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9A0-045 - Adobe InDesign CS 2 ACE - BrainDump Information

Vendor Name : Adobe
Exam Code : 9A0-045
Exam Name : Adobe InDesign CS 2 ACE
Questions and Answers : 158 Q & A
Updated On : January 23, 2019
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9A0-045 exam Dumps Source : Adobe InDesign CS 2 ACE

Test Code : 9A0-045
Test Name : Adobe InDesign CS 2 ACE
Vendor Name : Adobe
Q&A : 158 Real Questions

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Adobe Adobe InDesign CS 2

participants of Newspaper trade Rally around Adobe InDesign CS2 and InCopy CS2 software; properly Integrators, ISVs, and Newspapers undertake Adobe options to pace construction, raise ... | killexams.com Real Questions and Pass4sure dumps

SAN JOSE, Calif.--(enterprise WIRE)--Nov. 1, 2005--Adobe methods included (Nasdaq:ADBE) today introduced that its award-winning web page design and editorial software functions, Adobe(R) InDesign(R) utility and Adobe InCopy(R) software, are being embraced global with the aid of techniques integrators and independent software providers (ISVs) and their purchasers for newspaper publishing. These Adobe licensed methods integrators and ISVs include: superior Publishing know-how; advanced Technical options, Inc. (ATS); Atex; Digital know-how international (DTI); Harris & Baseview; Managing Editor Inc. (MEI); SAXOTECH; Unisys; and WoodWing application.

Integrators and ISVs are using Adobe's bendy web page layout and replica-enhancing software as an essential component of their normal editorial, advertising, and pagination options to support newspapers streamline publishing. through providing greater collaboration between editors and web page designers, the mixed InDesign and InCopy solution helps optimize design creativity and satisfactory in an effective, built-in workflow.

Newspapers worldwide continue to circulation to InDesign and InCopy

Newspapers of all sizes have adopted workflows according to Adobe InCopy CS and InDesign CS utility and at the moment are relocating to InCopy CS2 and InDesign CS2. big newspapers adopting techniques in accordance with Adobe utility include DTI valued clientele La Nacion in Argentina, Pittsburgh publish Gazette, and famous person Tribune in Minneapolis/St. Paul, as neatly as the Guardian within the united kingdom, a WoodWing application customer. Medium-sized newspapers, including Charleston, South Carolina's The put up and Courier, an ATS client, and WoodWing software customer The Albuquerque Tribune have additionally applied solutions in accordance with Adobe InCopy CS and InDesign CS. niche newspaper Dose in Toronto, a Harris & Baseview consumer, is planning to transform its workflow to Adobe InCopy CS2 and InDesign CS2 software.

"in the past, newspapers needed to choose between productiveness in managing their tips with more than one grownup engaged on a page or story at the equal time, or go for a design-lead strategy with a device constructed round a single-user computing device publishing utility," pointed out Alyson Williams, advertising director at DTI. "With publishing techniques in accordance with Adobe InCopy and InDesign, DTI has been capable of provide customers database property and a good looking array of artistic and replica-enhancing equipment in a single, built-in device that saves hours daily in typical creation workflow."

Integrators, ISVs, and newspaper publishers cite a couple of causes for their flow to publishing techniques in accordance with Adobe InCopy CS2 and InDesign CS2: tools that boost design excellent; tight integration with different add-ons of Adobe creative Suite 2 such as Adobe Photoshop(R) CS2, Illustrator(R) CS2, and Acrobat(R) 7.0 skilled software; ease of repurposing print content material for digital start; and potent workflow automation through XML and comprehensive scripting languages help for more productive reuse of present content and layouts.

"there was a significant shift available in the market toward Adobe based mostly solutions," observed Briggs Kilborne, president at Harris & Baseview. "customers want the flexibility of Adobe InDesign, Adobe InCopy, and the Adobe creative Suite built-in into best of breed workflow programs like IQue and Jazbox."

megastar Tribune moves to Unified equipment in line with Adobe software

The famous person Tribune, some of the 20 biggest newspapers within the united states, has carried out a DTI device to guide editorial and promoting actions. by using standardizing on an integrated gadget, together with a unified database in addition to page design and copy-enhancing utility from Adobe, the star Tribune is cutting back the resources necessary to supply the newspaper, whereas increasing newspaper excellent and efficiency.

"DTI's integrated device, including InDesign and InCopy software, allows accuracy and timeliness of content, as well as effortless repurposing throughout media," noted religion Christine, IT news Publishing techniques leader at big name Tribune. "And that frees us to invest extra construction time within the design and satisfactory of the product."

About Adobe systems integrated

Adobe is the area's leading company of software options to create, manipulate and convey excessive-impact, legit digital content. For more guidance, visit www.adobe.com.

(C) 2005 Adobe systems included. All rights reserved. Adobe and the Adobe emblem, Acrobat, Illustrator, InCopy, InDesign and Photoshop are both registered emblems or trademarks of Adobe methods integrated within the united states and/or other nations. All different trademarks are the property of their respective owners.


Adobe releases InDesign CS2 four.03 update | killexams.com Real Questions and Pass4sure dumps

No result discovered, are attempting new keyword!Adobe has launched updates to InCopy CS2 and InDesign CS2 to unravel a few pronounced issues with its knowledgeable design utility. The 41MB InDesign CS2 4.03 replace offers key fixes within the area...

individuals of Newspaper industry using Adobe InDesign CS2 and InCopy CS2 software | killexams.com Real Questions and Pass4sure dumps

Wednesday, November 02, 2005

Press unencumber from the issuing enterprise

SAN JOSE, Calif.--Nov. 1, 2005-- Adobe methods incorporated today introduced that its award-winning page design and editorial utility applications, Adobe InDesign utility and Adobe InCopy application, are being embraced worldwide by way of methods integrators and impartial software carriers (ISVs) and their shoppers for newspaper publishing. These Adobe licensed programs integrators and ISVs consist of: superior Publishing know-how; superior Technical options, Inc. (ATS); Atex; Digital technology international (DTI); Harris & Baseview; Managing Editor Inc. (MEI); SAXOTECH; Unisys; and WoodWing application. Integrators and ISVs are the usage of Adobe's bendy web page layout and duplicate-enhancing utility as a vital part of their general editorial, promoting, and pagination options to support newspapers streamline publishing. by way of providing more desirable collaboration between editors and page designers, the combined InDesign and InCopy answer helps optimize design creativity and first-class in a good, integrated workflow. Newspapers global proceed to circulate to InDesign and InCopy Newspapers of all sizes have adopted workflows in accordance with Adobe InCopy CS and InDesign CS utility and are now moving to InCopy CS2 and InDesign CS2. enormous newspapers adopting systems in accordance with Adobe utility include DTI shoppers La Nacion in Argentina, Pittsburgh put up Gazette, and big name Tribune in Minneapolis/St. Paul, as well as the Guardian in the united kingdom, a WoodWing utility consumer. Medium-sized newspapers, including Charleston, South Carolina's The submit and Courier, an ATS consumer, and WoodWing application client The Albuquerque Tribune have additionally applied options in response to Adobe InCopy CS and InDesign CS. area of interest newspaper Dose in Toronto, a Harris & Baseview consumer, is planning to convert its workflow to Adobe InCopy CS2 and InDesign CS2 software. "during the past, newspapers needed to choose between productiveness in managing their suggestions with more than one adult engaged on a page or story at the same time, or go for a design-lead approach with a gadget developed round a single-person computer publishing utility," mentioned Alyson Williams, advertising and marketing director at DTI. "With publishing methods in keeping with Adobe InCopy and InDesign, DTI has been in a position to supply shoppers database property and a good looking array of artistic and duplicate-modifying equipment in a single, built-in gadget that saves hours everyday in typical construction workflow." Integrators, ISVs, and newspaper publishers cite several causes for his or her circulate to publishing techniques in response to Adobe InCopy CS2 and InDesign CS2: tools that raise design fine; tight integration with other accessories of Adobe inventive Suite 2 reminiscent of Adobe Photoshop CS2, Illustrator CS2, and Acrobat 7.0 knowledgeable utility; ease of repurposing print content material for electronic start; and amazing workflow automation via XML and complete scripting languages aid for more productive reuse of present content material and layouts. "there has been a major shift available in the market towards Adobe based mostly solutions," stated Briggs Kilborne, president at Harris & Baseview. "valued clientele desire the flexibility of Adobe InDesign, Adobe InCopy, and the Adobe inventive Suite integrated into best of breed workflow methods like IQue and Jazbox." star Tribune strikes to Unified equipment in keeping with Adobe application The celebrity Tribune, one of the most 20 biggest newspapers within the u.s., has carried out a DTI equipment to assist editorial and promoting activities. by using standardizing on an built-in system, including a unified database as well as page design and replica-editing utility from Adobe, the star Tribune is cutting back the supplies crucial to provide the newspaper, while expanding newspaper satisfactory and effectivity. "DTI's built-in device, including InDesign and InCopy software, helps accuracy and timeliness of content material, as well as handy repurposing throughout media," spoke of religion Christine, IT information Publishing methods leader at superstar Tribune. "And that frees us to invest extra production time within the design and nice of the product."

