INDD vs AI Stroke Alignment Inside and Outside





Hi together,


I do 99.9% of my work in InDesign and here is something I can do with InDesign, what I like to repeat with Illustrator:


 


Two open paths with identical path point positions are stacked. One of the paths' stroke has inside alignment, the other one outside alignment like that ( from my German InDesign 2021 ) :


 


![StrokeAlignment-InsideAlignment-InDesign-2021.png](https://community.adobe.com/t5/image/serverpage/image-id/244683i0ED7BD3E74F15DFB/image-size/large?v=v2&px=999 "StrokeAlignment-InsideAlignment-InDesign-2021.png")


![StrokeAlignment-OutsideAlignment-InDesign-2021.png](https://community.adobe.com/t5/image/serverpage/image-id/244684i0AC98B78D9ABC3CB/image-size/large?v=v2&px=999 "StrokeAlignment-OutsideAlignment-InDesign-2021.png")


 


Now my task is do "the same" with Adobe Illustrator. I know, that the option is missing to align a stroke inside or outside if the path is not closed. To copy/paste the path from InDesign to Illustrator is no good idea, the look will be identical, but both paths will change position, the number of path points will increase and both paths are not identical:


 


![PastedFromINDD-to-AI-PathsDoNotRegister.png](https://community.adobe.com/t5/image/serverpage/image-id/244686iD4DC62BBEF662FB6/image-size/large?v=v2&px=999 "PastedFromINDD-to-AI-PathsDoNotRegister.png")


 


The yellow stroke's weight is 9 Pt, the black one's is 6 Pt.


 


I have to draw on that path in Illustrator following some roads in a placed image of a map.


To make that clear: The path is an open path and must stay open.


I'd like to avoid any clipping path or mask, just one path or two identical paths stacked.


 


In InDesign there is a way to do a **nearly identical** design with a single path and a custom stroke style. The ratio of the two stroke weights in my sample above is 40% for the black and 60% for the yellow part, so it can be done in InDesign like that. Not ideal, because I want the path running along the "terminator" of the yellow and the black stroke:


 


![OnePath-CustomStrokeStyle-INDD.PNG](https://community.adobe.com/t5/image/serverpage/image-id/244690i7C43C87239E25614/image-size/large?v=v2&px=999 "OnePath-CustomStrokeStyle-INDD.PNG")


 


**Back to Adobe Illustrator:** I solved this now with a custom pattern brush with **3 rectangles** as basic pattern: The vertical center of all three items is the "terminator" between the yellow and the black stroke. The top rectangle has no stroke and no fill:


 


![BasicPattern-1-AI.PNG](https://community.adobe.com/t5/image/serverpage/image-id/244732iBA3A50D3A1E6ED35/image-size/large?v=v2&px=999 "BasicPattern-1-AI.PNG")


![CustomPatternBrush-50-33.33-16.67-AI.PNG](https://community.adobe.com/t5/image/serverpage/image-id/244734iE08F7CC3C35C4129/image-size/large?v=v2&px=999 "CustomPatternBrush-50-33.33-16.67-AI.PNG")


 


 


Is there something I can do with the **Appearance panel** to achieve the identical look? I tried some of the effects, but found nothing that is really working. Is a custom pattern brush the only way to go?


 


Illustrator 2020 on Windows 10.


 


Thanks,


Uwe Laubender


( ACP )
Hi Uwe, You can make inside/outside strokes on non-closed paths using custom width profiles. Use thhe width tool (Shift+W) to make a stroke like this (hold alt to edit only one side of the stroke at a time): Then save it as a profile (bottom of the stroke panel). After that I think your path should be easy to make.
[![enter image description here](https://i.stack.imgur.com/oyJ4x.png)](https://i.stack.imgur.com/oyJ4x.png)


Edit: earlier I told you there wasn't a feature in Sketch that allowed you to connect two paths. **There is.** I did a little digging and the feature is hidden away under "Layer -> Paths" menu.


Regardless, for more complex editing on your paths, I recommend you use Affinity Designer or Illustrator. 1. Once you have created each shape (I assume that's what you're doing -- if not, that's how you should do this so you can see what you're doing) and scaled to taste, select its **path** using the Path Selection Tool (black arrow version).


