Podcast 057 Transcript
To hear the audio episode from which this transcript was made, or to comment on this episode, go to the InDesignSecrets Podcast 057 page.
[music]
Anne-Marie Concepcion: Welcome to InDesign Secrets episode 57, I’m Anne-Marie Concepcion and I’m here along with my handsome co-host David Blatner.
David Blatner: Good morning, good morning.
Anne-Marie: Good morning David, how are you?
David: I’m doing very well. Or good afternoon, or good evening, good twilight.
Anne-Marie: Is it morning over there in Seattle even though it’s afternoon here in Chicago?
David: [laughs] Yes. That’s for me to know and you to find out.
Anne-Marie: Are you just waking up from a bender?
David: That’s what it is, exactly.
Anne-Marie: Our podcast and blog–at InDesignSecrets.com–are the independent resource for all things in design.
David: OK, so here is what we’re going to cover in this episode, it is the summer tip extravaganza. Woohoo! There you go. Also we’re going to be covering the hot button post of the week, which is all about customizing the control panel. And the obscure InDesign feature of the week, isolate blending.
Also before we do the summer tip extravaganza, I just wanted to mention that the Melbourne InDesign Conference is sold out. Unbelievably, sold out, but that’s just all the more reason to plan ahead for future InDesign Conferences. For those of us who are up here in the Northern hemisphere, put February 26th through March 1st on your calendar.
Anne-Marie: We’re all ready there on my calendar. I have the dates.
David: There you go.
Anne-Marie: Should I put anything on those dates?
David: Miami. Miami, Florida. It’s going to be a good time to be in Miami–not only will it be beautiful weather–but it will also be the next big International InDesign Conference. So we hope to see you all there, it’s going to be great.
Anne-Marie: InDesign Conference Internationale.
David: Exactly, right. In Miami, Florida.
Anne-Marie: InDesign gigante!
[laughter]
Anne-Marie: That sounds great. Good. Perfect time for Miami too. All right, so let’s jump into our first annual summer tip extravaganza. Basically, because we couldn’t think of any specific topic to cover.
David: [laughs] Right, so we just threw in a little of this, a little of that, instead of any one topic.
Anne-Marie: That’s right, and turned it into an extravaganza. You can’t see us, but right now we’re shooting fireworks and we have balloons and it’s just going crazy here.
David: It’s crazy, crazy around here. So we’re just going to do a bunch of little tips. Little tips, things that you should know, and some of these you’re going to know and some of these maybe you don’t know. But these are kind of tips that every InDesign user should know about.
Anne-Marie: All right, so one of them is to color something, you can just drag the swatch from the swatch’s pallet and drop it right on there.
David: That’s one of those things that people just dont’ really pay attention to. They always think they have to select the object and then click, or select and choose fill or stroke and then click on the color swatch or whatever. And you don’t have to, you just drag and drop.
In fact, the object doesn’t even have to be selected. Just have an object and drag the swatch on top of the fill part of it and it will fill or drag it on top of the stroke part of it and it will stroke it with that color. That’s cool.
Anne-Marie: So you don’t need to worry about if fill or stroke is in front either?
David: That’s right. You know, another thing having to do with colors, especially, is the Command-Shift-A keyboard shortcut–or Control-Shift-A on Windows–deselects all. This is one of those things that I feel like people should just kind of get into a nervous tic in their hand. Command-Shift-A, Command-Shift-A, Control-Shift-A.
Just deselect everything especially when you’re making a new color, when you’re editing colors…
Anne-Marie: Making a new style. Placing, when you’re placing something, because you have that check box that’s turned on by default to replace selected item.
David: Exactly. So you want to be able to deselect everything on your spread before you do these things, just for safety. It’s one of those safety measures. So Command-Shift-A, just make it a little nervous tic.
Anne-Marie: Yeah, it’s like if it’s ever happened where you start typing and all the type is like big, blue letters on a black background. You’re like, “What the heck?” It’s because you accidentally were editing or fooling around with the style with some text selected and that became the default style somehow. So always, I think right after Command-Z or Control-Z, it’s Control-Shift-A.
David: Yeah, that’s a really, really important one. The other thing that it’s important to do when you’re applying styles, or editing styles especially, is when you’re editing a style–like a paragraph style or a character style–don’t double click on the style. Because it’s going to actually apply it to whatever you have selected. So if you do have something selected, it’s going to apply it.
Even if you don’t have something selected–if you did the Command-Shift-A to deselect everything–if you double click on it, that’s great but it makes that style the default style. It actually still selects it, so it’s better not to double click on any of these things.
I don’t like double clicking on colors, or on paragraph styles, character styles. I right click on them, right mouse button click. We’ve talked about that in previous, how important it is to have a two button mouse. Or if you do only have a one button mouse–control click on Mac with a one button mouse–but just go get a two button mouse.
By the way, I mentioned this on the blog, I finally got an Apple Mighty Mouse for my Mac. I really was skeptical, you know it looks like a single mouse but it’s supposed to somehow act as two buttons, and it’s so cool. It really works. So I’m just like, “Wow!”