 




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Adobe InDesign CS 2 ACE

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A QuarkXPress User’s Review of Indesign CS | killexams.com real questions and Pass4sure dumps

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  • Introduction

    Adobe InDesignAdobe InDesign CS Manufacturer: Adobe (http://www.adobe.com)Operating system: Windows 2000 SP2 or XP; Mac OS X 10.2 or laterHardware requirements: Pentium II, III, or IV processor (Windows); G3, G4, or G5 processor (Macintosh)Price: US$699 ?

    Never say "switcher." No, really.

    As someone who tinkered with InDesign 1, I've long been skeptical about Adobe's ability to make a convert out of me. I've long been content with XPress as a production workhorse, thinking that even if XPress 6 didn't bring on a ton of potentially Postscript 2 RIP-choking* features like transparency and drop shadows, it would at least continue letting me do what I've done well for a long time. Just check the threads in the Macintoshian Achaia forum to see how I groaned when an advertiser sent us an InDesign file (YOU CAN'T TAME ME!!!). When InDesign 2 was released, I played with it, but didn't like its Illustrator-like feel. This may sound like a stupid gripe, but laying out a magazine and designing a logo are different tasks ? I think Adobe underestimated the way that Quark had influenced what "doing layout" was supposed to feel like. Besides, most of us were content with what Quark did and how it did it, so asking people to adopt a new interface paradigm for no compelling reason was a non-starter. Then my friend who works for Adobe in France signed me up as a beta tester for the next iteration of InDesign, then code-named "Dragontail." Deciding to put aside my skepticism for a moment, I decided to find out what was new with InDesign 3. After hopping into my chain mail undergarments and strapping on my 5-foot sword, or "Old Bloody" as like to call her, I sat down to tame the dragon. ?

    A brief word before jumping into this review

    As the title suggests, this review is written not just as a feature review of InDesign CS but more as a real-world review of InDesign CS as a whole as it compares to XPress. While I am covering the major features introduced in this 3rd version, I can't pretend to use every single feature of InDesign CS. I have a specific workflow that might leave people who live and breathe ligatures, xml and scripting wanting more. Still, there is a lot of crossover as far as needs are concerned so most people should be well served by the features that are covered.

    The test systems used for this review:

    Dual G5 2 GHz (stock Radeon 9600 Pro configuration) 2.5 GB RAM Calibrated 22" Lacie Electron Blue IV monitor OS X 10.3

    Dual G4 500 MHz 1280 MB RAM OS X 10.3

    12" Powerbook 867 MHz 256 MB RAM (it's not mine) OS X 10.3

    If you are reading this as an XPress user who's never tried InDesign and don't see some key features of XPress covered here, assume the same or equivalent function exists in InDesign. Things like item subgrouping, radial gradients, files locking other users from reading/writing for good versioning, runarounds based on clipping paths, case sensitive find and replace, etc. all exist in ID3 and unless they are worthy of particular attention, aren't explicitly covered here. This is written with reference to Mac shortcuts so wherever Windows users see the keys "command" or "option" used, replace them by "control" and "alt," respectively. All references to "Steve" should be replaced by "Bill."

    * Raster Image Processor: the device that changes layouts and vector data into color-separated printer pixels.

    Wooing XPress users with the interface

    I am writing this as a person who, like many professional designers looking at InDesign, doesn't have a lot of time to read the manual before digging in and getting to work. We're all hoping that a little experience with XPress and Illustrator are going to get us working quickly, and why shouldn't it? Adobe has clued into this and makes it easy for XPress users to feel at home in InDesign CS (occasionally referred to as ID3 since variety is the spice, the spice is the variety).

    Similarities to QuarkXPress

    Some of the things like command-shift comma/period ? an XPress standard for scaling selected type down/up ? has been supported in all the Adobe apps since I can remember and other XPress shortcuts have been implemented into Illustrator and Photoshop over the years. Adobe makes no qualms about whose users they want, so InDesign CS goes much further by letting you use XPress key commands that people like me, numbed by repetitive motions, tasty 9 percent beers, and the failure to remember we're in another application, will invariably reach for.

    Enhanced Yoink #1: Start from where you left off in XPress and then have a key mapping party

    Cope with the shame of using a new program by making it look more like the one you're cheating on

    The InDesign CS Control Palette

    This is definitely the biggest step in making transitional XPress users feel more comfortable in InDesign. There is now a horizontal contextual control palette which gives you access to many contextual controls for selected elements and some handy extras that make working easier. It can be configured to dock at the top or bottom of the screen or float freely, XPress style. The usual elements from XPress are there plus some extra goodies:

    The Control Palette when image boxes are selected: a) The boxes at the left let you specify the translation origin, so you can do things like click the top left square and type in a negative value to set your bleed. b) The locks constrain the aspect ratio when changing your box and content scaling. c) All blue double arrows are pop-up menus for quick access to commonly used values ?

    d) Rotation and skew controls the mask shape or image content, depending on which is selected. e) Line weights and styles controls. f) Selection for picture mask shape, content, and selection cycling of items within groups. g) Image content fitting options ?

    The pop-up menu at the end has some other common translations and some global settings for various aspects of picture objects. The icon at the bottom right of the palette opens the strokes palette ?

    The Control Palette when text boxes are selected with the group selection tool: most elements are the same with the exception that you can change text columns and vertical type alignment. (h) InDesign can fit your box to the type content, which may quickly lead to obsessive-compulsive disorder ?

    The Control Palette when text boxes are selected with the type tool: j) Toggle character or paragraph level controls. k) Character size and leading controls. l) All caps, small caps, superscript, subscript, underline and strikethrough m) Kerning and tracking controls ?

    n) Character height scaling and baseline shift. o) Character width scaling and skew (faux italic). p) Character stylesheet popup and text object-level language setting ?

    The type control palette pop-up: monstrous Opentype support

    In paragraph mode, the palette changes predictably to enable control of justification, left and right text indents, first line indents, locking text to baseline, space after paragraph and drop caps.

    Contextual^10: when multiple items are selected, alignment options show up in the control palette reducing the need for an open align palette and shedding tears

    Don't worry, I won't be going into this much detail about every tool. The control palette warrants extra coverage since it obviously jams a lot of crucial controls into one area and it's most relevant to people used to QuarkXPress. Besides, our alphabet is too short to label everything.

    Opening Quark files

    It's safe to say that many InDesign users are coming from QuarkXPress, so if InDesign couldn't open XPress 3 and 4 files (versions 5 and 6 files don't open), it would be a deal-breaker for most. It's essential to be able to open page templates so potential switchers do not have to spend hours rebuilding stylesheets, masters, guidelines, and other such wonderful minutiae. In this respect, it's good but not amazing. Master pages, linked images, quick-and-dirty clipping paths generated from white edges all imported without issue. Text, on the other hand, does not fare as well. Paragraph and Character stylesheets import but long areas of formatted copy reflow differently and some, *gasp*, overflowed. I clutched at my sword, horrified. Only the strong should look below to see the results:

    Left: The original text in an XPress 4.1.1 document. Right: When imported into ID3, custom kerning and typographer's quotes are preserved but the text flows differently and beyond the box, indicated by the plus sign

    Still, this should be enough to get anyone switching from Quark up and running with InDesign relatively easily. While I personally don't expect conversions of Quark files to be 100% perfect, even if they were I wouldn't trust an advertiser's ad (and the many shiny ducats attached) to a translation by anything other than original software.

