2, when connected to an Automation Engine Server, the list of Printing
Methods is loaded from the Automation Engine server.
Note: This implies that Printing Methods saved in earlier versions of Deskpack are no longer visible and will need to be redefined.
Printing Methods can be saved in the Automation Engine Configure tool, or in the Ink Options by selecting
Save to presets
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If there's no connection to an Automation Engine, the presets are saved locally in the Adobe
Illustrator Preferences.
3.3.5 Job Setup
•
When a document is opened from an Automation Engine Job using File > Job Folder > Open
from Job Folder ... , you can force Ink Manager to use the ink parameters defined in the Job
Setup, overwriting the current Ink Paramters, by enabling Use Properties from Job Setup, either from the fly-out menu or by clicking the button in the Ink Manager palette
The Job column will appear automatically. You can change its visibility under Display Columns in the fly-out menu.
The column will give a status icon for every ink:
: the ink is defined in the Job Setup. The parameters defined in the Job Setup will be used.
•
: the ink is not in the Job Setup but is used in the document
•
•
: the ink is defined in the Job Setup but not used in the document. The line will be greyed out, and have no number.
If Use Properties from Job Setup is enabled, the Ink Options dialog for inks defined in the Job
Setup will show status icons for every paramter:
: the parameter is taken from the Job Setup, so it can't be modified.
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•
: the parameter is not defined in the Job Setup, so it can be set freely.
3.3.6 Ink Manager Preferences
The Ink Manager Preferences can be opened from Illustrator > Preferences > Esko >
Ink Manager Preferences... (Mac OS) or Edit > Preferences > Esko > Ink Manager
Preferences... (Windows)
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In the Ink Manager Preferences, you can set the Default Values (angle and ruling) for CMYK inks.
You can also set the default angle and ruling to be used for new Spot inks. However, these defaults can be overruled when using a Spot ink that was used before, with a different Angle and Ruling value. The Angle and Ruling for all used spot inks are saved in the Preferences file
You can also define if inks that are only used in non-printable layers or hidden layers should be shown in the ink manager by setting the Show inks of non-printable layers and Show inks of
hidden layers option.
Note:
The Remap Ink functionallity also takes the Show inks of non-printable layers and Show inks
of hidden layers option into account: When switched off, inks on non-printable or hidden layers will not be remapped.
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Enable Use ClassicColors Ink Book to use the ClassicColors Ink Book. When using a
ClassicColors Ink Book for your HP device, you can enable the Use ClassicColors Ink Book option, to avoid conflicts for inks using generic names, such as "White".
The Preferred Ink Book is the Ink book shown by default when opening the Add Ink from Ink
Book dialog.
You can set the location to store Ink Manager Preset Settings: either in the default preferences folder, or in a custom folder you choose.
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3.3.7 Known limitations
Since DeskPack Suite 10.1 Assembly 6 InkManager has been using different method for the ink converting.
The new method uses Illustrator's Appearance allowing multiple fills and stroke in a single object instead of creating temporary inks (BG Inks). Beside many advantages it brings a couple of limitations, having connection with the Illustrator limitations or behavior.
Re-mapping process inks to spot inks.
As it is impossible to simply change one of the process inks to the spot ink, the only solution is adding a new fill to the object with the new spot ink and use overprint to mix these fills together.
• Adding a brand new fill is not possible on text objects on the character level. Text objects using various inks on separate characters aren't mapped and an operator is warned.
• Re-mapping of process to spot inks on paths, using Effects on fill or stroke, will raise a warning, because adding a new fill could change the visual appearance.
Re-mapping inks in gradients
Re-mapping of the process ink to the spot ink generates a new fill due to the same reason as before.
• Let's have an example that the gradient already contains the target spot ink on one of its stops and another stop contains the process color being transformed. The re-mapping one of the process inks will add a new fill with the same gradient but with the target spot inks on the place of the process ink. In other cases the overprint will blend these two fills and produce expected visual appearance. In this particular case Illustrator will not blend these fills because both contain the same spot ink and Illustrator then ignores the overprint. An operator is informed about that.
• Similar issue comes when the object already contains two gradient fills. An operator is again warned.
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3.4 The Structural Design Plug-in
3.4.1 Introduction
Introducing Structural Design
Structural Design enables the Adobe Illustrator users to read in an ArtiosCAD ARD file, an Esko flexible .bag file and/or a Collada .dae or .zae file. This structural design can then be aligned to the graphics and this alignment will be maintained in the rest of the Esko workflow (e.g.
ArtiosCAD, Visualizer, PackEdge, ArtPro, Plato, RIPs). On top of that, you can create a varnish plate from the bleed outline, from the Illustrator artboard or from the bounding box of the structure automatically excluding the coating free areas.
Structural Design Export allows an Adobe Illustrator user to export contours from Illustrator to native ArtiosCAD .ard format. It also allows adding and modifying cutout windows to a loaded
ArtiosCAD file.
3.4.2 Structural Design Import
General Principles
The Structural Design plug-in enables you to open or place structural design files inside Adobe
Illustrator. The imported structural design files are linked to the Adobe Illustrator (.ai) files, but they are not embedded. After opening or placing a structural design file, the file appears in the
Adobe Illustrator layer palette. The structural design paths are special paths that cannot be modified accidentally.By default the structural design layer and its sublayers will be locked. You can unlock the structural design layers. This enables you to select individual structural design paths and use the illustrator alignment tools to align graphics to the structural design paths.
Open or Place an ARD, BAG, DAE, ZAE file
From Suite 10.0 onwards when the plug-in is present, a dedicated Place File showing only
Structural Design files is found in the File menu. Choose File > Structural Design > Place
File....
The appropriate file types also appear in the Illustrator Open and Place dialogs:
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After opening a structural design, the structural design objects are converted to special
Illustrator objects that cannot be modified accidentally.
The structural design layers are converted to locked Illustrator sublayers. You can unlock these layers. They are grouped under a layer that gets the name of the structural design file.
The different structural design line styles (cuts, creases, bleed) are translated to hard-coded custom colors. All ArtiosCAD line styles are supported.
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In case a Collada file is placed, a check is performed to see if the Collada file has a printable part defined. A printable part is an Esko extension to the Collada format. Collada files with one or more printable parts can be created with ArtiosCAD, Studio Toolkit for Flexibles, Studio
Toolkit for Labels and Studio Toolkit for Shrinksleeves. For more information on the printable part in a Collada file please see the white paper which can be found:
• For Mac; in the extra folder of the installation disk.
• For PC; go to Start > Programs > Esko > DeskPack Plug-ins > Data Exchange > Extra...
If a Collada file contains multiple printable parts a dialog will ask you to choose one. Choose that part of which you want to create the graphics in Adobe Illustrator.
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When an Illustrator file is opened that contains CAD data, two checks are performed.
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1. First of all, the plug-in checks whether the structural design file still can be found in its original place. If that is not the case, the plug-in will look for the structural design file in the same directory where the Illustrator file is. If it finds the structural design file there, it will use this structural design file instead, otherwise, you will be asked to browse to the new location of the file.
2. A second check is performed to see if the structural design file has been modified since it was originally embedded in this Illustrator file. If so, the Illustrator document will be updated.
Placing a structural design file: If a structural design file is already loaded and you place a new structural design file, the new structural design file will replace the old structural design file. This implies that you can never have more than one structural design file in an Illustrator document.
The difference between placing and opening a structural design file: When opening a structural design file, the artboard will adopt the size of the bounding box of the structure.
When placing a structural design file, the artboard will not be changed.
Open or Place from Shapes
You can open files from Shapes directly or place them into existing Illustrator files by using the commands in File > Structural Design.
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You can choose a new Shape to download and purchase from the store or you can use an already-downloaded Shape from the library on your computer. In order to access the Shapes store, you must have already entered the Shapes server settings and your Shapes account information in the Shapes Preferences dialog in Preferences > Esko > Shapes Preferences.
Opening and placing a file from Shapes follows the same general workflow. This example will show you how to place a Shapes file.
1. In an open Illustrator document, click File > Structural Design > Place from Shapes.... The
Shapes window appears in the state you last used it, either at your local computer’s Shapes
Library or at the online Shapes Store.
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2. If you want to use a new Shape, choose it and buy it. It gets downloaded to your local machine’s Shapes Library.
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3. If you bought a new Shape, the Shapes window should switch to the Shapes Library automatically. To use an existing Shape, click Library in the Shapes window. Select the
desired Shape and click Place.
4. The Shape is either placed in the open Illustrator document or opened as a new document.
Only the printable area of the Shape is visible in Illustrator. If you have one of the Studio products, use the Studio palette to view the Shape with the printable area.
Shown below is a white wine bottle from Shapes with the label designed in Illustrator and with the 3D model shown in the Studio palette.
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Update the Structural Design File
If the structural design file has been modified while still editing the Illustrator file, an update of the Structural Design file can be forced. A dedicated Update for Structural Design files is found in the File menu. Choose File > Structural Design > Update
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Align Structure and Graphics
Interactive Move Structural Design tool
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The Move Structural Design tool has been added underneath the Illustrator select tool. Select this tool to move the structural design interactively without unlocking the structural design layers. Hold down the mouse button and drag to move the structural design.
Tip:
If you choose View > Smart Guides, the structural design will snap to the graphics.
Structural Design window
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The Structural Design palette provides information on the structural design file's bleed and structure contours and it allows you to rotate or numerically move the contours. Open the palette by choosing Window > Esko > Structural Design > Show Structural Design Window.
The upper part gives you the coordinates of the (left, top) point of the bounding box around the structure contour. The coordinates are relative to the origin of the Illustrator file. You can choose to see the coordinates of nine points on the bounding box. You can also choose to see the position of the bounding box around the bleed contour.
By entering a new value in the X and Y entry fields, you move the selected point to the new position.
It is possible to flip the structural design so that you can add graphics to the back of the structural design. This feature is enabled for ArtiosCAD files and for Collada files with a placed printable part that can have graphics applied to the back side.
The lower part of the palette shows the width and height of the Structure and Bleed bounding boxes. Bleed Offsetindicates the offset between the structure and the bleed contour.
The bottom part provides information whether or not fold angles and animation were defined in the structural design.
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Click one of the Rotation icons to rotate the structural design contours. Rotation always happens around the center of the structure contour.
Create Varnish Plate
Choose Window > Esko > Structural Design > Create Varnish Plate....
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• If you choose Use Bleed Outline then the contour will be created from the bleed outline minus the coating free areas (if any).
• If you choose Use Artboard, then the contour will be created from the Artboard minus the coating free areas.
• If you choose Use Bounding Box of Structure, then the contour will be created from the Bounding Box of the structure minus the coating free areas.
When choosing Use Artboard or Use Bounding Box of Structure, you can specify a positive or negative offset. The resulting varnish plate will be enlarged or shrunk with the specified offset in relation to the artboard or the bounding box.
This tool outputs a contour filled with a light-yellow spot color. This contour will be put in a new layer named ‘Varnish’. This layer will be inserted directly under the structural design layers.
Note:
Create Varnish Plate will automatically exclude the coating free zones in the structural design file, if any.
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Expand Structural Design Layer
Choose Window > Esko > Structural Design > Expand Structural Design Layer... .
Select the structural design layer that you want to expand into a new Illustrator layer.
All art on the structural design layer will be copied to the new Illustrator layer. The art on the new layer is no longer tagged as structural design objects. The resulting objects are in the technical structural design inks.
One common use where you would use this tool is when you are interested in creating a clipping path from the bleed outline of the structural design file.
Structural Design Preferences
If you open or place structural design files created by older versions of e.g. ArtiosCAD ( < 7.3), the structural design layer names might be visualized incorrectly. In the picture below, the ß and u in bemaßung are not visualized correctly.
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This happens when the layer name that was saved in the structural design file used a different text encoding than the one that is used to visualize the layer name in Illustrator. As structural design files created by older versions of e.g. ArtiosCAD ( < 7.3) do not contain the used text encoding, the plug-in can only guess which text encoding was used. It will by default take the current language settings.
This should yield the correct result, unless you are for example trying to open a German structural design file on a Chinese system. If this is the case, you can overrule the text encoding in Illustrator > Preferences > Esko > Structural Design Preferences…on MAC or File >
Preferences > Esko > Structural Design Preferences… on PC.
From ArtiosCAD file: ARD files written from ArtiosCAD 7.3 onwards will contain the text encoding used for layer names. So for those files, the layer browser in Illustrator will always visualize the structural design layer names correctly, even if you are for example opening a
German text-encoded ARD file on a Chinese system. For ARD files written by older versions of
ArtiosCAD, the plug-in will use your current language settings for text encoding. In most cases it makes sense to click this option.
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Current language settings: If this option is selected, the plug-in will always use the text encoding of your system instead of the encoding that might be specified in the structural design file.