![Black arrow, path selection tool](https://i.stack.imgur.com/Sc9VM.png)
2. Copy.


`Ctrl+C` `(Cmnd)âŒ˜+C`
3. Create a new, empty layer and Paste. You now have a duplicate of the path on a new raster layer and can hide the vector (shape) layer.


![Create new layer](https://i.stack.imgur.com/gAEUu.png)
4. From the Paths panel flyout, select either "Fill Path" or "Stroke Path" and clear the "Anti-alias" checkbox.


![Fill Path](https://i.stack.imgur.com/yEbms.png) ![Uncheck Anti-alias](https://i.stack.imgur.com/3PJqG.png) thanks everyone for your suggestions. i went with a modified version of [@weekend](/u/weekend)’s:

[[screenshot from 2020-02-22 06-44-57]](https://media.blenderartists.org/uploads/default/original/4x/a/d/6/ad62e605b45c9294a1a33960e705f2a07772113c.jpeg "screenshot from 2020-02-22 06-44-57")

since the idea was to have the ability to have the arrows appear independently, instead of simple subtraction, i fed the result through nodes equalling 1-4x^2, which is an inv… > 
> But how is this achieved?
> 
> 
> 


The system is not perfect. I personally do not like a lot of dumb decisions they made. But the basic idea is that they have:


* A catalog of consistent **printed** colors.
* A set of base colors and the **formulas** to achive the derivated colors.
* The base colors have some **specific values on colorimetry** that are repeatable by diferent manufacturers of inks.



> 
> I assume there are no "Pantone Inks", right?
> 
> 
> 


Yes and no. **Pantone is the system** to have a consistent color. Then, diferent **ink manufacturers** make a set of base inks based on the specifications.


So a manufacturer "HappyInks Inc." make an ink, for example "Pantone Reflex Blue"


**Printers** then go to the formula guide to find the recipy for the colors on the catalog, and go and buy from "Happy Inks" the basic set of colors.


They combine "Pantone Reflex Blue" with "Pantone Sunrise Yellow" in some specified proportions (from the pantone formula guide) to achive "Green XXXc".


If you are going to need a lot of ink of one specific color, the printer do not mix the base inks themselves, but ask for "Happy Inks" to make them some kilos of the ink (based, again on the pantone specifications).


The quality of diferent brands can be more or less accurate. Besides that some characteristics of inks can differ because some could be oriented to silk print, or textiles etc.



> 
> the printer needs in RGB.
> 
> 
> 


This is a biiiiiig mistake.


RGB is not by any means an acurate color reference. Either your printer is lazy or he is simply using some kind of digital print (but still is ignorant(*).


You need to include a RGB profile. Either sRGB or Adobe 1998 but you need to design using a CMYK profile, which obviously you do not have. So ask for which one is more suitable for that.


If they have no idea or say something like "It does not matter" use one according to your location. SWOP 2, Fogra, Gracol, etc.



> 
> Will the colours vary too much if using a Pantone - RGB convertor?
> 
> 
> 


If the project is on flat inks, the proper step would be that you deliver a project in Pantone and let them do the conversions, so they are responsable to match the color the best way possible.


This is why I say they are Ignorant. (*) They ignore what is the calibration of their own machine. They should profile it and give you some clues on what "generic profile" suits them the most.



> 
> textile print
> 
> 
> 


This does not say much. Are you printing rolls and rolls of fabric? Are you printing a Tshirt on a digital medium, like a logo for a student party? Are you using silk print for the campain for a company?


**An Aditional note**



> 
> will the colours vary too much
> 
> 
> 


Colors vary for a looooooooot of reasons.


My clasic example, grab a water based cyan marker. You have a specific ink one and only one.


Now go an paint everywhere you want. A news paper, a magazine, a window, a white towel, toilet paper, your hand.


See? The exact same ink vary a lot. This is why you must have an output color profile, so this gives the internal conversions and calculations to have the most acurate color possible due this combination of factors, which color on which medium.


This is why the printer should be responsable for the color conversions.


**Aditional Note 2**


There are some conversions from pantone to cmyk and rgb... Ouch.


This are very specific conversions. On some "ideal" situations.