    As a side note, InDesign CS does not save to QuarkXPress formats of any kind.

    Lost in transition

    It pains me to say that there is no command-shift-option-k delete alien in InDesign. Potential converts will have to consider the significant loss of never seeing a little man zap the hell out of something when wanting to get rid of an object in style. If Adobe truly wants to gain mindshare in the professional layout arena, they will have to find an adequate replacement for our beloved space friend:

    A hungry hippo, a drunken frat boy smashing stuff, anything...

    An improved interface Drag and drop

    This is huuuuuuuuuge. I don't think I have to elaborate on why dragging a ton of images (and text!) into a window to have them on a page is better than making an individual box for each and importing them one by one. I had a free XTension for Quark 4/5 (courtesy of the fine developers at Extensis) that did this, but somehow Quark didn't consider this a useful feature, so it stands as the most glaring omission in Quark 6. Oh well, I guess XPress users will have to shell out another $60 for a 3rd-party solution so they can get in on the fun:

    Click for animation: Expos?, a media cataloging app like iView Media Pro and drag and drop make for an overall increase in productivity horniness. Last photo by Candace Meyer

    Trimmed page preview

    Sometimes you design something and it looks soooooooooo good in the layout. Then you get it back from the press and those bastards actually cut the edges where they were supposed to and everything falls apart. You designed the page accounting for the bleed and everything but a black line at the edge of the page doesn't, er, cut it for seeing what effect the trim will have on the feel of your layout. So to try and prevent your cover girl from running out of air at trim time, you need to temporarily crop out the edges of the layout. In Photoshop, I usually make a top layer with a black strip around the edge and switch to full-screen mode. In Quark, I made four separate white boxes and put them on the top layer, inevitably trying to avoid them while working. In Quark 5 and later you can put them on a separate layer so it's less of a hassle, but even if they are locked, they get selected ? which totally harshes my buzz. In ID3, objects in locked layers get clicked through, which is good. ID3 then goes a step further with a preview mode which lets you work seeing the page as it'll be trimmed. I found myself always working in trimmed page mode since it was easier on the eyes with a dark pasteboard. The color is fully customizable too so I made mine a deeper charcoal grey and after using it like this for a few weeks, I don't know how I could stand it the old way. Now if only they would let me see page guides in trim mode . . .

    Above: InDesign's trimmed page preview. Below: QuarkXPress' high-tech Four-white-boxes-sitting-on-top-of-everything-else?

    Given 'em presets by the pound

    In addition to keyboard shortcuts and printer page presets, ID3 has a number of commonly-used options that can be saved. If you're as anal as I am, you'll get geek-giddy with all the page size presets, savable custom workspaces (trading workspace files is the new Pogs), and PDF export presets available to you in ID3. I often alternate between outputting low-res RGB and high-res CMYK PDFs with crop marks ? the former for late-night, e-mailed copy edit checks and the latter for FTP-ing to our prepress house ? so having a bookmarked setting for each is essential. In XPress 6, I was really annoyed that I had to manually set the same custom resolution every time I wanted to output a PDF for screen and then I found out it was leaving the massive temp files in QuarkXPress/jaws. If you Quark 6 users are wondering why you are running out of hard drive space, you now know where to look.

    InDesign's new document dialogs and the ubiquitous lock which lets you type one number and have the rest of values automatically match

    4000% zoom!!!!! Adobe wins!!!!!

    Seriously though, this is a good thing?. I'm often doing fine space tweaks or butting up of elements and always found XPress' max zoom of 800% too low too do this kind of thing comfortably.

    Besides, If Adobe had provided a means to edit paths and only had 800% zoom, it would have crippled the feature.

    Left: QuarkXPress 6's 800% zoom with InDesign's 4000% inset. Right: ID3's zoom combined with the path tools means not having to use Photoshop to clean up clipping paths

    Guides

    Guides in InDesign work much like they do in Illustrator, with the exception that they can't be rotated. They can be selected as a group, moved, distributed equally or at user-specified distances, aligned, and set to be under objects. They can also be copied and pasted to different pages, which still requires a 3rd-party plug in with XPress 6. Also, accidentally move a guide and it's undoable, another thing that should have been in XPress a long time ago.

    QuarkXPress 6 (left) and InDesign CS both have batch guide creation tools but InDesign provides better control of established guides, shown in the control palette at the top right.

    Master pages

    In InDesign, items in your layout placed from master pages are locked by default. This basically assures that if you do things like select all the items on a page and move them, your template items like page numbers (which you rarely want to shift) stay put. Command-shift clicking these elements in your layout unlinks them from the master and makes them editable and they can also be unlocked all at once. I tried to do the same sort of thing in XPress 6 but you can't create layers on master pages. I tried using locked items but when you select all items on the page, they get selected with the non-master page elements and then it won't even let you move those. Moving right along then . . .

    Pervasive key shortcuts

    Adobe has in the last few years made it possible to do intuitive increment adjustment in fields with the arrow keys, so adding a 1/8" bleed simply means hitting the up arrow a couple times in the object transform field. This is good news for us lazy types who've long given up on trying to remember 3-1/8" in decimals. Now, if your children ask "how big is 1/16 of an inch, daddy," you can stand tall and declare "up arrow."

    General user interface fit and finish
  • Holding command or control while scrolling with a scroll-wheel mouse zooms in and out.
  • You can apply settings to multiple selected items. Select 5 text boxes, alter their color, text inset settings, fills and runarounds and you are ready to go. No need to individually select the content of each box.
  • Page edges are "snappable." Not to be confused with "snappiness," winner of theMacintosh Word of the Year award 3 years running.
  • Holding shift while moving image content constrains the movement in 45? angles. Not mind-blowing feature-wise, but it's still much-needed to prevent slivers of white entering in between the edges of the mask box and the image content.
  • Got text in the pasteboard and want to put it in a new box? Hit paste, the box is created for you. Resize.
  • Long filename support

  • Undoing multiple consecutive font changes cycles back through each change, not back to the original font, as in QuarkXPress.
  • Box strokes on the outside/inside/center work on a per-object basis, not globally for the document. Since I only tend to stroke things on the outside as an exception, having a global value (as in XPress) is not very intuitive.
  • Holding shift while nudging items and increasing numeric values multiplies that value by ten. This means less reaching for the mouse to move an item across the page and less having to reach for the numeric keypad. This mysteriously doesn't work in the color palette though.
  • Scroll wheel support is pervasive throughout the program.
  • Beefy contextual menus. Dripping with beef, actually.
  • Holding the spacebar while creating an element lets you temporarily move its position.
  • Option double-clicking a placed image opens it in Photoshop or its creator. It would be nice to have the option to always open raster images in Photoshop since we often get images via FTP and OS X isn't good at telling whether an EPS without a creator flag is a raster or a vector file. And while I might want a jpeg image to open in Graphic Converter (much love) from the Finder, if I'm using a temp jpeg in a mockup, I usually want to manipulate it in Photoshop.
  • Hitting shift-x switches the stroke and fill settings of an element.
  • Hitting tab hides visible palettes.
  • Tool tips update to display with your customized key shortcuts
  • Key InDesign tools

    In Quark, in order to see how big a distance was from the edge of the page, you'd create a box and read its width. I thought InDesign's measure tool, which can work diagonally and snap to objects, would save me from that "duct tape on my monitor-esque" solution, but the more I used it, the more I disliked it. The line it creates and its measurement in the info palette disappear as soon as you pick another tool. Worst of all, you can't drag the line to another page to check different page elements across spreads for consistency. This thing needs work.

    The eyedropper tool

    YATINAXFQTDWGANUIIWNOAPI (Yet Another Thing I Needed An Xtension For Quark To Do Which Gets A Nice Upgrade In InDesign Without Need Of A Plug In): almost every type of setting or element is sucked up voraciously via the eyedropper, including drop shadows and feathering. It's best used for quick formatting of text in a sidebar or other things that might not warrant the creation of a stylesheet.