Other: You can specify directly which text encoding should be used. In the example of a
German ARD file that is opened on a Chinese system, you should switch the text encoding to
Western European (Windows Latin 1). If you click OK, the layer palette will be refreshed using the new text encoding. For the example above, the layer palette shows:
3.4.3 Structural Design Export
Structural Design Save as
The Structural Design Save as... saves a copy of the linked Structural Design file which is placed in the Illustrator file to a new location, The Illustrator file will link to the newly saved Structural
Design file. Choose
File > Structural Design > Save as...
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Export Selected Objects to ArtiosCAD File
ArtiosCAD Export adds the item Export Selected Objects to ArtiosCAD File to the Structural
Design menu. Only ARD files can be included when exporting to a new ArtiosCAD file.
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Select the contours to export to the ARD file and choose File > Structural Design > Export
Selected Objects to ArtiosCAD File.
The Export Selected Objects to ArtiosCAD File dialog opens.
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Save selected objects in
You can choose to save the selected objects in the Main Design Layer or in Annotation Layers.
If you save them in Annotation Layers, an ARD file will be created with annotation layers with the same name as the illustrator layers.
Next to this, you can choose Layers based on ArtiosCAD Line Type swatches. If the selected objects are stroked with a swatch color with an ArtiosCAD line type name (e.g. cut, crease, bleed), then this option will create layers depending on the stroke color name:
• Cut and crease lines will go to a Main Layer
• Outside Bleed lines will go to an Outside Bleed Layer
• Outside Coating lines will go to an Outside Coating Layer
• Dimensions and text will go to a Dimension Layer
• All other linetypes will go to an Annotation Layer
For convenience, a swatch library ArtiosCAD Line Types is included with the plug-in. You can display the swatch library by selecting Window > Swatch Libraries > ArtiosCAD Line Types.
In this swatch library, all ArtiosCAD design line types have been predefined.
Include a copy of ****.ARD
You can choose to include a copy of the ARD file that was loaded in the Illustrator document.
The resulting ARD file will contain the selected objects AND what is in the CAD layers in
Illustrator.
Remove lines
It is possible to remove some lines of the original ArtiosCAD file. This is meant to modify cutout windows. Do not attempt to remove fold lines with this tool. If you do this, the original fold angles will be lost.
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Place this ArtiosCAD file in the document
If you switch this option on, the resulting ARD file will be placed in the Illustrator document. It will replace the structural design file that was loaded originally.
Preview
In the preview window, you see a preview of what will be saved. You can highlight the selected contours by toggling on Highlight Selection. You then see the distinction between the contours that are newly added to the resulting ARD file and those contours that come from the original
ARD file.
If you click Save As, the Save As dialog opens.
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If you have an ArtiosCAD file loaded in your Illustrator document, the software suggests as file name the name of the loaded ArtiosCAD file followed by _copy.
We recommend you not to overwrite the original ARD file as some functionality of the ARD file will be lost: graphics layers are not copied and it will not be possible to rebuild the created ARD file and text will be contourized.
Note:
Placed EPS objects and/or pixel-based objects cannot be copied to an ARD file. The fill color of the selected contours is not maintained in ArtiosCAD. Rather, the stroke color of the contour determines the line type in ArtiosCAD. If the selected contour is in the Main Design layer, the pointage of the contour will be 2. In all other cases, the pointage will be 0.
ArtiosCAD - Copy to Clipboard
Note:
This function is only available on PC.
It can be found on the Edit menu:
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ArtiosCAD - Copy to Clipboard copies the selected contours to the Windows Clipboard. They can directly be pasted into ArtiosCAD. If you have the same ArtiosCAD workspace open in
ArtiosCAD and have not modified it since opening it in Illustrator, when you paste the contents of the clipboard into ArtiosCAD, they use the same placement as was used in Illustrator. This function is useful for ArtiosCAD users who need shapes from the graphics to be added to the box design.
Copy to Clipboard also offers you the possibility to add the ARD file that is currently loaded in the Illustrator document. Keep in mind that graphics layers are not copied. The resulting ARD file is also not rebuildable and text will be contourized.
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Note:
Placed EPS objects and/or pixel-based objects cannot be copied to an ARD file. The fill color of the selected contours is not maintained in ArtiosCAD. The stroke color of the contour determines the line type in ArtiosCAD. If the selected contour is in the Main Design layer, the pointage of the contour will be 2. In all other cases, the pointage will be 0.
Relationship between stroke color in Illustrator and line type in ArtiosCAD
If the contours are stroked with a swatch color with an ArtiosCAD line type name (e.g. cut, crease), then the corresponding items in ArtiosCAD will have the corresponding line type. For example, if you give your contour a stroke color with as name 'Annotation', the contour will be in line type 'Annotation' in ArtiosCAD. If the name is not an ArtiosCAD line type name, the contour will be a cut line. For convenience, a swatch library ArtiosCAD Line Types is included with the plug-in. You can display the swatch library by selecting Window > Swatch Libraries
> ArtiosCAD Line Types . In this swatch library, all ArtiosCAD design line types have been predefined.
How to add a cutout window to an existing ArtiosCAD file?
1. Open or place an ARD file.
If you also have Studio Designer, you will see a 3D view of your folded box in the Studio window.
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2. Create and select the cutout shape that you want to add to the ArtiosCAD file.
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3. Choose File > Structural Design > Export Selected Objects to ArtiosCAD File.
The Export Selected Objects to ArtiosCAD File appears.
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4. Do one or more of the following:
• Save the selected objects in the Main Design Layer.
• Include a copy of the original ARD file.
• Place this ArtiosCAD file in the document.
For more information on the different options, please refer to
on page 39.
5. Click Save As....
The selected objects are saved in the Main Design Layer. They get the cut line type (which is the default if you did not specify a swatch with as name an ArtiosCAD line type). Apart from the selected objects, the original ARD file is copied in the resulting ARD file and the resulting ARD file is immediately placed in the Illustrator document. If you have
Studio
Designer, you will automatically see the ARD file with the cutout folded in 3D:
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How to modify a cutout window in an ArtiosCAD file?
1. Open or Place an ARD file that already contains a cut-out window.
If you also have Studio Designer, you will see a 3D view of your folded box in the Studio window.
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2. Create and select the new cutout shape that you want to add to the ARD file.
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3. Choose File > Structural Design > Export Selected Objects to ArtiosCAD File .
The Export Selected Objects to ArtiosCAD File appears.
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In the preview window you notice that you do not get the desired result. We need to remove the original cutout window.
4. Click Remove Lines.
The Remove Lines dialog appears.
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5. In this dialog, you can select the lines you would like to remove. It will not be possible to select the new lines. You can choose to hide the new lines by enabling Hide New Lines.
6. Click and drag a rectangle around the original cutout window.
This window will be grayed out. This means that it will be removed in the final ARD file.
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7. Click OK.
This bring you back to the Export Selected Objects to ArtiosCAD File dialog. In the preview window you notice that the original cutout has been removed.
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8. Click Save As.
9. Specify a file name in the Save As dialog.
The software suggests the name of the loaded ArtiosCAD file followed by _copy.
10.Click Save.
If you have
Studio Designer, you will automatically see the ARD file with the new cutout folded in 3D.
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3.5 The Page Box Plug-in
3.5.1 Introduction
Page Boxes are used to define the outside borders and margins of your document, and it is used in the Esko Software Suite workflow environment.
Page Box definitions are saved as part of the Illustrator file used by the plug-ins Shuttle and
PowerLayout Client.
Page Boxes are not taken into account when printing directly from Adobe Illustrator, nor are they exported when exporting to a non-native format via standard Adobe plug-ins. They do not appear as objects in the Layers palette.
You can find the Page Box plug-in in Window > Esko > Trim Box and Media Box
The Page Box plugin can work in two modes:
• Trim Box and Media Box (defining only those two page boxes). See
on page 53
• All Page Boxes. See
on page 57
You can switch mode by selecting Switch to [mode] from the flyout menu.
3.5.2 Trim Box and Media Box
1. Trim Box Size: Select the size from the dropdown list.
2. Trim Box Width/Length: Enter the Width/Length if you want a custom size.
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Tip:
The units are defined in the Illustrator preferences.
3. Trim Box Orientation: Select the orientation: portrait/landscape.
Note:
When the Trim Box is being dragged or Width or Height editboxes edited, the radio buttons
Portrait/Landscape flip automatically so that Landscape is active whenever Width > Height and Portrait whenever Width < Height.
4. Fit Trim Box to
•
Fit Trim Box to Artboard
•
Fit Trim Box to Artwork
•
Fit Trim Box to Selection
•
Fit Trim Box to CAD
5. Media Box (Margins) enter the top, bottom, left and right values.
Tip:
The units are defined in the Illustrator preferences.
6. Fit Media Box to
•
Fit Media Box to Artboard
•
Fit Media Box to Artwork
•
Fit Media Box to Selection
•
Fit Media Box to Bleed / CAD (when no bleed was defined the cad will be taken as reference)
7. Fit Artboard to
• Fit Artboard to Trim Box
• Fit Artboard to Media Box
8. Show Trim Box and Media Box: To display or hide the trim Box and Media Box, use this toggle.
9. See more page boxes: In case page boxes other than Trim and Media box are defined, this link will open the
All Page Boxes version of the palette. See
10.Trim Box and Media Box dropdown menu
• Switch to All Page Boxes. see
on page 57
• Fit Trim Box to Artboard
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• Fit Trim Box to Artwork
• Fit Trim Box to Selection
• Fit Trim Box to CAD
• Fit Trim Box to Crop Area
• Fit Media Box to ArtBoard
• Fit Media Box to Artwork
• Fit Media Box to Selection
• Fit Media Box to Bleed / CAD (when no bleed was defined the CAD will be taken as reference)
• Fit Media Box to AI Bleed Box
• Fit Artboard to Trim Box
• Fit Artboard to Media Box
• Use Transform bounds: if this option is enabled, TrimBox/MediaBox will respect as they are defined in Adobe Illustrator. If disabled, TrimBox/MediaBox will respect visible bounds.
• Move Trim Box and Media Box ... open the 'Move Trim Box and Media Box' interface
• Delete Trim Box and Media Box
The figure below illustrates the Trim Box (borders) and Media Box (margins) of an output document as interpreted on an Esko system. The full black line represents the borders
(corresponding to one of the above options) while the dotted black line indicates the margins of the document:
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Moving and Scaling Trim Box and Media Box
To move or change the size of the Trim and Media Boxes, you can either
• Select the Trim and Media Box Tool from the AI tool palette.
Use the Trim and Media Box to click and drag the Trim and Media Box.
• Select the Trim and Media Box Tool from the AI tool palette.
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• ALT +drag = scale from the center out
• SHIFT + drag = constrained scaling
• ALT + SHIFT + drag = constrained scaling from the center out
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OR
• Select a preset from the drop down menu. OR
• Use the numeric input field. The numeric input field appears when you select
Move Trim
Box and Media Box in the dropdown menu.
Tip:
Double-clicking Trim and Media Box tool in toolpalette opens the 'Move Trim Box and Media
Box' dialog.
OR
• You could use one of the “fit to” options (to Artboard, artwork, selection, cad or crop area).
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Tip:
The units are defined in the Illustrator preferences.
3.5.3 All Page Boxes
Using the All Page Boxes mode, you can set all 5 page boxes: Media Box, Crop Box, Bleed Box,
Trim Box and Art Box
1. Media box: this is the page format
2. Crop box: includes the Bleed box and all marks.
3. Bleed box: defines the trimmed page plus the bleed.
4. Trim box: this is the net document format.
5. Art box: the Art box can be used to specify any section of the page.
You can see the dimensions of all Page Boxes in the Page Box list. You can
1. Select a Page Box in the list. Its details will be shown in the bottom part of the dialog.
2. Enable (or disable) the specific page box by enabling the Set [...] Box option.
3. Enter the offset, width and heigth. You can click the button to swap width and height. In the
Size dropdown, you can select any of the preset sizes.
4. Click one of the Fit to buttons to fit the selected page box respectively to the ArtBoard,
Artwork, Selection or CAD.
5. Use the Show All Page Boxes to show or hide all Page Boxes in your job.
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3.6 The Inspection Setup Plug-In
•
The Inspection Setup Plug-In allows you to define Inspection points or Inspection boxes in your job.
For each of these Inspection points, you will see the Lab value and DeltaE. For every Inspection box, you can set the Profile. Inspection points and boxes will be exported, e.g. to be used in an
Inspection System in inline presses. This Inspection System will warn if the values measured at a specific position are more different from the entered Lab values than the allowed deltaE, or if the Inspection box or Dynamic Art box doesn't match the defined profile.
The plug-in consists of the Inspection Setup tool , under the Eyedropper tool in the toolbar
• the Inspection Setup palette, which can be opened by selecting the Inspection Setup tool, or by adding an Inspection point.
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3.6.1 Adding and changing Inspection points
The Inspection Setup palette shows all the Inspection points, indicating the coordinates
(distance from the top left corner of the trim box), Lab value and default deltaE value.