Anne-Marie: Is it the same shape, like a big, old, huge Irish Spring bar of soap kind of thing?
David: Yeah, basically it looks like a big bar of soap, but it feels good in my hand. I’ve got relatively small hands, so maybe that’s part of it. But the scroll button in the middle is brilliant and it really is a four button mouse. Because you’ve got the scroll button, the scroll wheel, as it were, but it goes in all directions.
So it can scroll left or right or up and down or diagonally or whatever, which is great. And it has two buttons underneath, but they’re hidden, so you’re basically sort of tilting to the left or tilting to the right, but it’s very reasonable. Then if you squeeze it, you’ve got a fourth…
Anne-Marie: It yells. Eeek, eeek.
David: [laughs] Eeek, eeek. It’s very cute, so I’ve been very pleased. And it’s wireless, the one I have is wireless, so I’ve gone wireless entirely here. Except for the power cord.
Anne-Marie: I don’t know, it sounds sexual to me. That little button at the top and you squeeze it and I can see why you’re into it.
David: It’s very sensual, there’s no doubt about that. Right? So anyway, what are we supposed to be talking about here?
Anne-Marie: We were talking about right clicking.
David: Oh, right.
[laughter]
Anne-Marie: You were talking about right clicking on styles, so you don’t accidentally apply the style. The same is true, I think, for lot’s of these things. Like with swatches too, if you have a frame selected and you want to edit a swatch, if you just double click it to edit it, then it’s going to apply that swatch to the selection. But if you right click and choose swatch options, you can modify that swatch and say OK, and it’s not going to apply it.
David: Yeah, yeah, it’s great. Every new version of InDesign has more context menus in it. Early versions of InDesign only had a few context menus and they keep adding them, especially to the palettes or panels–you keep getting more of them, so there’s more in CS3, for example I don’t remember when the pages panel got context menus, but now the pages panel has context menus, so you can right-click in there and do cool stuff. It’s really handy; I love the Context Menu, just right-click on stuff and see what happens. So, that’s a good thing.
Anne-Marie: All right. Another tip; change the lorem ipsum text that comes in when you choose, “Fill with Placeholder Text”.
David: Right.
Anne-Marie: I don’t know how many people use that command; I think some people never use it and other people use it all the time. I think a lot of trainers use it all the time because instead of saying, “OK make a text frame and then just start typing to see you can get some text in there”, I always tell students, “choose Fill with Placeholder Text”, and it’s that lorem ipsum text. Now, I think if you hold on the Caps Lock key, you get a slightly different version.
David: Yep, yep, we talked about that on a previous podcast I think too.
Anne-Marie: But what’s even better is, you can get any kind of text, save it as a plain text file, and give it the filename “placeholder.txt”–all lower case.
David: Yep.
Anne-Marie: Drop it into your InDesign folder in CS, CS2 or CS3, just drop it right in the program folder floating in the same level as the application. And now, when you choose, ‘Fill with Placeholder Text’, it will place that file instead over and over and over again.
David: I just had a brilliant idea for a new script; we got to get someone to write this.
Anne-Marie: OK.
David: it would automatically–maybe it’s a plug-in, it would automatically go across the Web to the InDesignSecrets.com site and get the most recent blog entry and save it to your disk as the placeholder.txt file, and then every time you fill with placeholder, the text you would get is the most recent blog entry–don’t you think that would be brilliant?
Anne-Marie: Yes, I think you should write that up.
David: Totally useless, but appropriate somehow. OK, so the placeholder.txt file.
Anne-Marie: placeholder.txt. I went to Gutenberg.org when I realized I was so sick of the lorem ipsum I couldn’t take it anymore, and I just was flipping through different books that were available, so that you can grab any text and not have to worry about the licensing, and I got some Aesop’s Fables and put those in. So now when I fill the placeholder.txt it says, “There once was a King who had three lovely daughters, and they had a beautiful garden” and so on.
David: Good!
Anne-Marie: But see, that’s a detriment now when I’m training because I’ll fill something with placeholder.txt, and I’m talking about how to create a text inset or something and people are like, “Wait, wait, don’t leave, we’re reading the story.”
David: Right.
Anne-Marie: Don’t move the dialog box over.
David: Right. So, beware; beware using anything that people actually want to read.
Anne-Marie: Yeah. But it’s nice, because now–also, I think the lorem ipsum text, the paragraphs are too long. A paragraph would go on for like 30 lines.
David: Well, that’s a different subject. Let’s move on to another tip. This is something that we’ve talked about before. To me it’s crucial for every InDesign user, especially InDesign users who have been using QuarkXPress and that is, go to Preferences, go to the Type Pane, and turn on, “Apply Leading to Entire Paragraphs.” I mean, most of the time, when you are applying leading to a paragraph, you want it to apply to the entire paragraph–and I had seen so many instances where people, in InDesign, they have leading screwed up in their paragraphs–maybe the last line has a wrong leading or a line in the middle of the paragraph has the wrong leading and it’s just crazy making.