    Click to animate: the eyedropper saves time but needs a lot of care to not to, uh, suck the wrong thing. Above, while it picks up the drop cap fine, it also grabs the base paragraph stylesheet that was completely changed

    Alas, the Excalibur-like power of the eyedropper is limited by the lack of saveable presets. Perhaps in version CSI?

    The draw tools

    Adobe has been loosening the reigns in recent years including crossover features in their different apps. I guess they realized that people weren't going to try and save a few bucks by painfully designing their logos in Photoshop because it had a path tool. But they are always safely crippling these features to not make the other programs obsolete. The InDesign pencil tool predictably toes this line, letting you draw and edit custom-stroked lines but you can't use a pen tablet to change line weights. No worries, it still lets you select and rework existing lines and borders so you don't have to get it right the first time. Some more interesting applications of the pencil tool is when it's used on the mask shape of picture boxes.

    I really went ID3 poster boy in our current issue trying out new techniques like using the line tool for interesting outlines and dirtied vector masks

    There are other tools in InDesign, but most fall into the 'me too' realm like the box and circle tools, type on path, line, scale and skew tools.

    A trained palette

    When I started using ID3, I found the interface way too palette-heavy. In Quark, something like adding a box stroke would be done by hitting command-B, then you'd enter your value, hit OK and then it was out of your face. In InDesign, it's palettes for everything, like in Illustrator. Adobe has apparently paid attention to the feedback and with CS, they've added the ability to (cough) dock palettes to a tab along the edge of the screen to save space. Click it with the mouse or hit a command key to have the relevant palette pop out when you want to select a color, check the status of an image, whatever, and then hide it again. It's not perfect, as palettes tend to overlap if you put them in one area. People who value their screen real estate like it was land in downtown Tokyo will probably still be frustrated.

    >Click to animate: Tab goes up, tab goes down. Tab goes up . . .

    Nevertheless, palette docking was a big advantage on the 12" Powerbook, which was limited to 1024 x 768. And, like in Photoshop, you can hit tab to hide all visible palettes or shift-tab to just hide the ones other than the contextual toolbox, respectively. Still, you might find yourself cramped in InDesign unless you have a higher-resolution monitor.

    The Info palette

    The InDesign info palette, while not a miracle of software engineering, has one essential feature that still requires a third party XTension for XPress 6 to do: displaying the effective resolution of an image. You may have saved that image at 300 ppi but after playing around for a while and coming back to that layout a week later, I'd be willing to bet you've forgotten whether it's high-resolution enough for print. It also tells you if the image is in RGB or CMYK mode, another valuable thing for quickly preflighting an element.

    Left: the InDesign CS method for determining image resolution at output.Right: The XPress 6 method

    In XPress, the image's color mode is buried in a tabbed, modal 'Picture Usage' dialog box. This is definitely one of the instances where I prefer palettes.

    Overprinting preview

    This isn't a palette ? it's in the View menu ? but it ties in with the separations preview and ink limit preview palette which follows so I'm going to embrace madness a little and go over it. Overprinting used to be something that was usually only used for trapping items* ? a technique where the edges of items on different color plates actually overlap a little so any misregistration on press doesn't result in a sliver of white. Now a lot designers use overprinting as a slick tool, so adding the ability to preview what things will look like in software saves repeatedly paying for proofs, blindly guessing what final effect it will produce. On the first cover of our magazine, I had a box set to overprint in XPress and since a straight overprint was a little too flat, I wanted to lighten the area underneath the overprint. In order to do that, I had to first open Photoshop, and guess at the area by eyeballing the Quark layout. Then when I realized how this would be a long, tedious ballet of XPress, Photoshop and Illustrator, I had to move the effect into Illustrator, forgetting about XPress entirely. When the overprint was done and trapped in Illustrator, I saved it as an EPS, which I then brought into XPress in all its dithered 256-color glory. This might be tolerable for a cover but I definitely wouldn't have even bothered playing with overprinting in a layout since it took so much jumping around and wasted time.

    Now I can use overprinting as a design tool while not having to give up my weekend to see what it will look like. It's pretty taxing, since it has to load all the high-res images on the page to render it, but it's still beats the XPress way of spending money. ?

    Mix it up: live overprint previews let you see how it's going look on press: pretty. Photography by Arline Malakian

    Separations preview

    The separations preview shows the final separate color plates in the document ? all CMYK and spot or in any combination you pick. This is also a quick way to accurately sample a color value from an image without having to open it in Photoshop. Move your mouse over the layout and it gives you the CMYK color values of the flat, separated output, no matter what effect you've got going on in the layout.

    Previewing multiple separated color plates

    Ink limit warning

    For the print newbies out there, an ink limit is your maximum allowable ink on a page, mostly dependent on your paper stock. If the sum of all the cyan, magenta, yellow and black (and any other color plate you might be using) on any given spot on your page is greater than this number, you can either oversaturate the paper causing buckling, make your images muddy, or just make it slow to dry, leaving you with smudges and bleedy bleeds. Using the ink limit warning in combination with the overprint preview assures that your slick trick is within the limits of propriety.

    The prepress holy grail: the red areas means she's a witch

    Once you see these things in action, you'll realize what creative new print features Quark could have been working on when they were busy convincing themselves that we would want to do web sites in QuarkXPress. Besides, everybody know that's what Word is for . . .

    * For a good example of a print designer who used overprints as a technique long before the fad, look at the older work of Japan's famous poster artist, Tadanori Yokoo.

    Page: 1 2 3 4 5 6 7 8 9 10 11 Next →Typographic tools Custom underlines

    Basic underlines are fine for essays but they often look clunky if you use the default ones in layout programs. I used to use a free, but no-frills Xtension for Quark 4 and 5 called Type Tricks that let you specify a custom distance and line weight to get something more polished looking. QuarkXPress 6 now includes this exact Xtension but Quark, in their haste to beat the dragon to market, forgot to change the name of the plug in, let alone add anything to it or even enable it as a stylesheet element. So imagine my "I'm the father of twins"-like joy in seeing that despite InDesign's lack of 3rd party plug-in support that I had a better-equipped equivalent. Adobe knows its Achilles' heel in getting people away from XPress is their relatively small amount of plug-ins and they've done some work on filling these gaps themselves. They've done a great job with this one.

    Left: QuarkXPress 6's custom underlines have no other dashes or shapes, have no preview, cannot be set to use the type color and do not register with stylesheets. Right: InDesign CS custom underlines are good.

    The story editor

    I waste enough of my day being the only person in the office who knows how to use a Mac and a PC (we're not a big team). People call my cell to ask how to increase their memory allocation (die OS 9, die) or "unvirus" their infected Windows box. I put vnc on my mother's iMac so I can show her how to print, weekly. So I was happy when I saw the Story Editor since it looked like a basic word processing tool that the editors and assistants could use easily (i.e., without my help) when they want to put in something like last-minute caption edits.

    All I have to do is tell them to right click the text (control-click for the closeted single-button mouse users out there), choose "Edit in Story Editor," and they are using something less like a layout program and more like Word. This was the fantasy ? a boring fantasy ? but a fantasy all the same. The reality was that it's too basic. It doesn't let you see underlines or bolding, which is something that someone putting in edits would definitely want live visual feedback on.

    Italic faces ("The Gangs of New York" text) and faux italics ("explored") render. but not underlines or bolding, limiting the usefulness of ID3's new story editor

    More problematic though, is that the story editor doesn't provide any sort of access to separate text fields in the document without resorting back to layout mode and selecting those objects manually. If this was to really be a useful ? and basic ? text editor for a complex layout, it would have something like a separate collapsible pane with a proxy of the layout which would bring you to those fields simply by clicking on them. This kind of a scheme would be easily understood by anyone who knows how to navigate a web browser. My humble mockup of something like this is below.

    Much like a split-window view in html editors, the story editor could be a way of getting right to any text in a document by using a built-in find panel (a), showing uneditable hyperlink-like snippets of the texts with the current spread (b), or a visual proxy of the spread with clickable text elements (c). Upon clicking a text field in pane (b) or (c), the full text would be editable in the bottom right pane (g). Zooming in the proxy layout could be done via the familiar navgator-style bar/numeric input (d) and the working spread could be selected via a pop-up (e). The stylesheet listing (f) would remain the same. I realize there is a disproportionate amount of interface versus text but the top part could be collapsable (h) and the bottom part could be resized

    Hopefully the next version of the story editor will bring some type of equivalent feature set. As it stands, I can't find much use for it.