•
Select the Inspection Setup tool insert a new Inspection point.
from the Illustrator toolbar and click in the job to
•
The Inspection point will be visible in the job, with its number next to it.
• Select an Inspection point in the palette to highlight the corresponding Inspection point on the Illustrator job. You can select multiple Inspection points
•
Select one or more Inspection points and click the delete button
Inspection points
to delete the
• You can manually change the Lab and deltaE value for every Inspection Point.
Click the Refresh button to update the Inspection Point list.
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• You can move an Inspection point in two ways:
• Click within the Inspection point, and drag it to the new location
• In the Inspection Point list, change the coordinates for the Inspection point.
3.6.2 Adding and changing Inspection boxes
The Inspection Setup palette shows all the Inspection boxes.
•
Select the Inspection Setup tool the job to insert a new Inspection box.
from the Illustrator toolbar and click and drag in
•
The Inspection box will be visible in the job, with its number next to it. When creating a new
Inspection box, the Default Profile is used
• Select an Inspection box in the palette to highlight the corresponding Inspection box on the
Illustrator job. You can select multiple Inspection boxes.
Select one or more Inspection boxes and click the
Inspection boxes
delete button to delete the
• You can manually change the Profile.
• You can move or change an Inspection box in different ways:
• Click on the center point of the Inspection box, and drag it to move the Inspection box to a new location
• Click one of the 8 handles on the Inspection box, and drag to modify the Inspection box
3.6.3 Dynamic Art Placeholders
The Dynamic Art section of the Inspection Setup palette shows all Dynamic Art placeholders defined in the job.
• Enable the checkbox in front of a Dynamic Art placeholder to use it as an Inspection box.
When adding a Dynamic Art placeholder, the Default Profile is used
• Select a Dynamic Art placeholder in the list to highlight the corresponding Dynamic Art placeholder on the Illustrator job. You can select multiple Dynamic Art placeholders
• You can manually change the Profile.
• Disable the checkbox in front of a Dynamic Art placeholder to stop using it as an Inspection box.
3.6.4 Import and Export
When exporting normalized PDF, Inspection points and boxes added to a job are saved in the
PDF file, and these Inspection points and boxes will be recognized by Packadge and AE.
Also, when opening a normalized PDF from another Esko product (such as PackEdge), the
Inspection points and boxes information stored in the PDF document will be shown in the
Inspection Setup palette.
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Note: Dynamic Art placeholders are not saved as such in normalized PDF. The selected
Dynamic Art placeholders will be exported as "Inspection Box". If you import the normalized
PDF in Adobe Illustrator again, or open the normalized PDF file in e.g. Packedge, these Dynamic
Art placeholders will be shown as Inspection Boxes
3.7 Messages
The
Messages plug-in is included with all Esko DeskPack plug-ins.
It displays the information, warnings and errors from all the other DeskPack plug-ins, and tells you which plug-in generated them.
You can filter the messages you see when the Messages palette is open, and clear or save all messages if you need to.
3.7.1 The Messages Palette
The Messages palette pops up automatically when another DeskPack plug-in generates a warning or an error.
You can also open it from Window > Esko > Messages.
•
This palette shows you: the message’s severity ( information, warning or error),
• the message’s text in the Message column,
• which Plugin generated the message,
• the Time the message was generated at.
Tip: You can click the column headers to sort the messages, and drag the columns horizontally to adjust their widths.
You can also use the palette to get extra information and / or select the objects that generated warnings or errors:
• click a message to display extra information at the bottom of the palette.
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• click the triangle in front of a message to see the list of objects it relates to.
• click one of the objects in the list to select it in the file.
• double-click that object to select it and zoom in on it in the file.
• double-click the message to select and zoom in on all objects it relates to in the file.
3.7.2 Filtering the Messages
You can show or hide certain types of messages using the palette’s fly-out menu.
• To hide:
• all informational messages, select Hide Info Messages in the fly-out menu,
• all warnings, select Hide Warning Messages,
• all errors, select Hide Error Messages.
• To show them again, select either:
• Show Info Messages,
• Show Warning Messages,
• Show Error Messages.
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• To only show the last message, select Show Last in the fly-out menu.
• To show all messages again, select Show All.
When showing all messages, you can see Show: All at the bottom right of the palette.
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When filtering messages (for example filtering out the warning messages, or showing only the last message), you can see Show: Filtered at the bottom right of the palette.
3.7.3 Saving the Messages
To save all messages in a text file:
1. Select Save Messages as... in the fly-out menu.
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2. In the browser window that opens, choose the name and location to use for saving your file.
3.7.4 Clearing the Messages
• To remove all messages from the Messages palette, select Clear in the fly-out menu.
3.8 Esko Document Setup
By choosing File > Esko Document Setup you can open the Esko Document Setup dialog.
The settings made here are saved in the Esko XMP Document Information.
3.8.1 Distortion
The vertical and horizontal distortion value is saved with the document and used by Esko RIPs when generating the final output. It allows to compensate for distortions in certain printing methods, e.g. flexography. On mounting a flexo plate on the press, it is stretched out in one direction. By making the output slightly smaller than needed (e.g. 95%), we compensate for this distortion.
Values for vertical and horizontal distortion is limited to 90% - 110%.
3.8.2 Screen Registration
•
The Screen Registration parameter allows to choose if the RIP should reset the screening origin for every one-up
• or keep the same screening origin for the complete document
Below a schematic representation of a Repetition with (left) and without (right) resetting the screen origin for every one-up.
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3.9 Annotations
With the Annotations plugin, you can view .xfdf annotations generated by Global Vision and
WebCenter.
Since version 16, Global Vision SDK has been integrated in Esko's Automation Engine, allowing several types of Global Vision Check tasks to be run.
The output of a Global Vision Check is an .xfdf file, highlighting the found errors and problems on the document.
The .xfdf file can be loaded (see
on page 65) and the annotations are
shown in the Annotations palette (see
3.9.1 Loading XFDF files
Whenever a file is opened in Adobe Illustrator, the Annotations plugin will try to find the corresponding XFDF file to open.
• For GlobalVision annotations, the supported file types are Adobe PDF, Normalized PDF and
Adobe Illustrator file
• For WebCenter annotations, the supported file types are Adobe PDF, Normalized PDF,
Adobe Illustrator ZIP file and ARD.
If for example a file "sample.pdf" is opened, the plugin will search for the corresponding .xfdf
file in the following locations, in the specific order shown below.
1. .view/sample.pdf/*.xfdf
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2. .view/sample*.xfdf
3. sample*.xfdf
4. ./sample_wcr.xfdf for WebCenter annotations
3.9.2 The Annotations palette
The Annotation palette will show all Annotations found in the .xfdf file. You can open the palette by choosing Window > Esko > Annotations.
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There are different types of annotations: Barcode, Braille, Spell Check, Artwork, Text Compare and WebCenter annotations.. You can browse to them by clicking the buttons on top of the palette.
Note: If the document only contains WebCenter annotations, you will not have any filtering options. If your document only contains Global Vision annotations, the "WebCenter" button will be hidden.
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For every issue found, an entry in the list is shown. Some of these annotations have text content, while others can have an image preview, showing the difference between the actual artwork and how it should look.
If Show only selected annotations is enabled, only the annotations you select in the list will be highlighted in your job using a colored rectangle. Otherwise, all annotations in the job will be highlighted.
If Zoom is enabled, selecting an annotation in the list will automatically zoom in on the issue.
3.9.3 Multipage PDF files with Annotations
An XFDF file can contain annotations for a multipage PDF. Every annotation will have a reference to what page it belongs to.
If you import a multipage Normalized PDF, the plugin knows what page you imported, and only the Annotations for that specific page will be shown.
If you import a multipage PDF as Adobe PDF, the plugin can't know what page you imported. In that case, the Annotation palette will have a dropdown at the bottom of the palette, to decide for what page you want to load the annotations.
Note: Multi-page annotations is not supported for WebCenter annotations
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3.9.4 Updating
Each annotation contains a time stamp of creation. In case the source file is modified and saved later than the annotation, a warning icon will be shown on top of the palette, indicating the annotations might be out of sync with the document.
If the document is opened from WebCenter, you can choose Update Annotations from the flyout menu in the Annotations palette, to get the latest annotations from WebCenter. In case the annotations can not be loaded (e.g. you are no longer logged in with WebCenter
Connector, there are no annotations available for the document, or the document no longer exists) you will get a warning message indicating why loading didn't work.
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4. Dynamic Marks
4.1 Getting started
Using the Dynamic Marks plugin, you can create sets of marks, add them in a document, and have full control over these marks.
4.1.1 Creating a first Mark Set
1. Open a file in Illustrator. Create some objects you want to use as marks.
2. Go to Window > Esko > Dynamic Marks > Dynamic Marks to open the Dynamic Marks panel.
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3. Click Create a Mark Set to start a new Mark Set.
Note: This step is optional. If no Mark Set is present, you can also immediately start adding marks (see step 4), a new Mark Set will be created automatically.
4. You can add marks in two ways:
• Select the objects you want to use as mark one by one, and click the
Add Selected Art
as Mark button
• Click the Add Standard Mark button to add a standard mark to the set.
5. From the fly-out menu, select Save mark set
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Note:
You can only save a Mark set if the Illustrator file is saved. If not, you will be prompted to do so before saving the Mark Set
4.2 The Dynamic Marks palette
In the Dynamic Marks palette, you can manage the marks in a set.
The palette will show the name of the latest loaded or saved mark set, and all the marks in the set. The icon in front of the mark name will show the type of mark: a standard mark, text, an object, ...
In the palette, you can
• change the name of a Mark by double-clicking it
• select and zoom in on a Mark, by clicking the button
or from the fly-out menu
• add the selected artwork as a Mark, by clicking the button or from the fly-out menu.
• add a Standard Mark, by clicking the button or from the fly-out menu. See
on page 70
• remove the selected Mark, by clicking the button or from the fly-out menu.
Note:
Removing a Mark will remove the entry in the Mark Set as well as the actual object.
• expand a mark, by selecting the function in the fly-out menu. Expanding a mark replaces the
Dynamic Mark by a normal object.
• change the order of the Marks by clicking and dragging.
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• If the corresponding objects are in the same layer in the Layers menu, their order will be changed the same way.
• If you change the order in the Layers palette, the Marks in the Dynamic Marks palette will change accordingly
Note that the Marks list shows the topmost Mark at the bottom of the list, while the Layers palette works the other way around.
Note: Same as in Adobe Illustrator's Layer palette, there are two different types of selecting in the Dynamic Marks palette:
• If you click the name, the Mark is selected in a blue bar, but the actual art is not selected in
Adobe Illustrator. This selection is used for Dynamic Mark palette operations (zoom, trash, expand, remove).
• If you click at the right side of the row (or if you select the art using the Illustrator select tools), the Mark is showing a colored rectangle, indicating that the actual art is selected in
Adobe Illustrator. This selection is used for the Marks Properties.
4.2.1 Adding a Standard Mark
You can add one of the predefined Standard Marks to your Mark set:
1. Click the Add Standard Mark button or select Add Standard Mark from the fly-out menu
2. Select the Standard Mark you want to add.
3. Click Add
The Standard Mark will be added to the Mark Set, and in the current document. You can change its properties in the Dynamic Marks Properties palette. See
on page 71
The Standard Marks currently available are:
• Cut Mark
• Bearer Bars
• Gradation Strip
• Grid Marks
• Corner Marks
• Color Patches
• Image Mark
For more information on the properties for the Standard Marks, see
on page 75
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Note: It is not possible to apply scaling on standard marks. Every time the marks are updated, they will be regenerated at their original size.
4.2.2 Adding objects as Mark
You can add existing objects as a Mark to your set.
1. Select the object you want to use as a mark
2. Click the Add Selected Art as Mark button . or select Add Selected Art as Mark from the fly-out menu.
The new Mark will appear in the Dynamic Marks palette. You can change its properties in
the Dynamic Marks Properties palette. See
on page 71
Note: If you select multiple objects, these objects will be grouped and added as one single mark in your set.
4.3 Dynamic Mark Properties
You can open the Dynamic Mark Properties by choosing Window > Esko > Dynamic Marks >
Dynamic Mark Properties or by choosing Open Properties Palette from the flyout menu of
the Dynamic Marks palette.
4.3.1 Position
The position of a Mark is based on 3 settings:
Attach to
The position of the Mark can be based on
• Any page box: Media Box, Crop Box, Bleed Box, Trim Box or Art Box
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Note:
• a Page Box that is not defined in the file, will be greyed out
• If you load a Marks set that uses a page box not defined in the current file, the Trim Box is used instead, and a warning is shown
• You can't delete a Page Box if there 's a mark attached to it.
• another Dynamic Mark
• a PowerLayout Repetition, such as "PowerLayout Grid 1"
• Named Art
Named Art is any art in your Illustrator document, that you gave a name in the Layers palette: browse to the object you want to name in the Layers palette, double click the default name (eg.