More or less how an ink will be printed following exact specifications, for example a CMYK: type of paper, type of inks, controlled ammount of them (densitometry), etc.


For an RGB one they assume a calibrated monitor, Correct gamma, correct temperature, sRGB profile. But again this rgb simulation is for output for a web page for example, not as a printable file.


Spot color (Pantone), or Color selection (CMYK)



Depending on the type of design you have the choice to print in either of this 2 color modes.


For example, a design with gradients and diferent colors most likely needs to be printed in color selection.


But some other type of design needs to be printed with spot inks, or direct colors, this reduces costs and aditionally allow the colors to be consistent


[![](https://otake.com.mx/Foros/Directa.jpg)](https://otake.com.mx/Foros/Directa.jpg) After 5 hours of learning I have compiled these:


Mindset



1. **Make sure the placed image ratio is good** to make it more realistic. This can be attained by checking with the other object in the output picture, like trees, or other peoples' height. You are not going to place human with the size much smaller than the other human at the same picture. Similarly, you also must not place a person with the height higher than a tree.
2. **Get the right perspective**. Sometimes, when an object is placed in an odd perspective, image is going to look very bold that it has been photoshopped or copy pasted.
3. **Lighting**. It is important to pay attention to light source, like the sun, and make sure our object is appropriate with output background light source. This can be done by adjusting the lighting of object and adding shadow with referencing other shadow in output image.


Tools (to make edges more realistic)



1. **Layer masking.** If moving people, hair can look awful if just plainly moved. Masking allows us to further tweak our selection.
2. **Refine edge.** *This tool allows you to control many aspect of the edge of your selection* (desired object to move), like Edge Detection (brushing the edges of object and let photoshop do its job, usually around dog fur), Feather (Soften the area of selection), Smooth (reduce pointiness of your selection), Contrast (somewhat opposite of smooth), and Shift Edge (moving feather far or nearer the selection, usually to remove excess background color near the edges). *REFERENCE: <https://www.youtube.com/watch?v=5lDr2Nd8Yl4>*
3. **Layer Matting**. Inside we have many sub-tools to work on, like Color Decontamination (spread out soft mask around the edge, usually for hair to catch other hair that accidentally masked or can be used similarly to Shift Edge), Remove Matte (soften edge of sharp graphic or pixalated, raster look). *REFERENCE: <https://www.youtube.com/watch?v=N6K_htNQPPA>*
4. **Image Calculation**. By playing with the blending, we can make the background darker; thus, helping us making mask. *REFERENCE: <https://www.youtube.com/watch?v=0zf-H9RoCNk>* basically, you could use picking from the camera to the center of the tag position to see if it is behind something.

if yes, you could manually adapt the style. When designing for a variety of resolutions you want to scale down, not up. Do your design in a @2x resolution (640 x 960 @72ppi) and for the @1x assets you duplicate them to a new document (preferably) and scale them down by 50%. You can set up a Action script for this also to make the process go by faster. To learn a bit about Photoshop action script you can have a look [HERE](https://www.youtube.com/watch?v=BRpPGiGXcHc).


As for your second question, [HERE YOU GO](https://www.dropbox.com/s/sczltvow7jgtfiy/iPhone%204%20GUI%20PSD%20Retina%20Display.psd). The "reload" symbol you were after can be found in that Retina asset sheet, a sheet that is very good to have for anyone who wants to design for iPhone. i wouldn’t touch the python. add it into a custom node so you can make use of list levels and lacing instead. th is will also make it easier to maintain your code over time. @himmer, thanks for looking into it. that is a way newer jdk, so you may be right.

the problem comes from sorting “drawables” which are jzy3d primitives. it is this [call](https://github.com/jzy3d/jzy3d-api/blob/2bc67d0f803d8bf11b1e93a72a34653aa0766bad/jzy3d-core/src/main/java/org/jzy3d/plot3d/rendering/ordering/abstractorderingstrategy.java#l29-l39) that causes the issue. but the developers are aware of it, and even mention it in the code. i will followup with them, thanks! if i get this right you are trying to sweep1 circle and have the sweeps come to a point.

if that be the case, you either need to have the sweep paths cross and go far enough past each other to come to a point (at right) or you can place the cross section on the inside of the sweep path rather than …