    Excel file support

    I don't work with table data much but our photo researcher often sends me a list of images, captions and credits in Excel format since it's good for her personal checklist of what high-res we're waiting on, where it's from, captions, etc. XPress doesn't support importing of Excel files so I'm left going back and forth between Quark and Excel to reference or copy and paste from the chart. In ID3, I drag it into the page layout and, after a series of rather comical double-takes, I'm working again. wha-wha-wow.

    Nested stylesheets

    This is one of the key new features in InDesign CS. It aims to reduce the amount of tedious formatting of text by creating a single "formula" for repeated application of a series of character stylesheets. I have to admit that when I initially read about this feature in the beta documentation, I was skeptical and had a sadistic urge to watch it crumble by throwing typical variables at it. The examples in the help files were very consistent, so it looked as though they had programmed it thinking every header would always have to bex number of words and that all formatting would only extend through one line, not a paragraph or two. Well, fortunately I sit corrected. I managed to muster up enough brain juice ? I just finished production and this is page 6 ? to create the little test shown below.

    They take a little getting used to but for formatted lists, nested stylesheets are really powerful, time-saving and, with a bit of thought, can be '"variable proof." The invisibles in light blue show how to use forced line breaks (shift-return) to make a new line without breaking the nested stylesheet, done here with a paragraph return. This is definitely something that will be getting a lot of use by InDesigners in the future.

    Getting the (text) runaround Text runaround/wrapping

    Habits have a way of making you think that what you have been doing is normal. My sex life aside, using a layout program is much the same. We're accustomed to making separate invisible boxes behind an element so that text will skip that section of the column; we haven't thought much that it's the program which should be doing this. While the runaround of an object in ID3 is conveniently selectable and can be set exactly where you want it like a B?zier path, Adobe has gone further with some new runaround modes. This makes it even easier to do some very common layout wraps which used to require duct-tape methods like invisible boxes pushing text around.

    Click to animate: frame 1 shows a standard text runaround which wraps around the object at a specified distance. Frame 2 shows the "skip object" wrapping and the 3rd frame shows the "skip to next column" in action.

    What's more, for bounding box-based runarounds, scaling images is a separate operation. If I scale an image slightly in a layout after our graphic designer has put in copy edits and done clean ups, I don't want to have to worry about messing up paragraph wraps. So, if you set a manual runaround box in InDesign, scaling an image leaves the wrapping box untouched. This is a little tough to explain, so I made a demo animation (below right).

    Left: In InDesign, text runarounds can be grabbed and manipulated like a path.

    Right (click to animate): scaling and cropping an image inside a bounding box runaround, shown as a thin blue line

    An initially confusing thing is that picture object's contents (the unmasked image) and its mask frame can have a separate runaround, fortunately not both at the same time. I guarantee there will be a time when new users of InDesign will click an image wondering where their runaround ? clearly altering the wrapping of some text ? went. Preview bounds for everything is something that takes a lot of getting used to in InDesign. Seeing bordered contents, mask frames, runarounds, etc., may frustrate people who liked the minimal feel of QuarkXPress. Still, it's nice to see Adobe making these slight but significant changes to how a layout app should behave and I think the benefits are obvious.

    Full Opentype feature support

    I can't say I've been freaking out about Opentype, personally. From what I've seen it's nice and powerful but my typographic needs are relatively straightforward so I haven't much use for things like discretionary ligatures and other classy shizzle. Nevertheless, from what I've read, XPress 6's Opentype font support is much more limited so I suggest that anyone who really wants their fonts to sing, dance and make love by the fireside, do some further research into both programs.

    The Glyphs Palette and insert special character

    The glyphs palette is another new feature in InDesign CS which gives you access to the full character set of a font and lets you make personalized sets of commonly used glyphs in a little floating window, like a pared down version of Apple's character palette in OS X. Combined with custom keyboard shortcuts to the individual "Insert Special Characters" items, non-standard glyphs are much easier to input than they were a few years ago. These two features will be especially useful to Windows InDesign users who, sick of the rather inconvenient Run/charmap, have to either buy shareware to make type input easier or remember an a-bomb codex of 3-digit numbers so they can write "d?j?" or insert an en dash. Wheeeeeeee.

    Change text to all caps, lowercase, sentence case, etc.

    I'm as sick as you are of hearing me say "this should have been in XPress years ago," but this should have been in XPress years ago. In OS X, at least you can use any Cocoa text services-aware application ? InDesign CS being a good one ? with the freeware Wordservice to make up for the XPress lack of basic text formatting. Maybe Quark will do us all a favor and write that link on the box in 3 years.

    Optical kerning

    This is one of the things you hear ID users buzzing about like it was the second coming. It could have been one of the best things in the program, if it were flawless. It goes a good job with sans-serif fonts but it's not so successful with serif-type faces. Natural-looking distances aren't a pure science spanning all fonts so I don't think this is something that can be fixed in a coming update. Still, if you're in a rush to clean up some headers or you're on some freaky game show that requires you kern 90 words in under 5 seconds, you've got the upper hand using optical kerning.

    The top words in both examples are using the built-in metric kerning and the bottom ones are using InDesign's optical kerning. Not perfect but definitely more consistent and legible

    Built-in foreign dictionaries/hyphenation and 2-byte font support

    Surely I wouldn't consider slagging Quark for not giving away something as niche as the ability to spell check Bokmal Norwegian? Well, no. But I often receive files from Italy, France and other fashion centers so it would be nice not have to spend twice the amount to assure an ad's text doesn't reflow.

    Quark's official solution: In order to read this file properly, add a zero to the error code and put a dollar sign front of it.

    While InDesign CS doesn't come with a localized interface for every language, it does includes a dictionary and hyphenation support for many, so documents can be interchanged without having to have an international version of the software. Even better, you can set a different hyphenation for a single word, paragraph, etc., so mixed sentences won't be persecuted, or worse ? rendered inaccurately. Japanese (and any other 2-byte language from what I can tell) is supported by the English version and you can input type vertically but there is no dictionary for these.

    Left above: My Chinese is a little rusty but it's good enough to see InDesign working how it should. Left below: Did ya... buy that Glockenspiel? (link to obscure Canuck joke reference). Right: Tee hee hee . . . you're fired!

    Working with images Accurate image rendering

    If you change the white value of a grayscale image within your layout program to another solid color, it's usually necessary to create a new multi-ink black that contains that new solid color plus 100% black. This assures that your gray transitions are smooth and there is no loss of saturation or general nastiness should there be any misregistration when printing. ID3 renders these custom fill images with a sort of "gamut warning," desaturating midtones until the black is replaced by a multi-ink black or the fill is set to overprint on top of the solid.

    Both images will look terrible on press but XPress (left) shows the image looking fine with both a black with no red in it (top part) and a black with green in it (bottom). (Right) It may look skankier but the InDesign preview is accurate

    In this case, XPress' rendering is so bad, you could call it a bug. Chalk up another one for InDesign.

    ID3's high-res preview plug in

    After a ton of waiting and years of spending money on 3rd party solutions, Quark users finally got a high resolution preview Xtension for version 6. The catch was that you didn't get it until you activated your copy of XPress 6 (hopefully you were able to). Many people spent a lot of real dollars, euros, pounds and fazools on legit CDs that wouldn't activate, leaving them feeling like a starving dog given a rubber bone instead of the t-bone steak on the kitchen counter. Now coal-raking aside, I will say I was let down by XPress 6's high-res preview XTension.

    It doesn't work well with EPS raster or vector art, rendering only the 8-bit previews. You would think that this is probably due to EPS being a closed format, owned by nemesis Adobe, but that doesn't explain why the Koyosha Enhance Preview Xtension linked above can handle the raster EPS files and render clipping paths very accurately and XPress 6 can't. It doesn't render vector EPS files well either but it's already got XPress 6 beat. InDesign CS's high-res previews worked well with all formats: raster, vector, Klezmer. It slows down performance quite a bit when zoomed in, so I suggest using it sparingly, but when you need accuracy, it's crucial.