<path>) and enter a name.
When selecting Named Art..., you get a separate dialog, in which you can either type the name of the Named Art you want to use, or select it from the dropdown at the right. Once Named Art has been used, it remains available in the Attach To dropdown.
Named Art is only possible on objects, not on groups. Named Art can't be hidden or locked.
Note: Standard Marks will be automatically attached to a currently selected PowerLayout
Standalone grid or another selected Dynamic Mark. If no grid or Dynamic Mark is selected, the
Standard Mark is attached to the Trim Box.
A PowerLayout Standalone grid is a Step and Repeat of a single file or object(s), generated by the PowerLayout Standalone plug-in. If such a grid is available in the document, you can select its name in the dropdown. For more information, see the PowerLayout Standalone documentation.
Positioning
The way the Mark is attached, can be chosen by clicking and dragging the blue square
(representing the Mark) to the desired position on the grey square (representing the
Attach To
reference). Each square has 9 reference points (top left center and right, middle left center and right, and bottom left center and right), so you have 81 different ways of positioning the mark.
This setting is not available for Bearer Bars and for Cut Marks.
In the example underneath, the top center of the (bounding box of the) mark will be placed on the left bottom corner of the (bounding box) of the reference defined in the Attach to field.
Note: If you create a Mark from an existing object, the Positioning settings (the blue rectangle) will be automatically set, using the smallest offset possible while keeping the object at the same location.
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Offset
In the offset fields, you can move the mark based on the defined position. The direction of the offset (up, down, left or right) depends on the positioning, and is shown by the
4 arrows.
Note: You can also manually move Marks. In that case, the offset will automatically adjust to the new location. The other settings (Attach To and Positioning) will NOT change.
Repeat
For custom marks, you can use the Repeat buttons, to choose if the mark should be repeated or not.
From left to right:
• No repeat
• Repeat on all 4 sides. The positions of the marks are rotated 90º around the center of the
Attach To object. Examples:
• Repeated horizontally. The positions of the marks are mirrored over the vertical center line.
Examples:
• Repeated vertically. The positions of the marks are mirrored over the horizontal center line.
Examples:
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Note: For vertical and horizontal repeat, the position of the marks is mirrored, but the actual marks are rotated 180 degrees.
4.3.2 Color
The color of a mark can be one of these settings:
Registration
The mark will be colored with 100% of every ink used in the document. If you change the tint to e.g. 42%, the mark will get 42% of every ink used in the document.
Changing the inks in the document can change the color of the mark. Technical inks are not used in the mark.
Note: If you manually change the color of a mark set to Registration, its color setting will change to "Static" (see below), using the newly set color.
Static
If color is set to "Static", the current color is stored, based on the actual inks. The color of the mark will not change if the order of the ink list is changed.
Note:
When placed on an existing document, "Static" marks are the only marks that affect the ink list: the inks used in the mark will be added if necessary.
Dynamic
If color is set to "Dynamic", the current color is stored, but based on the ink positions in the Ink
Manager, and not the actual inks.
For example, if the first ink is Cyan, a 100% cyan mark is stored as "100% of the first ink". If the first ink is different (by changing the ink order, or by placing the mark on a different file), the mark will become 100% of the first ink.
Note: If the ink list in the document changes after adding the marks, you must click Update
Ink List in the Ink Manager for the marks to adjust to the updated ink list.
Darkest
The mark will be colored with 100% of the darkest ink used in the document. You can't change the percentage for "Darkest" ink, it will always be 100%.
Changing the inks in the document can change the color of the mark. Technical inks are not used in the mark.
Note: If you manually change the color of a mark set to Darkest, the color will change back to the darkest ink at the next mark update.
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Fill / Stroke
For custom marks and for Color Patch marks, you can define both the Fill and the Stroke Color.
For Stroke, you have an extra option
Same as fill
Defaults
Every Dynamic Mark has a default color attribute:
Mark Type
Custom mark (plain object)
Cut Mark
Text
Image Mark
Dynamic Objects (Barcode,
Panel, Table)
Bearer Bar
Gradation Strip
Grid Marks
Corner Marks
Color Patch
Available Color Options
all*
Registration, Darkest, Static all
Static, Dynamic** all
Default
Dynamic
Darkest
Dynamic
Static
Static all
No Color Options
Registration, Darkest, Static
Registration, Darkest, Static
Registration not applicable
Registration
Registration only applicable for stroke: all same as fill
(*): A Custom mark created from a mesh or gradient object will always have color attribute
"Static". This can't be changed.
(**): EPS image marks can only be Static.
Note: A Gradation Strip doesn't allow setting Color options. A Gradation Strip always uses every ink, except for technical inks.
Inks
When using Dynamic color, you can choose what inks to include: All inks, only technical inks or only printing inks.
For any other color option, you can't change the drop down: for Static color and Registration it is fixed at "All", while for "Darkest" it is fixed at "Only Printing".
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4.3.3 Specific Mark Properties
Standard Marks have, beside Position and Color, some specific properties.
Also Text Marks have specific properties, allowing to create dynamic Text Marks.
Cut Mark Properties
Cut Marks are created from a symbol named "CutMark", and are by default 0,1mm wide and
10mm long.
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Position: Cut Marks will be automatically attached to a currently selected PowerLayout
Standalone grid or another selected Dynamic Mark. If no grid or Dynamic Mark is selected, the
Cut Mark is attached to the Trim Box.
Color: Cut Marks are by default in "Darkest" color.
Offset: allows to define the offset for the Cut Marks. A positive offset will move the Cut Marks to the outside.
Symbol: allows to change the symbol used for the Cut Mark. See
on page 96,
Bearer Bars Properties
Adding a Bearer Bars mark will create two bars, one on each side, left and right (default) or top and bottom. The bars will automatically take the size (vertical or horizontal) of the "Attach" selection.
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Position: Bearer Bars will be automatically attached to a currently selected PowerLayout
Standalone grid or another selected Dynamic Mark. If no grid or Dynamic Mark is selected, the
Bearer Bars are attached to the Trim Box.
If the Show on Both Sides option is selected, you will get a Bearer Bar on both sides (top and bottom, or left and right).
By positioning the blue rectangles, you can choose between a vertical or horizontal orientation.
Color: Bearer Bars are by default in Registration color.
Width: The width of the Bearer Bar.
Extend: allows to extend the Bearer Bar on both size. Entering e.g. +5mm will extend the
Bearer Bar by 5 mm on both ends.
Offset defines the distance between the Attach to object and the Bearer Bars.
Gradation Strip Properties
Gradation Strips are created from a symbol named "GradationStrip", and are by default 3 rectangles of 5 x 5mm, horizontally, colored 40%, 80% and 100%, one strip per ink.
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Position: Gradation Strips will be automatically attached to a currently selected PowerLayout
Standalone grid or another selected Dynamic Mark. If no grid or Dynamic Mark is selected, the
Gradation Strip is attached to the Trim Box.
If you change the Positioning setting (the blue rectangle), the gradation strip will rotate automatically based on the position of the blue rectangle.
Width: The width can be set to "One Strip per Ink" or to "Repeat to Fit".
Symbol: allows to change the symbol used for the Gradation Strip Mark. See
You can use any type of art in the symbol, but only paths and compound paths will be colored.
If you will use any text in your Gradation Strip symbol, it will be automatically colored with darkest ink.
If you change the default Gradation Strip symbol, the default position will be based on the size of the symbol. If the width of the symbol is bigger than its height, the Gradation Strip will be created horizontally by default. If the height is bigger, the Gradation Strip will be created vertically by default.
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Flip: when set to "Normal", the gradation is built from left to right, when set to "Reverted", the gradation strip is built from right to left.
Grid Mark Properties
Grid Marks are created from a symbol named "GridMark", and are by default a rectangle of 5 x
5mm, in Registration color.
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Position: Grid Marks will be automatically attached to a currently selected PowerLayout
Standalone grid. If no grid is selected, you will get an error message.
Mark Positions & Copies:
Using the Where buttons, you can define where you want the Grid Marks:
• on the left side of the Repeat
• on the right side of the Repeat
• on top of the Repeat
• below the Repeat
• in between the columns
• in between the rows.
Note: The "in between" options can not be used in combination with stagger. If you enable stagger while grid marks are set to "in between", or if you load a mark set containing such a mark, the grid marks will be placed at the side, and a warning will be given.
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For the Mark Position, you can (besides the normal Position settings) set the Reference. The
Reference defines what cell or column to use as a reference:. You can set the Reference to
Outer Left Cell or Outer Right Cell, or to Outer Left Column or Outer Right Column.
If the Grid Marks are placed on the top or bottom of the repeat, the options become top/ bottom instead of left/right, and Row instead of Column.
If a Column is used, a single Grid Mark is placed, using the column as reference.
In case you use a Cell as Reference, you can choose to Repeat the grid mark every Row (or
Column), every 2 rows, ect...
The examples underneath shows a 5 by 5 repeat with staggering. The Position is always centered at the left side.
Outer Left Column:
Outer Right Column:
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Outer Left Cell, no repeat:
Outer Right Cell, no repeat:
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Outer Left Cell, repeat every 1 rows:
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Outer Left Cell, repeat every 2 rows:
Symbol: allows to change the symbol used for the Gradation Strip Mark. See
Corner Mark Properties
Corner Marks are created from a symbol named "CornerMark".
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Bounding Box Corners or Repetition Corners:
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Using the buttons, you can define if you want corner marks on the bounding box of the selected Attach To area, or on the corners of every one-up. This option is only available if you attached the corner mark to a Repeat Grid.
Set Symbol: allows to change the symbol used for the Gradation Strip Mark. See
Offset allows to define the offset between the corner and the corner mark. If the lock is enabled, vertical and horizontal offset are kept the same. If the lock is disabled, you can enter different values for vertical and horizontal offset.
If an offset of 0mm is used (in the image underneath on the left), the bounding box of the corner mark is placed on the outside of the selected page box. The page box is shown in red, the corner mark in black and the bounding box in blue.
In the image on the right, the default offset of -8mm is used. You can see the Corner Mark being moved 8 mm to the inside, based on the original position. Since the default symbol is
10 mm by 10mm, this default setting places the corner mark at 2 mm to the outside of the selected page box.
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Color Patch Properties
Color Patch marks are created from a symbol named "ColorPatch".
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Set Symbol: allows to change the symbol used for the Color Patch Mark. See
A Color Patch mark is dynamically colored in one ink. The Index defines the ink to use, based on the ink position in the Ink Manager.
You can however define a different color for the text and for the stroke.
The number of text fields depends on the number of text fields in the symbol. When using the default symbol, a Color Patch contains 3 text fields, set to the short ink name, the ruling and angle, and the index.
Note: When you create a symbol for Color Patch using exact the same variable names (case sensitive), Dynamic Marks will automatically use these variables. This way, you can quickly create a Color Patch symbol with working variable text fields.
Text Mark properties
A Text Mark is a Custom Mark created from a text object. Text Marks can consist of static and dynamic text.
1. Create a text object, using the font and text settings you want to use, and add it as a Custom
Mark.
For more info on adding obejcts as Mark, see
on page 71
2. Open the Dynamic Mark Properties palette, by choosing Window > Esko > Dynamic Marks
>
Dynamic Mark Properties
The existing text is static, which means it won't change when you use the Mark into another document, or if the document changes.
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You can make all or part of the text dynamic, to have it change with every document you use your mark into.
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Note: If you want to have some static text, just leave that part of the text as it is (or type in new text) in the Text area.
3. To get dynamic text, you need to insert dynamic fields.
Place your cursor where you want the field to be, or select the text to replace with a field, and click the Insert / Modify ... button.
4. In the Insert Field dialog that opens, choose the fields to insert: a) Select Local Variables to select variables from the local file, or Server Variables to use
SmartNames from the Automation Engine server. In that case, all Database queries defined on the server will be available, as well as all job and product parameters.
b) choose a field Category, for example Barcodes, Date & Time...
c) in that Category, choose the Field you want to use (see
84 for a list of available categories and fields), d) if applicable, choose the Format to use for your chosen Field (see
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Note: The Preview line shows how the field will be resolved in the current document.
e) when you are satisfied with how your field will look like, click OK.
The dynamic parts of a text object will appear between square brackets.