    Membership has it's rewards: Quark 6 vs. ID3's high res preview handling EPS vector art. Image copyright me :P

    Photoshop file support and smart image replacement

    Using XPress, I've gotten into an endless habit of saving flattened copies of files and then cursing Photoshop for not having a "Repeat Save As Copy" command to save me time when doing layouts with flat temp TIFF or EPS files. There are Photoshop import Xtensions for XPress but in my experience they tend to bog things down. I thought that my experience with InDesign's PSD importing would be much the same, offering the ability to slowly import a bloated, unflattened file, but it wasn't as painful as all that. While 8-bit transparency is preserved, there is no way to hide or show layers from within InDesign, which Xtensions like Imageport can do. Considering this is Adobe we're talking about, it's safe to assume they could do it but chose not to.

    One nice thing about being able to use Photoshop files is that if you keep "Replace Selection" on in the import dialog box, you can manipulate the fill colors, crop and rotate your placed PSD file, and then replace the placed image with the flat TIFF or EPS file without losing your manipulations. Sooooooo nice.

    Direct clipping path editing

    Our prepress house didn't have ID3 for the production period involved in this article because it wasn't released yet, so we got stuck fixing all our quick and dirty close cuts ourselves. As I mentioned earlier, it was easier to see what was going on with the paths and white pixels that needed cropping out because of InDesign's 4000% zoom. It was nice not having to open the file in Photoshop to do a simple clipping choke where items overlapped.

    The problem though with the built-in clipping path editing is that if your image already has a set clipping path, that part of the image is permanently knocked out. Unless you open the image in Photoshop, disable the clipping path and resave, you can only choke the existing clipping, not expand to reveal the image.

    You have to save images with the paths not set as clipping paths in Photoshop and then create the clipping from path within InDesign to be able to reveal pixels outside the clipping

    Still, this is definitely another time saver.

    Complex image manipulation and prepress Transparency and complex Postscript image operations

    This is definitely something I never thought I'd actually use because of its potential to crap out at RIP time but for the sake of giving the dragon a good run and giving my prepress guys more work, I figured why not? So, Postscript 3 virgin that I was, I did some experimenting with a few spreads. No cheeky puns intended.

    a) A 60% transparent box on top of (b) a greyscale TIFF image with a red fill and a red black. (c) A black box set to multiply and a transparency of 70%. The subtle shadow under the deed (d) is a feathered greyscale raster EPS set to multiply and a fill of 32% and (e) is an EPS with an embedded clipping path.

    I thought "if that doesn't choke, nothing will."

    Our prepress house, like most, aren't running the latest nitrous-fueled Postscript 3 devices but I figured if my toner-guzzling HP 2500n can print this thing, maybe they could. In the first proof that came back, the boxes showed up as solid. Strike one. When I told them how it was supposed to be, they re-RIPped it and sent me back a page with everything properly rendered. They had apparently found a workaround that enabled printing some of these Postscript 3 things on a Postscript 2 RIP. None of the text appeared rasterized so I was convinced they didn't just run the whole page through Photoshop to flatten it. Anyway, they managed to hand me a printed page of complex effects, and whether they did some Acrobat tweaking or hidden printing tricks, it doesn't really matter. I now have a new set of usable design tools like transparency at my disposal that doesn't take 3 programs and finicky eyeballing to produce. I just hope I possess enough restraint to stop myself from designing every page like it's the hacker's terminal in a bad movie. Wish me luck.

    PDF publishing

    I realize it's created by Adobe but it doesn't change the fact that this is, for us, the most convenient way to send layouts to prepress and to staff/contributors, so the time it takes to create PDFs is an important benchmark.

    I did two tests with the same Quark 4 document that had 280 MB worth of images in it. Neither QuarkXPress 6 or InDesign CS broke 100% CPU saturation, using only one CPU of the dual G5.

    Uncompressed High Res Test: QuarkXPress 6 Demo using jaws: 35 seconds InDesign CS: 30 seconds

    Compressed High Res Test: QuarkXPress 6 Demo using jaws: 32 seconds InDesign CS: 17 seconds

    Compressed Low Res Test: QuarkXPress 6 Demo using jaws: 22 seconds InDesign CS: 27 seconds: 16 seconds

    I don't know exactly why high-res files with JPEG compression seems to make InDesign CS shine but I'm guessing it's probably that it can compress an image to a fraction of its size faster than it can write the uncompressed files to the PDF. I've seen this consistently so it's not an anomaly with this particular file. And they RIP fine. Everybody wins.

    My only complaint with ID3's PDF output is that there is no option to use Photoshop CS-like bicubic sharper downsampling when outputting. At preflight time, I go through the images in a layout to make sure I'm not needlessly sending 2000 ppi images files to the press. Since scaling them down usually softens them a little, I can't use the bicubic downsampling available at PDF export time, forcing me to open them all in Photoshop, resample, sharpen, save and update. If InDesign could use the new "bicubic sharper" method of downsampling, keeping images sharp as it scales them down, I could save a ton of time by not having to manually downsample and sharpen these images. I have a dream . . .

    The gripes (or $^%*&#%!!!) What's Buggy? Stability and pasteboard weirdness

    In beta testing, InDesign sometimes crashed consistently when I would switch applications. I eventually figured out that it was the PDF clipboard, forcing me to turn off "Copy PDF to Pasteboard" in the app prefs. I didn't turn it back on again until recently, trying it out one last time to see if it was fixed in the release. It didn't crash but I still saw strange, inconsistent behavior when pasting into Photoshop. Maybe ID3 is hitting software puberty, dancing on its bed to Joy Division when it should be doing its homeworkwork. I'm surprised at you InDesign. For such a mature package, you've still got some growing up to do.

    Clipboard gettin' funkaaay: Copy an element from one layout, then copy again in another layout, paste in Photoshop and you'll be rewarded with a stylish twilight zone collage: a rare Martian Prada shirt.

    Whoa there, fella

    I loaded paragraph styles from another document and after importing every single one (not offering me a selective approach), and without prompting me, InDesign overwrote my existing tweaked stylesheets with the same names and altered my layout with the imported stylesheets. Fortunately I figured this out before saving and figured out a workaround by creating a new blank document and importing it into that one. This brings me to my next gripe. This is bad enough that I'd call it a bug.

    What needs work? Preflighting Missed by preflighting: image clippings based on a white threshold are very sloppy and only used at the mockup stage.

    Preflighting simply means checking your layout file for all potential problems that can happen when you send a file to prepress for imposition. This can be as basic as checking for images in RGB mode, or as minute as making sure none of your text boxes overflow. Good preflighting programs let you set up your press environment and they evaluate what might be the potential problems: your resolution being too low for your line screen, your line weights being too thin, the presence of spot colors in embedded files, etc. Since changes at prepress can cost between US$30-100 a shot, largely dependent on how drunk you got your prepress rep at dinner last week, no file ever leaves without being preflighted first.

    InDesign CS does very basic preflighting. It tells you when fonts are missing, that images are missing or saved in RGB mode and it lets you collect everything (including fonts). It doesn't tell you when text boxes overflow; it doesn't tell you when TIFF or EPS images use compression (potential RIP chokers); it doesn't tell you that you've used an in-software clipping path based on white pixels; and worst of all, it doesn't tell you that big green RGB box isn't a problem ? it just sees it as a spot color and so it will output a plate for it when it gets to a RIP. You can check "All spots to process" in the Ink Manager but that's not really a fix.

    This is something that is definitely better-supported for Quark because of its market-share and it's nice to see Quark not stealing that business away from 3rd parties by adding any sort of preflighting into Quark 6. Charity is so rare in this day and it's good to know our desire to shell out an extra US$500 donation for a complete publishing solution isn't falling on deaf ears.

    The current crop of preflight apps don't support InDesign CS but I contacted Markzware, the developers of powerful preflighting package Flightcheck Professional and they said full support was coming for ID3 files, but couldn't provide a time frame. This is definitely good news for InDesign.