White Underprint allows to add White Underprint to your Mark. See
on page
95
Categories and Types
Local Variables
Barcodes
Date & Time
• Number of Barcodes
• Barcode Type
• Barcode Code
• Bar Width Reduction
• Barcode Magnification
• Barcode Device Compensation
• Barcode Narrow Bar
• Date
• Time
• Date and Time
Document
File Info (XMP)
Inks
Links
System
Server Variables
File Info
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• File Name
• Fonts
• Layer Names
• CMYK Profile
• RGB Profile
• Color Mode
• Trim Box
• Crop Box
• Bleed Box
• Media Box
• Art Box
• Description
• Author
• Document Title
• Author Title
• Number of Inks
• Number of Technical Inks
• Ink Names
• Technical Ink Names
• Short Ink Names
• Abbreviated Ink Names
• Ink Types
• Ink Dotshapes
• Ink Angles
• Ink Rulings
• Printing Method
• Placed Files
• XML Content Files
• Structural Design File
• Illustrator Version
• Creative Suite Version
• OS Type
• OS Version
• Short User Name
• Full User Name
• Extension of File
• File
• File Type
• First Folder of File
• Folder of File
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Job Info
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• Folder of Input
• Job Name
• Order ID
• Sub Order ID
• Description
• Due Date
• Project ID
• Last Actor
• Job URL
• Category
• Category2
• Category3
• Category4
• Category5
• Category6
• Category7
• Customer Ref
• CSR
• CSR Email
• Customer ID
• Customer Name
• Customer Description
• Due Day
• Due Time
• Job Container Name
• Job Container URL
• Job CT URL
• Job ID
• Name of Folder of Job
• JI Legacy Job (JDF)
• JI Originator (JDF)
• PS Printer Name
• PS Printer Name (JDF)
• Job Parameters
• Number of Barcodes
• Barcode Type
• Barcode Code
• Bar Width Reduction
• Barcode Magnification
• Barcode Device Compensation
• Barcode Narrow Bar
• Number of Inks
• Number of Technical Inks
• Ink Names
• Technical Ink Names
• Short Ink Names
• Ink Types
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Global
Misc
Path Info
Product Info
Job Barcodes
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• Ink Dotshapes
• Ink Angles
• Ink Rulings
• Ink Printing Methods
<user defined smart names>
• Server
• File URL
• Job Temp URL
• URL Folder of Input
• URL of Input
• Customer's Product Reference
• Product Amount
• Product Custom Field 1
• Product Custom Field 2
• Product Custom Field 3
• Product Customer Description
• Product Customer ID
• Product Customer Name
• Product Description
• Product ID
• Product Name
• Product Part Custom Field 1
• Product Part Custom Field 2
• Product Part Custom Field 3
• Product Part Datazone
• Product Part Name
• Product Part Status
• 2of5
• Bobst
• CLF8
• Codabar
• Code 39
• Code 128
• Code 39 Extended
• Data Matrix ECC 200
• EAN 8
• EAN 13
• GS1 128
• GS1 Databar Omnidirectional
• GS1 Databar Expanded
• GS1 Databar Expanded Stacked
• GS1 Databar Limited
• GS1 Databar Stacked
• GS1 Databar Stacked Omnidirectional
• GS1 Databar Truncated
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• GS1 Datamatrix
• GS1 US Coupon Interim
• HIBC-39
• HIBC-128
• ITF-14
• ITF-16
• Int. 2of5
• Kurandt
• Laetus Pharma
• MS7
• MSI
• Marks and Spencer
• NDC-HRI
• PDF417
• MicroPDF417
• Plessey
• PZN
• PZN8
• Paraf Italy
• QR
• MicroQR
• UPC-A
• UPC-E
• UPC-SCS
Formatting Dynamic Fields
You can format certain fields so they look a certain way (for example, have the date in
European or American format).
You can use predefined formats or create custom formats. You can also choose to use a different format for each field, or the same format for all fields.
Using an Existing Format
• You can choose an existing format to apply to your field in the Format list.
For example, use [name][ext] to display the file name and extension when using the File
Name field.
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Tip: Hover over to get more information about the different formats.
Defining a Custom Format
To define your own field format:
1. Choose Custom in the format list.
2. Define your format in the box below (using the predefined formats and the information
under for help).
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Note:
• The items in square brackets, like
[major], are dynamic, the rest of the text is static.
• Use the Enter key to get a new line.
3. Check how your format resolves for the current file in the Preview line.
4. Click OK when you are satisfied.
Repeating the Format for All Items
If the field you want to use can have several values (e.g. Fonts, Ink Names, Placed Files...), you can put them all in one dynamic object.
You can also set the same format for all those values at once.
After choosing an existing format or defining a custom one:
1. Select Repeat format for all items.
2. Choose the Separator you want to use between the values (Comma, Space...).
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Note: You can also specify your own separator by typing it directly in the Separator list.
3. When you are satisfied with what you see in the Preview, click OK.
Reflow text
If you create a custom mark based on text in a text frame, resizing using standard transform tools will resize the text "as is" instead of reflowing the text inside the resized text box.
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If the
Reflow Text option is enabled, resizing using standard transform tools will resize the text box, and the text will reflow inside the resized text box.
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Barcode Mark properties
A Barcode Mark is a Custom Mark created from a Barcode object. For more information on creating barcodes, please refer to the Dynamic Barcodes documentation.
1. Create a barcode, using the barcode type and settings you want to use, and add it as a
Custom Mark.
For more info on adding obejcts as Mark, see
on page 71
2. Open the Dynamic Mark Properties palette, by choosing Window > Esko > Dynamic Marks
>
Dynamic Mark Properties
The existing Barcode is static, which means it won't change when you use the Mark into another document, or if the document changes.
You can make all or part of the code dynamic, to have it change with every document you use your mark into.
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3. To get a dynamic barcode, you need to insert dynamic fields.
Place your cursor where you want the field to be, or select the text to replace with a field, and click the Insert / Modify ... button.
4. In the Insert Field dialog that opens, choose the fields to insert: a) choose a field Category, for example Barcodes, Date & Time...
b) in that Category, choose the Field you want to use (see
84 for a list of available categories and fields), c) if applicable, choose the Format to use for your chosen Field (see
Note: The Preview line shows how the field will be resolved in the current document.
d) when you are satisfied with how your field will look like, click OK.
The dynamic parts of a barcode will appear between square brackets.
Note: Only the barcode's code can be changed after making. You can not change the barcode type or other settings after creating a Mark from a bar code. To change these settings, you have to delete the Mark and create a new one.
White Underprint allows to add White Underprint to your Mark. See
on page
95
Image Mark properties
An image Mark is a mark created from a linked image
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1. There are two ways to create an Image Mark
• Click the Add Standard Mark button or select Add Standard Mark from the fly-out menu, and choose Image Mark as type.
• Place an image (supported file formats are JPG, PDF, TIFF, EPS and PSD) as a link, and add
it as a Custom Mark. For more info on adding obejcts as Mark, see
on page 71
2. Open the Dynamic Mark Properties palette, by choosing Window > Esko > Dynamic Marks
>
Dynamic Mark Properties
If the Image Mark was created from an existing image, the Dynamic Mark Properties will reflect the properties of this image: its position attached to the top left corner of the trim box, and the path of the linked file.
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3. Set the Scaling
• When set to Numeric, you can enter the scaling in %.
• Scale to Fit will scale the image proportionally to fit the object defined in the "Attach to" field. You can use this for example to fit the image inside a named object. The % field will reflect the current scale factor.
• Downscale to Fit is the same as "Scale to Fit", but the image will only be downscaled (if necessary), not upscaled. The % field will reflect the current scale factor.
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4. Set the Rotation for the image using the buttons
5. Use the File field to set the path for the linked image. If the path is valid, the image will be shown in the document. Otherwise, a placeholder is shown.
If you used a placed image to create the Image Mark, its file path will be entered automatically.
You can enter the path manually, or use the Browse button.
You can use dynamic text in the path, e.g. the Job Folder. Use the Insert/Modify button. For
more information on dynamic text, see
6. Color can be set to Static or Dynamic. For an EPS image, only Static is allowed.
Note: If you switch from Dynamic to Static, the colors from the original file are used. If there is a difference in the number of channels between two real images, the mark will switch back to static.
7. White Underprint allows to add White Underprint to your Mark. See
page 95
Note: Image marks can NOT be modified (rotating, channel mapping, etc) outside of the
Dynamic Marks Properties palette.
White Underprint
White Underprint allows you to create a white background underneath the selected marks.
This white background can be necessary when printing on transparent or metal material.
White Underprint is available for Text Marks, Barcode Marks and Grid Marks
White Underprint Object
White Underprint objects will be created in a top-level "White Underprint" layer, and will be put in overprint.
The White Underprint object will be
• a solid rectangle, using the bounding box of a
Text Mark
• a solid rectangle, using the bounding box of a
Barcode Mark
• a solid rectangle, using the bounding box of a
Grid Mark
The Add Bar option, available for Grid Marks, will stretch the White Underprint over the full size of the Media Box (or Trim Box if no Media Box is defined).
• For vertical grid marks, the White Underprint object will be a vertical bar, using the width of the grid mark, and the height of the Media Box
• For horizontal grid marks, the White Underprint object will be a horizontal bar, using the height of the grid mark, and the width of the Media Box
If the Mark is modified, deleted or expanded, the White Underprint will also be modified, deleted or expanded.
White Underprint Ink
The Ink used for White Underprint on Dynamic Marks can be defined by clicking the
Ink
Settings button, and entering the name of the Ink to be used for White Underprint.
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In case the defined ink doesn't exist yet, a new spot color will be added to the swatches, using the Ink name and the Color patch.
When the name of an existing swatch is entered, this ink will be used for White Underprint.
Note: White Underprint can only use Spot Colors. If an existing swatch name is entered, and the swatch is not a spot color, a warning will be generated: "A swatch by this name already exists but is not defined as a Spot Color".
If you change the White Underprint ink, all White Underprint objects on Dynamic Marks in the open document will be changed as well.
The White Underprint ink definition is saved in the Mark Set. If you load a Mark Set containing a different White Underprint ink definition as in the open document, you can choose if you want to keep your White Underprint ink, or if you want to load the White Underprint ink definition from the Mark Set.
4.3.4 Changing the Symbol of a Standard Mark
You can change the Symbol used for a Standard Mark in the Dynamic Mark Properties, by clicking the Set Symbol button, and selecting the desired Symbol from the list.
To change or add Symbols,
1. In the Dynamic Marks palette, select Open Symbol Library from the fly-out menu
The file DynamicMarks_CS6.ai (CS6) or DynamicMarks_AI18.ai (CC2014 and
CC2015)will be opened
2. Open the Illustrator Symbol Library by choosing Window > Symbols and use the Illustrator tools to add, edit, remove, duplicate, ... the symbols defined in the file.
3. Save and close the DynamicMarks file
The new and modified symbols will now be available when clicking Set Symbol in the Dynamic
Mark Properties.
4.4 Mark Sets
When no mark set is loaded, you get the option to load a mark set, or to create a new set.
From the Fly-out menu of the Dynamic Marks palette, you can
• Load a Mark Set
• Save the current Mark Set
• Delete the current Mark Set
• Manage Mark Sets
4.4.1 Load Mark Set
To load a Mark Set:
1. In the Fly-out menu of the Dynamic Marks palette, select Load Mark Set
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The Load dialog will show the Esko Default Mark Sets, and Mark Sets saved at the location
defined in the Dynamic Mark Preferences. See
Note: Since Mark Sets are regular .ai documents, the list will show all Adobe Illustrator files at the defined location. When loading an Illustrator file that doesn't contain a Mark Set, nothing will happen.
2. Select a Mark Set from the list, and click Load.
Note: If the Mark Set contains a mark with the same name as a mark already in the
Dynamic Marks palette, an error message will be given, and the Mark Set will not be loaded.
The marks from the loaded Mark Set are added in the Dynamic Marks palette. If you want to replace the current marks with the ones from the loaded Mark Set, you need to select all marks and delete them first.
If you load marks with dependencies, the mark will be attached to the object (e.g. PowerLayout
Grid or Named Art) with the same name as in the Mark Set file. If no such object exists, you will get an error message and the mark will be attached to the Trim Box.
4.4.2 Save Mark Set
To save a Mark Set:
1. In the Fly-out menu of the Dynamic Marks palette, select Save Mark Set
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The Save dialog will show the Mark Sets already saved at the location defined in the
Dynamic Mark Preferences. See
on page 100
2. Enter a name for the Mark Set and click Save. If a Mark Set with this name already exists, you will get the option to overwrite it.
Note:
You can only save a Mark set if the Illustrator file is saved. If not, you will be prompted to do so before saving the Mark Set
Mark Sets are saved as simple .ai documents, containing only the objects needed for the Mark
Set.
Note: All Marks in a set need to have a unique name. If not, an error message is shown, and the Mark Set is not saved.
4.4.3 Delete Mark Set
To delete a Mark Set, select Delete Mark Set in the Fly-out menu of the Dynamic Marks palette.
The Mark Set, including all Dynamic Marks will be removed from the file.
Note: This does not remove a saved (and loaded) Mark Set from disk. To do so, select Manage
Mark Sets from the Fly-out menu. See
4.4.4 Manage Mark Sets
To manage your Mark Sets:
1. In the Fly-out menu of the Dynamic Marks palette, select Manage Mark Sets
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The Manage Dynamic Mark Set dialog will show the Mark Sets saved at the location defined
in the Dynamic Mark Preferences. See
on page 100
Note: Since Mark Sets are regular .ai documents, the list will show all Adobe Illustrator files at the defined location.
2. Select a Mark Set from the list, and
• Click Rename, enter a new name for the Mark Set, and click Rename to change the name of the Mark Set
• Click Delete to remove the Mark Set from the list. The actual Illustrator file will be deleted. This can not be undone.
4.4.5 Export Mark Sets
To use a Mark set in the Dynamic taskson an Automation Engine server, you can export your
Dynamic Marks set as a Dynamic Marks Set (.dmk).
To export your Mark Sets:
1. In the Fly-out menu of the Dynamic Marks palette, select Export Mark Set
2. Select a file name and location for the Dynamic Marks Template.
3. Move the file to your DFE server at this location: server
\bg_data_marks_v010\DynamicMarks
Limitations:
• The server does not support different fill and stroke setting
• It is not possible to choose technical inks only or printing inks only.
• Color Patch marks are not yet supporte. As a workaround, you could manually create a custom mark that looks like the Color Patch.
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Note: It is not possible to import a Mark Set back into Illustrator. It is highly recommended to keep the native Adobe Illustrator files for future modifications in the Marks.
4.4.6 Dynamic Marks Preferences
You can open the Dynamic Marks Preferences by choosing Illustrator > Preferences > Esko
> Dynamic Marks Preferences on Mac, or Edit > Preferences > Esko > Dynamic Marks
Preferences on Windows.
In the Dynamic Marks Preferences, you can set the location to save and load Mark Sets.
• Default Folder: Mark Sets will be saved to and loaded from the default Esko location.
• on Mac OS X: /Users/Shared/EskoArtwork/DynamicMarks/
• on Windows Vista and 7: x:\Users\Public\Documents\EskoArtwork
\DynamicMarks\
• on Windows XP: x:\Documents and Settings\All Users\Application Data
\EskoArtwork\DynamicMarks\
• Custom Folder: Mark Sets will be saved to and loaded from a custom folder which you can select by clicking the Browse button.
4.4.7 Esko Mark Sets
When installing Dynamic Marks, a number of default Mark Sets are installed as well. These sets can not be changed, but you can load one of these sets, change it and save it under a different name.
Here is an overview of these Mark Sets:
1 x KAMA
A Custom Mark, using these settings:
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• The mark is a circle of 3.2 mm diameter, and a vertical and horizontal line of 6.5 mm. All lines are 0.15 mm thick.
• Attached to the Trim Box
• The center of the mark is vertically centered, and 12 mm to the right of the left border of the trim box.
• Using Darkest color
1 x Label Row
A Grid Mark, using these settings:
• attached to PowerLayout Grid 1
• on the right side, with a reference to the outer left cell
• using a 3mm offset in horizontal direction, 0mm in vertical direction
• repeat Every 1-up.
• symbol 10 x 5 mm in Registration color
1 x Sheet
A Custom Mark, using these settings:
• The mark is a rectangle of 10 by 5 mm.
• Attached to the Media Box
• A 3 mm horizontal offset to the upper right part of the Media Box
• using Registration color
2x Label Row
Two Grid Marks, using these settings:
• attached to PowerLayout Grid 1
• Right mark is on the right side, Left mark is on the left side, both with a reference to the outer left cell
• Right mark is aligned to the right bottom corner, Left mark to the upper left corner
• using a 3mm offset in horizontal direction, 0mm in vertical direction
• repeat Every 1-up.
• symbol 5 x 5 mm in Registration color
Mark Set 1 (Esko)
A set for maximum 6 inks in the document, units: mm
• 1 Registration Mark placed on every side
• a Text Mark with the name of the document
• a Text Mark with the date
• a Gradation Strip on the left, with 1 rectangle per ink, colored in 100%
• a Gradation Strip on the right, with a 40%, 80% and 100% rectangle for every ink.
• 6 Text Marks, one per ink, with the name of the ink, and colored in 100% of the ink.
Mark Set 2 (Esko)
A set for maximum 6 inks in the document, units: mm same as Mark Set 1, but with different type of Registration Mark
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Mark Set 3 (Esko)
A set for maximum 4 inks in the document, units: mm
• 12 Gallus elements on left and right side of the document
Mark Set 4 (Esko)
A set for maximum 6 inks in the document, units: mm
• Bearer Bars in vertical orientation and attached to the Trim Box
• 6 Text Marks, one per ink, with the name of the ink, placed inside the Bearer Bar, and colored with 0,2% tint to knock out the Bearer Bar in the same separation
Mark Set 5 (Esko)
A set for maximum 12 inks in the document, units: mm
• Bearer Bars in vertical orientation and attached to the Trim Box
• a Gradation Strip on the left, with one circle per ink, colored in 100%.
• a Gradation Strip on the right, with one circle per ink, colored in 50%.
• Registration Marks placed on the left and right side.
• 12 Gallus elements on left and right side of the document
• a Text Mark with the name of the document, colored in registration
• a Custom Mark setting a background for the above mentioned Text Mark
• 12 Text Marks, one per ink, with the name of the ink, and colored in 100% of the ink.
• a Custom Mark setting a background for the above mentioned Text Marks
• 12 Text Marks, one per ink, with the current Angle of the ink, and colored in 100% of the ink.
• 12 Text Marks, one per ink, with the current Ruling of the ink, and colored in 100% of the ink.
• a Text Mark with the date and time
• a Text Mark with the name of the author, based on the XMP info
4.5 Dynamic Marks Layer
When adding a Dynamic Mark for the first time to a document, a layer named "Dynamic
Marks" will be created. Standard Marks are created in the Dynamic Marks layer, Custom Marks are moved to the Dynamic Marks layer. If you rename the Dynamic Marks Layer, all Dynamic
Marks created later will still be created in or moved to this layer already containing dynamic marks.
Loading a Mark Set
If you load a Mark Set, the Dynamic Marks in the set will be placed in the same layer as saved in the set. This means you can have two different layers containing Dynamic Marks at that point. Newly created marks will then be placed in one of those layers.
Locking or hiding the Dynamic Marks Layer
If the Dynamic Marks layer is locked, you will not be able to add any mark. A message will be shown in the message palette. However, all indirect operations are possible, for example changes in the Ink Manager will change the gradation strip, even if the Dynamic Marks Layer is locked.
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If the Dynamic Marks layer is invisible, marks will be created / moved in the Dynamic Marks layer, and will immediately turn invisible.
4.6 Dynamic Panels in Dynamic Marks
When opening a document containing a Dynamic Panel, you will see those Dynamic Panels in the Dynamic Marks palette.
By selecting a Dynamic Info Panel and choosing Convert Panels to Dynamic Marks from the fly-out menu, you can convert the selected Dynamic Panel into one or more Dynamic Marks.
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• Every text item in the Dynamic Panel is converted to a separate Dynamic Text Mark, using the same variables.
• If possible, other panel items with the same color attribute will be grouped and combined in one single mark.
• The inks used in the Dynamic Panel are replaced by the corresponding Dynamic Marks color:
• A Dynamic Panel ink will become Dynamic color with mode "Only Printing Inks"
• A Dynamic Panel Technical ink becomes Dynamic color with mode "Only Technical Inks"
• Darkest ink becomes Darkest color
• An object using Registration swatch becomes Registration color
• Other inks (not Dynamic) become a static color.
• The position of converted panels will always be defined relative to the top left corner of the trim box
• Panel items that can't be converted into a Dynamic Mark (e.g. a linked image) will remain as a panel item, while other items are converted. A message will be shown.
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4.7 Tips and tricks
I open a new document, create an object to be used as a mark, and as soon as I use "Add
Selected Art as Mark", the color of the object changes or disappears. Why ?
If you have a document with e.g. only one rectangle, colored with 100% cyan in your document, the Ink Manager will only contain one ink (Cyan).
When you create a custom mark, the default color attribute is "Dynamic". At this moment, the color definition of the mark becomes "100% of the first ink in the ink manager". Because
Ink Manager doesn't read inks from marks with color attribute "Registration", "Darkest" or
"Dynamic", and because there are no other objects in the document, the inks list in the Ink
Manager will be empty, and so will the custom mark be.
As soon as another ink is used in the document, this ink will be the first ink in Ink Manager, and will be used by the Custom Mark.
In the same way, if the original document would contain e.g. one object in cyan and one in magenta (and nothing else), creating a Custom Mark from the cyan object would make magenta the first ink in the ink manager, so the mark would change from cyan to magenta.
Can I start from an existing standard mark to create my own mark symbols ?
Yes, you can, as long as you remember to expand the mark / symbol first (i.e. making it a regular object instead of a symbol).
What if I delete a symbol in the DynamicMarks(_CS6).ai file ?
If you delete a symbol in the DynamicMarks.ai file, the symbol will obviously no longer be available in the Set Symbol list. If you delete the default symbol for a Standard Mark, creating the corresponding Standard Mark will result in an error message. To fix this, you have to create these symbols again manually.
Existing marks will NOT be affected, since the symbol is internally copied in the file when creating the mark, or when setting a different symbol. This also means that you can open a file with marks using custom symbols (saved in your local DynamicMarks.ai file) on another computer without loosing the marks.
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5. PDF Import
5.1 The PDF Import plug-in
The PDF Import plug-in allows opening Esko Normalized PDF files in Adobe Illustrator. Almost every PDF object or construction that can be present in an Esko Normalized PDF is supported, and no non-native art (also known as foreign art) is created.
In addition to the artwork content, various high-level information or metadata is preserved.
It also improves speed and memory allocation of Adobe Illustrator when a single raster file is linked multiple times into the Illustrator document,even when PDF Import is not directly used to import the document.
Errors and warnings generated during the import are logged to the Messages palette.
Known limitations:
Gradients of type Conical, Rectangle and Parallellogramic created by PackEdge cannot be imported in Adobe Illustrator, because Adobe Illustrator doesn't support those types of gradients
5.2 Opening a PDF file
The behavior of the PDF Import plug-in and Illustrator depends on the type of file being opened:
• .inpdf : When the file being opened has the suffix .inpdf, it is automatically opened by
PDF Import.
• .pdf with Illustrator data: When the file being opened is an Adobe PDF with preserved
Illustrator editability, it is opened as Illustrator document.
• Regular .pdf : For all other PDF files, the following dialog is shown. PDF Import is used when the first option (Esko PDF) is chosen. Adobe Illustrator shows this dialog automatically when multiple file import filters support the file being opened.
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When the PDF file has multiple pages, a dialog will pop up, allowing you to specify the page you want to import
If you enter a page number that is not in the PDF file, the nearest possible page number will be taken.
5.3 High-level information preserved by PDF Import
5.3.1 Layers
All Layer names are preserved, as well as the locked status and the printability flag.
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Note:
The Normalized PDF format does not support the hidden/visible flag, therefore all layers (and artwork) present in the PDF file are imported as visible.
5.3.2 Named objects
For named objects, the names of the artwork are preserved.
5.3.3 Inks
Esko screenings, ink types, ink books, ink order and Printing Method as shown in the Ink
Manager are preserved.
5.3.4 Object based screening
Object based Esko screening is preserved and shown in the InkManager. The Screening plug-in is not needed for this functionality.
5.3.5 Structural Design (CAD) data
The original structural design file is reimported using the Structural Design plug-in that is part of Esko Data Exchange .
The original placement origin, rotation angle, front/back side, and printable part selection are preserved. When the structural design file cannot be found, the user is asked to browse for it.
When it still can’t be found or importing fails, the original Structural Design layer is imported in expanded state and the link to the external file is lost.
5.3.6 Page boxes
All page boxes (Media Box, Trim Box, Crop Box, Art Box and Bleed Box) are imported and shown by the Trim Box and Media Box plug-in.
5.3.7 Text and fonts
When importing text, only the PDF content is imported. High-level editor-specific features such as styles are not in the PDF, and thus not preserved.
Text paragraphs are not preserved, and in general text lines are not preserved as well, depending on the formatting. It may happen that text is split into several text objects, where each object has a constant font style. In very rare circumstances, when it is not possible to determine the encoding, the text is contourized.
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Any font available to Illustrator can be used without any limitations. When a font not available to Illustrator is used, a substitution is used. However, the original font name is preserved in the
Illustrator document. Illustrator gives the following warning in such cases:
When such a document is saved and reopened on a system with the font installed, it will be correctly rendered without any warning.
5.3.8 Linework with mixed (DeviceN) colors
Adobe Illustrator does not support mixing multiple inks (combinations of multiple spot inks or process inks and a spot ink) in a single fill or stroke. Instead, they are simulated by multiple fills resp. strokes visible in the Appearance palette.
When PDF Import encounters a path object with a DeviceN fill or stroke, it is imported as multiple appearances with additional fills resp. strokes put into overprint. Such appearances are supported by boostX Ink Mix which can work with them further. However, the Ink Mix plugin is not needed for this functionality of PDF Import.