    Speed (measured in snappiness per cubic fathoms)

    Don't expect to run InDesign CS on a beige G3 266 and a shoehorned install of Panther. I would say general interface responsiveness is about the same speed as QuarkXPress 6 in "High Quality Display" mode and a bit slower in "Typical Display" mode. That may sound good in relative terms but anything older than a PC133/G4 733, it's not really tolerable. You won't feel very productive on a G4 500 if you've got a lot of complex elements and real-time effects, transparency, and the like. Our graphic designer (on the dual G4 500) didn't, and she found herself dropping into "Optimized" mode every chance she got. ID3 is not multithreaded at all from what I can tell so a dual will only help with multitasking while exporting PDFs. And I pity the fool who tries to work comfortably in overprint preview mode on anything less than a late-model dual G4 or G5 1.6. Honestly, I'm quoting Mr. T on that.

    French Canadian but no English Canadian dictionary? Who do I have to kidnap to change that? Needs a Canadian English dictionary

    After you've had a good chuckle over the idea of sentences peppered with "eh," "Molson" and "aboot," look at the following examples. "Instalment," "realize" and "colour" are only all spelled correctly in Canadian English, which is an odd, but friendly mix of U.S. and U.K. English. Fortunately, OS X has a Canadian English dictionary built in so I can just quickly zip into Stickies and check a questionable word. Even though OS X Cocoa type services are partially enabled in InDesign, the system's spell checker doesn't interact with InDesign's text so I'll be doing this until an update is released. Considering that InDesign includes some more obscure dictionaries, I don't think this is much to ask.

    Interface changes and consistency between packages

    If there is one thing I hate about Adobe upgrades, it's finding out what key shortcuts they've changed. Just when you get used to one thing, they change it. What's worse is that one Adobe program will adopt a standard from an older Adobe program, so that they are all out of sync at release. InDesign CS uses control-tab for toggling between the group and item selection tool (black and white arrows), just like Illustrator 10 did. Illustrator CS has now changed that to command-option-tab. You get the feeling the only time Adobe's separate package user interface people meet is to laugh in the cafeteria about how many crushed souls are going to freak when they see what the button they've been pressing for nine years now does.

    Marsha: "Hey, remember that time we changed the airbrush from 'j' to 'a' and then to 'b' in the next version?"Steve (now with milk flying out of his nose): "Pfffffff ahahaahahahahahaha."Steve (cleaning up): "What's your group gonna make toggle item and group selection?"Marsha: "We're switching it to command-option tab."Steve: "Nice. I guess we'll go back to control-tab."Marsha: "Heh...I can almost see their eyes twitching. Then the brain melts as they manage to belt out a last 'Noooooooooooooooooooooooooooooooooooo.'" (Steve and Marsha fall to floor laughing, curtain falls)

    If Adobe is really trying to sell us a suite, they should be doing a better job unifying the package at the most basic level. And hey, I'm not bitter. It's just that I've been hurt before.

    Solid spot color inaccuracy

    It's hard to say whether Adobe is to blame here or whether this is a universal standard that they've adopted for displaying their solid spot colors. It's not the same in XPress, so I'm going to venture that this is left to the developers. That said, Adobe's really got to take a closer look at this. CMYK colors with color calibration enabled display relatively accurately, but solid Pantones are so far off that I have to use RGB colors in their place so I'll have some idea of how the colors will interact.

    .

    Florescent orange Pantone 811c helpfully rendered as baby puke

    Obviously getting it dead-on is impossible since RGB can't reproduce most of the Pantone (or other standards) solid swatches, but there must be a way to get a little closer than it is now.

    What do you just not like? Argh. Die click-through

    Command-clicking an element in XPress invokes the move tool temporarily but in InDesign it serves as "click through" while also invoking the group selection tool. So say you've got the type tool active, for example, and you want to quickly move the type box that's selected. An ex-XPress user would do a command-click drag and be back to working inside the box on the type. Do it in InDesign and you'll click through it and drag the element behind it. Inevitable cursing ensues. How this made it through beta testing I have no idea and there is no option in the keyboard shortcuts preferences to change the '"click through" modifier, so I don't see any workarounds other than completely avoiding command-drags unless you know nothing is under the object you're grabbing. I'll give a hot, oily back-rub to anyone who knows how to hack this click modifier with a resource editor or something. Offer ends soon.

    Files and plug-ins aren't backward compatible With InDesign 2

    I guess it was a bit of a long-shot considering the upgrade but if Quark can make their files save to a version one under the current version, then you'd think Adobe could try. Less forgivable is that InDesign 2 plug-ins need to be updated to work with CS; the Suitcase X auto activation plug-in that I have was broken. This was a trend I hated with Quark and hope that this isn't an acceptable casualty of upgrades in Adobe's books. Considering Illustrator CS' brutal slaughter of my 3rd party plug-ins and its refusal to work while saving to an older version, I can't say the future looks bright here. Let's hope some brave coding soldier at Adobe changes things for the better.

    Yo' Mama says that file name is ugly

    InDesign creates ugly temp files with names like "~my layoutt12~cawcaw106_.idlk" when you are working on a document. There's no option to keep them in a different directory and they can't be hidden.

    Temporary ugliness abounds

    What does XPress do better?

    There are a few things XPress does better that Adobe would do well to incorporate into InDesign

  • Automatic backup of recent revisions. I might have developed a schizo backup habit because of XPress' tendency to occasionally corrupt its files, but even if InDesign files are fortified with the finest of hardened leathers, it doesn't protect me from my own stupidity. And considering I might accidentally overwrite my tweaked text stylesheets with the aforementioned bug, I'll need a couple recent revisions backed up to save my butt. If I knew Applescript or how to use cron, I could do this myself with a folder action or something, however I am but mortal and possess none such abilities. Either way, it's a needed feature.
  • Quick manipulation of subgroup items. Item subgrouping works just as in QuarkXPress but when moving more than one item in XPress, command-click dragging a single element lets you move it separately while the group stays selected. This is really handy and it would be nice to see yoinked for InDesign.
  • Printer support. InDesign, Acrobat and Illustrator CS all refuse to print to our HP Laserjet 1200 even though QuarkXPress does.
  • Unbeatable 90? lines. InDesign has no 90? line tool. I held shift while creating lines which worked but when the ends moved making chaotic 1? angles, I couldn't set them back to 0? again. Scary, I know.
  • Wants and wishes (besides a vacation)? Find and replace

    It would be nice if you could find and replace object attributes. I've been spoiled by XPress Xtensions that did this and they save a lot of time as well as help prevent missing hard-to-notice things like a single box with a thicker border. An Illustrator-like magic wand to select a bunch of elements with similar attributes (stroke width, color, etc.) would be great too.

    Little needs
  • There is no snap to point option, which limits the path tool. And the align palette only works on objects not with selected points on a path or edge lines.
  • The pages palette doesn't auto scroll when you try and drag pages around.
  • The click-and-hold-for-live-drag time is a little long and isn't customizable.
  • I'd like to see the ability to change the default value for line weights/strokes other than 1 point.
  • I find myself missing Illustrators 'repeat transform' function a lot.
  • It would be nice if there was some way of revealing images files in the finder from the links palette.
  • Now that I've got all this off my chest, let's look at whether it's worth trading in the trusty horse for the young dragon.

    Conclusion Price and verdict

    InDesign CS: $699.00 QuarkXPress 6: $945.00QuarkXPress 6 Passport: $1795.00

    To me, it wouldn't matter if InDesign cost up to US$400 more than XPress ? I buy based on what a program can do in saved time and the tools it offers to help me design with as few roadblocks as possible. InDesign CS, which includes full dictionaries and language-hyphenation support only found in QuarkXPress Passport, is not only cheaper, but better-equipped overall as a layout program. I tried to care about the new features touted in QuarkXPress 6, but things like syncing of text across layout spaces, which delivers the dubious value of storing a whole batch of projects in a single bloated, monolithic file, are hardly everyday needs for the majority of people who work in publishing.

    Adobe, on the other hand, seems to be good at reading minds with InDesign, including tons of "I wish a program would do that" type of things:

  • Being able to format multiple separate elements simultaneously
  • Save page size presets
  • View pages as trimmed
  • Edit a clipping path within the layout
  • Select and copy a group of guides
  • or do things as basic as change the case of text in a sentence and see a colored grayscale image as it will print.

    The InDesign CS sum total of intelligent, well-thought-out interface and tools make XPress, now in its 6th version, look incredibly sparse and dated. Only time will tell if Quark is going to continue kidding themselves about their layout monopoly being based on quality. Indeed, users are clueing in to this, me being one of them. Starting with our next issue, we'll be doing 100% of our magazine in InDesign CS. The pages that we created in InDesign for our last issue ? many of which were uncommonly complex ? made it through production without a hitch and the minor issues that I did see are probably going to be fixed in a .1 update, so I'm no longer worried about running into any crucial issues at prepress. Things are looking good. Maybe the title of this review should have read "A Former QuarkXPress User's Review of InDesign CS," but then I know half of you, poised to go for the jugular, wouldn't be reading this right now :P

    Still, the question remains: do we want to hand Adobe a monopoly on design production by making InDesign the standard in layout? If XPress was a very competitive product, I might be compelled to support it even if it lacked a few minor things and cost a whole lot less but unfortunately, that's not the case. The gap is too wide. In 10 years, maybe the converts and preachers will be on the other side of the fence, but for now, they've got good reason to be on the Adobe side, loving the dragon.

    Dave Girard (aka BEIGE) is art director of Canadian fashion/lifestyle magazine, Strut. He also writes a design column for a saucy rag, Vice Magazine. His own work can be seen at 3eige.com

    ?

    ?

    ?

    Revision History Date Version Changes 11/18/2003 1.0 Release 11/19/2003 1.1 Corrected page 3 to reflect that QuarkXPress 5 files cannot be opened by InDesign CS

    Members of Newspaper Industry Rally Around Adobe InDesign CS2 and InCopy CS2 Software; Top Integrators, ISVs, and Newspapers Adopt Adobe Solutions to Speed Production, Enhance ... | killexams.com real questions and Pass4sure dumps

    SAN JOSE, Calif.--(BUSINESS WIRE)--Nov. 1, 2005--Adobe Systems Incorporated (Nasdaq:ADBE) today announced that its award-winning page design and editorial software applications, Adobe(R) InDesign(R) software and Adobe InCopy(R) software, are being embraced worldwide by systems integrators and independent software vendors (ISVs) and their customers for newspaper publishing. These Adobe licensed systems integrators and ISVs include: Advanced Publishing Technology; Advanced Technical Solutions, Inc. (ATS); Atex; Digital Technology International (DTI); Harris & Baseview; Managing Editor Inc. (MEI); SAXOTECH; Unisys; and WoodWing Software.

    Integrators and ISVs are using Adobe's flexible page layout and copy-editing software as an integral part of their overall editorial, advertising, and pagination solutions to help newspapers streamline publishing. By offering improved collaboration between editors and page designers, the combined InDesign and InCopy solution helps optimize design creativity and quality in an efficient, integrated workflow.

    Newspapers Worldwide Continue to Move to InDesign and InCopy

    Newspapers of all sizes have adopted workflows based on Adobe InCopy CS and InDesign CS software and are now moving to InCopy CS2 and InDesign CS2. Large newspapers adopting systems based on Adobe software include DTI customers La Nacion in Argentina, Pittsburgh Post Gazette, and Star Tribune in Minneapolis/St. Paul, as well as the Guardian in the United Kingdom, a WoodWing Software customer. Medium-sized newspapers, including Charleston, South Carolina's The Post and Courier, an ATS customer, and WoodWing Software customer The Albuquerque Tribune have also implemented solutions based on Adobe InCopy CS and InDesign CS. Niche newspaper Dose in Toronto, a Harris & Baseview customer, is planning to convert its workflow to Adobe InCopy CS2 and InDesign CS2 software.

    "In the past, newspapers had to choose between productivity in managing their information with more than one person working on a page or story at the same time, or go for a design-lead approach with a system built around a single-user desktop publishing application," said Alyson Williams, marketing director at DTI. "With publishing systems based on Adobe InCopy and InDesign, DTI has been able to give customers database assets and a stunning array of creative and copy-editing tools in a single, integrated system that saves hours each day in overall production workflow."

    Integrators, ISVs, and newspaper publishers cite several reasons for their move to publishing systems based on Adobe InCopy CS2 and InDesign CS2: tools that enhance design quality; tight integration with other components of Adobe Creative Suite 2 such as Adobe Photoshop(R) CS2, Illustrator(R) CS2, and Acrobat(R) 7.0 Professional software; ease of repurposing print content for electronic delivery; and robust workflow automation through XML and comprehensive scripting languages support for more efficient reuse of existing content and layouts.

    "There has been a significant shift in the market toward Adobe based solutions," said Briggs Kilborne, president at Harris & Baseview. "Customers want the flexibility of Adobe InDesign, Adobe InCopy, and the Adobe Creative Suite integrated into best of breed workflow systems like IQue and Jazbox."

    Star Tribune Moves to Unified System based on Adobe Software

    The Star Tribune, one of the 20 largest newspapers in the United States, has implemented a DTI system to support editorial and advertising activities. By standardizing on an integrated system, including a unified database as well as page design and copy-editing software from Adobe, the Star Tribune is reducing the resources needed to produce the newspaper, while increasing newspaper quality and efficiency.

    "DTI's integrated system, including InDesign and InCopy software, facilitates accuracy and timeliness of content, as well as easy repurposing across media," said Faith Christine, IT News Publishing Systems Leader at Star Tribune. "And that frees us to invest more production time in the design and quality of the product."

    About Adobe Systems Incorporated

    Adobe is the world's leading provider of software solutions to create, manage and deliver high-impact, reliable digital content. For more information, visit www.adobe.com.

    (C) 2005 Adobe Systems Incorporated. All rights reserved. Adobe and the Adobe logo, Acrobat, Illustrator, InCopy, InDesign and Photoshop are either registered trademarks or trademarks of Adobe Systems Incorporated in the United States and/or other countries. All other trademarks are the property of their respective owners.


    Markzware MarkzTools for InDesign CS6 & MarkzTools2 Support InDesign CC 2019 macOS | killexams.com real questions and Pass4sure dumps

    Friday, December 14, 2018

    Press release from the issuing company

    Markzware Adds InDesign CC 2019 Mac Support to MarkzTools InDesign CS6 Plugin & MarkzTools2 InDesign to IDML Application

    Santa Ana, Calif. – Markzware, leading innovator of data conversion software and desktop publishing tools, announces the update of the MarkzTools® for InDesign CS6 plug-in for macOS, which now supports conversion of InDesign CC 2019 files.

    Also, the MarkzTools2® stand-alone application has added support for converting InDesign CC 2019 files to IDML (InDesign Markup Language). In addition, IDML created with MarkzTools2 can now be used with QuarkXPress 2018’s “New Project from IDML” feature.

    The updated MarkzTools for InDesign plugin adds support for converting up through InDesign CC 2019 files into InDesign CS6. This latest update can benefit CS6 users who don’t subscribe to Creative Cloud, yet need to work with customers who produce InDesign CC files.

    John Gibson, Markzware customer said, “I had to tell you thanks for having a great product. Your MarkzTools2 stand-alone application for conversion to IDML format did what it was supposed to do when a Jr. designer decided to upgrade to ID without checking with the IT department first. On top of that ID seems to have had a crash issue when trying to save down so I was thinking we would have to eat some hours to fix these issues. You have personally saved me lots of tears and frustration.”

    The MarkzTools2 stand-alone application, in addition to supporting Adobe InDesign CC 2019 files, also can convert InDesign files to IDML that is readable by InDesign CS4-CC 2019. The MarkzTools2 application does not require InDesign on the machine to create IDML files from InDesign documents.

    Now, with the MarkzTools Bundle, you can use the:

  • MarkzTools2 stand-alone application to convert CS4 through CC 2019 InDesign files to IDML.
  • MarkzTools for InDesign CS6 plug-in to convert InDesign CC through CC 2019 files to CS6.
  • System Requirements, Pricing and Availability

    The MarkzTools2 application and the MarkzTools plug-ins all require Mac OS X 10.6.8 or higher. Markzware’s MarkzTools for InDesign annual Mac Subscription is $99/year (MSRP) and is available via the MarkzTools2 page on the Markzware website and through Authorized Resellers.

    To post a comment Log In or Become a Member, doing so is simple and free

     



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