5.3.9 Linked images
PDF Import supports links to external images. The links are preserved.
Some file formats for external images are supported in a (Normalized) PDF, but are not supported by Adobe Illustrator. For example multichannel PSD files can be placed in PackEdge or ArtPro, but it is not possible to open such Normalized PDF using this plugin because Adobe
Illustrator does not support this variant of PSD. A workaround is to embed the PSD in PackEdge or ArtPro first. The following error is shown by Adobe Illustrator in such cases:
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The Image Extractor plug-in is used for linked Esko CT/LP files. This is a free (non-licensed) functionality of Image Extractor.
Linked files with remapped inks are imported as Channel Mapped images. The visual representation will be correct, however a valid license for the Channel Mapping plug-in is needed to edit the channel mapping.
Adobe Illustrator has performance problems when a single document contains many linked rasters, or few linked files are referenced many times. It may sometimes cause that only Outline preview can be used. The PDF Import plug-in improves the handling of such documents.
Note:
This optimization works also for non-Normalized PDF files, including native Adobe Illustrator documents, but only as long as the PDF Import is installed.
Missing images
It sometimes happens that the referenced file is not found. Then the following dialog pops up:
There are 3 options:
• Leave Unresolved : Only a single-pixel placeholder is embedded.
The link to the original file is lost. The Links palette can be used to relink to the original file when it becomes available (or to any other file).
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• Use Embedded : The image preview embedded in the PDF is used. Normalized PDF often contains a preview with a low resolution (up to 72 dpi). However, often there is just a singlepixel placeholder.
The link to the original file is lost. The Links palette can be used to relink to the original file when it becomes available (or to any other file).
• Relink : the standard file dialog opens, asking the user to find the missing linked file. When this option is selected, the Use path for the rest of missing images option becomes enabled.
5.3.10 Dynamic Barcodes
Barcodes in Normalized PDF, created by PackEdge or an Automation Engine server task, are preserved and recognised as barcode objects. If the Dynamic Barcode plug-in is installed and licensed, it allows user to modify parameters of the barcodes supported by the Dynamic
Barcode plugin.
As from version 16, also live Bar Codes created by ArtPro+, saved in PDF+ format, will be imported.
5.3.11 Notes
Notes written by PackEdge, Plato or using the Notes plug-in in Adobe Illustrator, will be imported.
For more information on working with notes, see
on page 110
5.3.12 Inspection Points
Inspection Points and Inspection Boxes written by PackEdge, Plato or the Inspection Setup
Plug-in in Adobe Illustrator, will be imported.
For more information we refer to the Inspection Setup Plug-in documentation, which is part of the Esko Data Exchange documentation. See
https://www.esko.com/en/Support/Product?
id=Esko%20Data%20Exchange%20for%20Adobe%20Illustrator
5.4 Working with Notes
Using the Notes tool, you can add and edit notes in your document.
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Importing and saving notes
Notes are saved in the Normalized PDF file as regular PDF Comments, and will show up as
"Sticky notes" in Adobe Acrobat. Sticky notes created in Acrobat will also show up in Adobe
Illustrator, while other types of comments (text corrections, highlights, ...), and note properties or statusses are disregarded when opening a PDF file in Adobe Illustrator.
When importing a Normalized PDF containing notes created in ArtPro, PackEdge, Plato or
DeskPack, these notes will also show up in Adobe Illustrator.
Notes in Adobe Illustrator
When selecting the Notes tool from the toolbox, all Notes become visible in the document.
A note consists of two parts: the Note itself, the yellow balloon indicating the location of the note, and the Note Pop-up, containing text, the name of the user that created it, and the time of creation.
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When hovering over a note, the Note Pop-up is temporarily shown. When clicking the note, the
Note Pop-up is opened, and you can edit its content. It will stay open until you close it using the
X button.
Adding and editing notes
• To create a note, select the Note tool and click in your document.
• To move a note, click and drag the note.
• Select another tool to hide all notes and note pop-ups. Selecting the Note tool will make all notes visible again. The note pop-ups that were open before will be reopened.
• To delete a note, hover over the note, and click the red cross.
• To hide a note pop-up, click the X in the top right corner. This doesn't affect the note itself, it only hides the pop-up
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6. PowerLayout Standalone
6.1 Introduction
PowerLayout Standalone for Adobe Illustrator is a complete label step & repeat solution.
It allows you to create a step and repeat of selected artwork or an external file into a
"Repetition". Combining a Repetition with marks, you can create a plate design in any flavor of the available output formats. By combining multiple Repetitions, you can create a Step and
Repeat of multiple labels or jobs.
6.1.1 Creating a first repetition
To create a first repetition:
1. Choose Window > Esko > PowerLayout Standalone to open the PowerLayout Standalone palette.
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2. Set up the one-up: a) If you choose Select Document, a file browser will allow to select an Adobe Illustrator file or a Normalized PDF file. The file will be opened and will be used as one-up for the
Repetition.
b) If you choose Selected Art, the currently selected objects will be used as one-up for the
Repetition.
c) Define the initial orientation and the bleed for the one-ups.
on page 116
3. Set up the Repeat by entering the number of repeats vertical and horizontal, the gap or the
step distance, and the head turn. See
4. Define the position of the Repetition, by selecting the Attach to object, positioning the
Repetition based on the Attach to object, and entering the offset. See
on page 121
Note: If the open document doesn't contain a trim box, the plug-in will automatically create a trim box on the document's art board.
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on page 122
As soon as you select a one-up, whether it is an external document or selected art, a Repetition is generated, based on the actual settings.
By deselecting the first Repetition, you can create another Repetition in the same document, to create a Step and Repeat plate containing different labels.
If a Repetition is selected, the PowerLayout Standalone palette will show the settings for this
Repetition. Changing any of the settings will immediately change the Repetition accordingly.
A Repetition is created in the PowerLayout layer. If the layer doesn't exist yet, it will be created.
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6.2 The PowerLayout Standalone palette
To open the PowerLayout Standalone palette, choose Window > Esko > PowerLayout
Standalone .
The PowerLayout Standalone palette will show the settings of the currently selected Repetition.
To create a new Repetition, make sure no Repetition is selected.
You can use Reset Parameters from the fly-out menu to reset all parameters to their default values.
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6.2.1 The one-up
For one-up, you can
• choose Selected Art. The currently selected objects will be used as one-up for the
Repetition, in the same document.
• choose Select Document, a file browser will allow to select an external file. If you have connection to an Automation Engine set up using the Server Connection Assistant, you can open an external one-up directly from a Job folder. You can select any Adobe Illustrator file or a Normalized PDF file. The file will be opened and will be linked as one-up for the
Repetition. See
on page 117
Underneath, the Dimension of the currently selected one-up is shown. For selected art, this is the size of the bounding box of the selection. For external files, this is the size of the trim box. If the file doesn't contain a trim box, the size of the complete artwork is shown. The dimensions are used for positioning the Repetition elements.
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The Initial Orientation of the one-up can be set using the buttons .
The orientation of the one-up within the Repetition can be changed further by the
Head Turn
settings.
In case you're working with an external file as one-up, you can step labels based on the
Die
Shape instead of the Trim box, so that you can nest them closer together. You define the die shape by selecting the Die Separation from the drop-down containing all separations in the one-up. The die shape defined in the die separation will be used for repeating the label, and for bleed clipping. If the selected die separation doesn't contain a useable die shape, you will get an error message.
The Clip Bleed at allows to create a clipping mask around the one-up, to clip bleed to the desired distance.
Read more about bleed in
Working with external files
When creating a Step and Repeat using an external file, PowerLayout Standalone keeps the link to the external file.
Open 1-up
If a PowerLayout grid of an external file is selected, you can choose Open 1-Up from the fly-out menu. This will open the external file in Adobe Illustrator.
Update the Repetition if the one-up is modified
If the plug-in detects the change of the external one-up, you will get a message.
If you click OK, the Repetition will be updated, using the modified one-up file.
If you click Cancel, the PowerLayout Standalone palette will show a yellow exclamation mark next to the one-up name, indicating your Repetition is not up to date.
Note: Even if the Repetition is not up to date, you can still use (and output) your file, using the previous version of the one-up.
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You can update the Repetition later by choosing Update All External one-ups from the fly-out menu of the PowerLayout Standalone palette, if the Repetition is selected.
Note: PowerLayout Standalone periodically checks if the one-up has been changed. If you changed the one-up and don't want to wait for the plug-in to give you a message, you can immediately use
Update All External one-ups
Re-linking, e.g. for missing one-ups
If the external file is missing, the PowerLayout Standalone palette will show a red exclamation mark next to the one-up name.
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In that case, or if you want to use a different one-up file, you can relink to another external file.
To do so, choose Select Document from the one-up dropdown menu, and browse to the (new) external file. The plug-in will keep the current settings, and change the Repetition using the new one-up.
Note: When updating or re-linking the one-ups, the Repetition is modified, even if the
PowerLayout layer is locked.
Linked images in external one-ups
If an external one-up contains linked (and not embedded) images, these images will be linked in the Repetition as well. You will need those external images e.g. to generate PDF from the file containing the Repetition.
Using linked images in a one-up has the advantage that image optimizing is used in PDF
Export. This means that the linked image is only placed once in the PDF, and not placed once for every occurrence in the Repetition.
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Ink order & screening
The ink order of the external one-up will be kept when creating a grid. Also the object based screening (i.e. exceptional ink settings) will be kept. The screening info in images will be lost.
6.2.2 The Repeat
The Repeat section of the PowerLayout Standalone palette allows to set up the repetition parameters of the one-up for the selected Repetition
•
You can define the number of horizontal and vertical repeats
• By clicking one of the distance buttons, you can switch between defining the gap distance horizontal or vertical , and defining the step distance horizontal or vertical
.
• Setting the gap means defining the distance between the right (or bottom) side of the previous step, and the left (or top) side of the next step. The step distance will be the
(vertical or horizontal) size of the one-up, plus the size of the (vertical or horizontal) gap.
• Setting the step means defining the distance between the left (or top) side of the previous step, and the left (or top) side of the next step. When setting the step distance, the size of the one-up is not taken into account.
•
Define the Head Turn
• No Head Turn
. You can choose between
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• Head Turn on column
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• Head Turn on row
• Head Turn on row and column
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•
If you click one of the Fill Trim Box buttons , with the
Automatic Spacing
option enabled (default), the number of repeats will be adjusted to fit as much one-ups as possible on the trim box of the open document, in vertical direction, horizontal direction or both. The one-ups are distributed and the gap distance is calculated so that the distance between the Repetition and the top and bottom / left and right of the trim box of the document is half the gap distance
•
• If you click one of the Fill Trim Box buttons, with the Automatic Spacing option disabled, the number of repeats will be adjusted to fit as much one-ups as possible on the trim box of the open document, in vertical direction, horizontal direction or both. The repeat will be using the defined Gap Distance, and the repeat is placed at half the Gap Distance of the top left corner of the trim box.
By clicking one of the Adjust box buttons , you can do the opposite: change the size of the trim box (and the media box) to the currently selected repeat, either vertically, horizontally or both.
• Adjust Box can only be used in one single grid is selected. If multiple grids are selected, the buton is disabled.
• Adjust Box changes the size of the Trim Box (and the Media Box). To avoid unexpected results, the button will be disabled if the position of any other object (a Mark, a Grid, ...) is depending on the Trim Box, using the Attach To options. Another page box (e.g. Media
Box or Bleed Box) that is attached to the Trim Box, is not taken into account.
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• After Adjust Box, the repeat grid will be positioned so that there is a gap of half the normal Gap distance between the edge of the repeat (top/bottom for vertical adjust, left/ right for horizontal adjust), and the adjusted Page Box.
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6.2.3 Position the Repetition
The position of a Repetition is based on 3 settings:
Attach to
The position of the Repetition can be based on
• the Art Box
• the Bleed Box
• the Crop Box
• the Media Box
• the Trim Box
• another PowerLayout Repetition, such as "PowerLayout Grid 1"
• a Dynamic Mark
• Named Art
Named Art is any art in your Illustrator document, that you gave a name in the Layers palette: browse to the object you want to name in the Layers palette, double click the default name (eg.
<path>) and enter a name.
When selecting Named Art..., you get a separate dialog, in which you can either type the name of the Named Art you want to use, or select it from the drop-down at the right. Once Named
Art has been used, it remains available in the Attach To drop-down.
Named Art is only possible on objects, not on groups. Named Art can't be hidden or locked.
Positioning
The way the Repetition is attached, can be chosen by clicking and dragging the blue square
(representing the Repetition) to the desired position on the grey square (representing the
Attach To reference). Each square has 9 reference points (top left center and right, middle left center and right, and bottom left center and right), so you have 81 different ways of positioning the Repetition.
In the example underneath, the top center of the (bounding box of the) Repetition will be placed on the left bottom corner of the (bounding box) of the reference defined in the 'Attach to' field.
Offset
In the offset fields, you can move the Repetition based on the defined position. The direction of the offset (up, down, left or right) depends on the positioning, and is shown by the arrows.
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Preserve Initial Position
The Preserve Initial Position option can be found in the flyout menu of the PowerLayout palette, and only applies to repeating selected art, not when repeating external files. If enabled, the position of the original object(s) is kept, and this initial object will be the top left cell in the repeat.
This will automatically change the Attach section: the Positioning is set to top left, and the
Offset is adjusted to match the position of this original object.
Note: Preserve Initial Position is not included when saving a preset. Loading a preset will disable the option again, and so does selecting Reset Parameters to Default from the flyout menu.
6.2.4 Stagger
Staggering allows to shift the 2nd, 3rd, ... row or column down or to the right.
:
Select the Direction in which you want to stagger the one-ups. From left to right, the choices are: No Stagger, Stagger Columns, and Stagger Rows.
Next to the Stagger Distance button , you can define the distance for staggering. By clicking the Stagger Distance button you can switch between entering the distance as a fixed value in the current units, or as a percentage of the one-up size.
The stagger will be repeated for a number of rows or columns as defined in
Restart after n
columns/rows. After that, the next one-up will be at the begin position again.
If Add partial labels is enabled, the gaps created by staggering will be filled with partial labels
(print items) .
Examples:
No stagger:
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Stagger Vertical, 50% distance, using a negative horizontal gap, Repeat After 2 columns:
Stagger Horizontal, fixed distance, using a negative vertical gap, Repeat after 3 rows:
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Same as above, with
Add partial labels enabled:
6.2.5 PowerLayout Standalone Presets
With PowerLayout Standalone Presets, you can save all your settings as a preset to be able to reuse them on other documents.
1. Define your settings in the PowerLayout Standalone dialog.
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2. In the Presets list, choose Save...
3. Give your preset a name and click OK.
You can now see your preset in the Presets list. To reuse it in the future, just select it in the list.
• To delete a preset, select it in the Presets list then select Remove.
• To edit a preset, select it in the Presets list, make your changes in the settings, then save it again with the same name.
• To reset the PowerLayout Standalone parameters to default, choose Default from the
Presets list.
• The location where the Presets are saved, is set in Illustrator > Preferences > Esko >
PowerLayout Standalone Preferences ... .
When choosing Use default preference folder, Presets are saved in the default "shared users" folder:
When choosing Use custom folder, Presets are saved in the folder you define by clicking the Browse button.
6.2.6 Export Template
This option can only be used in combination with a DFE Server.
6.2.7 Importing PowerLayout Client files
You can import an xml coming from PowerLayout by selecting
Import PowerLayout Client
Template from the fly-out menu. This will open a browse window, where you can select the
XML file.
To select more than one file or a whole folder, you can use
PowerLayout Client Import
Assistant...
Importing PowerLayout Client files will create a new AI document, with the same name as the xml file. It will contain a PowerLayout Standalone repetition based on "selected art". You can use the drop down to relink to any external 1-Up, or export as a template and use it on a server later on.
The Repeat will use the following parameters from the XML file:
• Sheet and Plate measurements
• the size of the 1-Up
• the
Repetition
• the
Rotation
• the
Gap
• the
Alternate
• the
Bleed
• what is attached to which object.
The VDP part from a PowerLayout Client XML is not supported. Neither are Task Type, Ticket
Name, Single-Curve DGC, Automatic DGC and Include CAD info for Digital Flexo Suite.
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If SmartMarks are attached to the imported xml, a dialog will pop up, stating the name of the used Mark set. A list of available Dynamic Mark Sets is shown, allowing to select a Dynamic
Mark Set as a replacement for the SmartMarks. If you click Cancel, it will cancel only the operation of attaching Dynamic Mark Set, but the whole import process will continue to the end.
6.3 Working with bleed
When using an external file as one-up, the available "bleed" is the artwork between the
TrimBox and the MediaBox. Information outside the MediaBox is never used.
Note: If a Die Shape is defined, the true shape of the Die is used instead of the TrimBox.
In this example one-up, the yellow is outside the MediaBox (and will not be used in the
Repetition), the blue is between MediaBox and TrimBox (and thus "bleed"), and the green is inside the TrimBox.
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The example underneath shows a Repetition of this file, with a big step distance, and no Clip
Bleed. As you can see, the bleed is limited to the MediaBox (no yellow is shown).
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If you would repeat the same file, using the (TrimBox) size of the one-up as step distance (i.e.
set the gap distance to zero), the bleed of the topmost one-up would overlap the underlying one-ups, as shown in this example.
To avoid this, the Clip bleed at option can be used. When enabled, a clipping mask is applied around the one-up, based on the TrimBox, using a centerline algorithm. A distance can be entered to offset the clipping mask from the TrimBox, either positive (to the outside) or negative (to the inside). If two one-ups (or their bleed) would overlap (i.e. if the size of the
TrimBox + the "Clip Bleed at" distance is larger than the step distance), the clipping mask of both will be restricted to half way the overlap, so the clipping masks don't overlap.
Below the same example Repetition as above (no gap), with Clip Bleed at enabled and set to
0mm.
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If Clip Bleed at is set at a positive value, bleed will become visible on the outside of the
Repetition.
If the step distance is increased (or a gap distance is entered), bleed is added in between the labels, and divided equally over the two adjacent one-ups.
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In some cases, using the Clip Bleed at option will give undesired results. In the example underneath you see a Repetition with Staggering, using a negative horizontal gap. If the
Clip
Bleed at option is enabled, parts of the labels are clipped off.
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If Clip Bleed at is disabled, you get the result shown below:
Note: When selected art is used as one-up, the bounding box of the selected objects is used as base for the clipping mask.
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7. Seamless Repeat
7.1 Introduction
The Seamless Repeat plug-in allows you to create a repetition of a pattern to fill the entire sheet. The pattern is repeated row by row, where each row can be slightly shifted from the previous one and rotated by an angle. The main usage of Seamless Repeat is to generate a seamless document in one or both directions. This implies that by putting the sheets side by side no seams whatsoever will be visible. By indicating the importance of the values, you will be able to select from a number of possible repetitions (see further on).
The Seamless Repeat plug-in uses the Trim Box size when specified.
With the Seamless Repeat plug-in you can repeat this pattern and create a new seamless document in both directions.
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This document contains the following topics:
•
•
•
From a one-up document to a seamless document
•
From a Seamless Repeat document to a Seamless Repeat document
7.2 One-up document
A one-up document defines the pattern that will be used when creating the Seamless Repeat document. The pattern can contain any object. When you want to define only part of the document as a pattern, the corresponding objects have to be selected. When nothing is selected, the complete one-up document will be used as a pattern when generating the
Seamless Repeat document.
The width and height of the pattern can be defined in two ways:
• If a Trim Box is defined, it is used as boundary of the pattern.
• When the Trim Box is not defined, the bounding box of selected objects (or all objects in the document, when nothing is selected) is taken into account.
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7.3 Seamless Repeat document
A Seamless Repeat document is created from a one-up document by repeating and copying the pattern.
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As shown in the picture above, you can set many parameters when generating a Seamless
Repeat document. The size of the created Seamless Repeat document is defined via sheet width and sheet height . The pattern is repeated row by row. Horizontal and vertical gaps between patterns can be defined. Each row can be shifted with a ' stagger '. The resulting design can be rotated by changing the angle . The amount of bleed between the repeating objects and the creation mask around the final result can be defined as well.
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You can also define where the first cell will be placed in relation to the top left corner of the sheet.
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The main aim of Seamless Repeat is to generate a seamless document. This means that the final design can be connected to the same design without losing its continuity (as shown in picture above). The user can indicate the appropriate direction in which the Seamless Repeat document should be continuous (non-seamless, horizontal-seamless, vertical-seamless, horizontal and vertical seamless). The picture above is seamless in both directions.
7.4 From a one-up document to a seamless document
The basic workflow starts by creating a one-up document that defines the pattern. Let’s assume that the one-up document has already been defined.
From the menu select: Window > Esko > Seamless Repeat The “Create Seamless Repetition” dialog will appear, but depending on the case, the options may vary slightly.
•
•
7.4.1 Non-seamless
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The dialog is divided into two parts:
Sheet In this part you can define the width and height of the sheet (= the final Seamless
Repeat document), and the amount of bleed.By clicking the buttons you can indicate whether or not you want the document to be seamless in horizontal and/or vertical direction. Click the appropriate button to switch it on. In the First Cell Position part you can define the position of the first cell in relation to the top-left corner of the Seamless Repeat document. Only then can the shift of the first cell in relation to the top-left corner be defined.
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Repetition For the non-seamless generation the parameters for repetition can be defined as shown in the picture above. The utmost left labels specify the width and height of the pattern.
The user has to set the horizontal & vertical gap between the (centers of) patterns, horizontal or vertical stagger and angle for repetition. After clicking the “Create” button the Seamless
Repeat document will be created.
Clip Cells : this toggle only appears once you have defined trim and media box. If toggled on, this will result in a clip mask being put on the basic cell size. If toggled off, the trim box will still be taken as the basic cell size but the graphics outside the trimbox will not be clipped.
7.4.2 Seamless
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When you want to create a seamless design, one of the buttons (or both) be switched on. After switching this button on, the dialog slightly changes.
must
The “
” part remains the same as in a non-seamless case. “Search for repetitions”
appears.
Search for repetitions Since the final design should be seamless the values specified as
“Goal” will be slightly adjusted to preserve continuity. You can set the expected goal values
(angle, gaps, stagger) and indicate with the importance slider which parameter you consider most important. In the example above, preserving the angle is considered not that important, but the value for the vertical gap should be as close to the indicated value. Click the “Search” button to see the suggested values for generating a seamless document.
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The Seamless Repeat plug-in engine generates the best matches for creating the Seamless
Repeat document.
Repetition This part shows the result parameters for seamless generation:
• the width and height of the pattern
• the horizontal and vertical gap between repeating patterns
• the angle of rows
• the stagger
You have the possibility to overrule the suggested values for horizontal and vertical and stick to the values that were originally asked (Goal).
By checking the
Resize Cell Width or Height box, you can indicate which gap (horizontal or vertical) you want to preserve.
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E.g. When you switch on the 'Resize Cell Width' the horizontal gap will be the same as was asked. But, keep in mind that the width of the pattern has to be changed in order to keep consistency. Resize Cells specifies how to resize the final width/height of the pattern. The
Preview Cell Size toggle shows you in the document itself how the size of pattern will be changed:
After clicking 'Create' the Seamless Repeat document will be created.
7.5 From a Seamless Repeat document to a Seamless
Repeat document
Assume that a Seamless Repeat document has been generated. And suppose that you want to slightly change the generated document using the document as layout.Then there are two ways to change the Seamless Repeat document:
•
Use the same pattern and just slightly modify the parameters for generation.
•
Use another pattern of the same size as used in the Seamless Repeat document and use the
Seamless Repeat document as layout to regenerate the Seamless Repeat document.
7.5.1 Use the same pattern
In this case you can use the same pattern and just slightly modify the parameters.
Select from the menu: Window > Esko > Seamless Repeat… .
One of the following dialogs appears (depending on a seamless/non-seamless case):
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Both dialogs are nearly the same as what was shown in the previous workflow description
From a one-up document to a seamless document
.
Sheet In this case the width and height of the Seamless Repeat document can no longer be changed. Other parameters in this part can be changed.
Update Cell Content See the next chapter
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Search for Repetition This part is identical to what is described in the previous workflow. The initial values are the same as the ones that were asked in the one-up document. The dialog offers the result you chose before.
Repetition This part is identical to what is described in the previous workflow. The only change is that you cannot modify the width and height of the pattern.
After applying the changes the document will be regenerated using the same pattern.
7.5.2 Use another pattern
In this case you can use another pattern of the same size as the one that is used in the
Seamless Repeat document and use the Seamless Repeat document as layout to regenerate the Seamless Repeat document.
You have the possibility to choose another one-up (pattern) for the Seamless Repeat document regeneration.
Check the Update Cell Content box:
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The original one-up document and all Illustrator’s opened documents are offered as a documents defining pattern for re-creation of the Seamless Repeat document.
You can choose the document by which the pattern should be replaced.
If the pattern is of a different size than the original one, the user has to trim it to the same size.
The dialog item: is used to specify how to trim the pattern.
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As before, all the other “Goal” parameters can be changed. After applying this, the pattern in the Seamless Repeat document is replaced and the Seamless Repeat document is regenerated.
Caution:
The Seamless Repeat plug-in remembers the last user-defined values in the “Sheet” and “Search for Repetion” part. When a non-seamless case is used it remembers userdefined values in the “Repetition” part.In case of a new “one-up document to Seamless
Repeat document” workflow, the values that were stored last are used.
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