Go turn the “Apply Leading to Entire Paragraphs” on, turn it on with no documents open, and it will be turned on for all subsequent documents. And then, on the few instances where you want to have it turned off, go and turn it off, make the leading tweak that you want to make, and then go turn it right back on again. So, it really is something that I still feel that Adobe screwed up in their default setting of that preference; that should be on most of the time.
Anne-Marie: Yeah, I can’t think of any instances, unless I’m doing some kind of like, weird-looking design on purpose where I’d want the leading to be different within a paragraph. But you know, as we said before, David, turning on “Apply Leading to Entire Paragraph” does not prevent leading problems anyway–I mean, not all of them, you still have the last line weirdness problem.
David: You can; that’s true, you can still have it, so you still need to be careful of your leading, but it fixes most of the problems most of the time. Here’s where I would have it turned off; most of the time I have it turned on, then I look at a heading, or some kind of headline–big, bold headline text and I look at it, and it just looked wrong, and I realized that maybe two lines need to be slightly closer together, maybe three line heading…
Anne-Marie: Oh yeah, that’s true.
David: And you need to just tweak it a little bit. And most people break that up into three different paragraphs and go, “Well, I’ll just change the leading of this one.” Don’t break it up into three different paragraphs; lead with one paragraph, turn off the preference, make the tweak of your leading one line at a time, and then go over and turn the preference back on. So, that’s how I would use it.
Anne-Marie: OK, that makes sense. Good. All right, another one, and one that I’m obsessed about that I’ve talked about many times is, ‘Use the Story Editor’.
David: Yeah.
Anne-Marie: Don’t forget that the Story Editor is there; so many people moving from Quark never had a Story Editor, don’t even bother looking at it, and when I show it to people they’re like, “Wow! That is so cool.” Just go to the Edit Menu, choose “Open in Story Editor”, or just choose–what is it called?
David: Edit in Story Editor.
Anne-Marie: Edit in Story Editor–I usually just press Command- or Ctrl-Y, which opens up the Story Editor, showing the contents of the story that’s currently selected, and it’s wonderful for, for example, accessing overset text. You can all the text in that window; it’s demarcated by a red line along the left hand side, and it’ll say, ‘Copy’ ‘Fit’ ‘Break’ right above it. So, so all those times that some writer gave you a story that was too long and won’t fit in the space allotted, and then you have to create another frame, thread it to the existing frame, stick it on another page or the Paste Board and say, here’s the overset text. Instead, that person if they have InDesign, could just open it up and look at it in Story Editor and access the overset text.
David: Yeah, this tip really falls into the category of, ‘just use the feature that’s already there’. But I still consider it a tip, because like you said, so many people don’t use it, and you really have to force yourself to use it a couple of times–you select a text frame, go to Story Editor, and you’ll be amazed at how quickly you fall in love with this thing. It’s really a great efficiency booster. Especially, don’t forget to go to Preferences, open the Preferences Dialog Box, go to Story Editor Display and set up the Story Editor the way that you work; what’s comfortable to your eye. So, for example, the default font, which is like Letter Gothic or something, to me is ridiculous, I would never–it’s just hard on my eye–makes it harder to read. So I always change it to something like Georgia, something that is easy on the eye to read on screen and make it a little bit bigger to read. So yeah, use Story Editor. Another one, this is a tip which is…this is one of those things that were asked at least several times a month, we get emails from people saying: “How do you do this thing?” and the question is: “How do you if you are importing a long text flow? How do you make it auto-flow from one page toward the next?”
And so, I just want to throw this out for the record: Hold down the SHIFT key, shift click with place cursor will auto-flow your text. So, if you have 10 pages of text SHIFT-CLICK will keep adding pages and keep adding text frames for you until you have the entire text flow in there. So, SHIFT-CLICK with the place cursor.
Anne-Marie: That’s right, with the loaded place cursor.
David: Loaded place cursor.
Anne-Marie: And you know, there is another one. If you hold on the ALT and SHIFT or OPTION and SHIFT on the Mac, the little known…
David: I can tell you, you’re trying this right now, aren’t you? [laughing]
Anne-Marie: [laughs]…the little known, barely documented semi? No, the semi-auto flow is when you just hold on the ALT or the OPTION but this one is, I don’t know what you call it. But anyway, it’s auto flow but it doesn’t add extra pages, which is very often what I want to do.
David: Right, it’ll just fill the pages that are in the document. So, look at the cursors, that’s a great tip all by itself, don’t forget to look at the cursors in InDesign, they’re constantly changing, constantly updating.
Anne-Marie: Right, so holding on the…the regular auto flow, the SHIFT key, you could see like Mr. Snake in a little snaky ass thing…
David: [laughing]
Anne-Marie: …but with ALT+SHIFT or OPTION+SHIFT, you’ll see just an arrow pointing down and that is, I don’t know what the name for that is but hat is auto flow but please don’t add anymore pages.
David: Right, just fill the pages I have or fill columns, I have.
Anne-Marie: If it doesn’t fit then it just stops the last frame and is over setting. So, it’s up to you to decide what to do from then on.
David: Yeah, and I want to throw in one more CS2 tip.
Anne-Marie: OK.
David: Because every now and again, I have to go back to using CS2 and this one just drives me bunkers. When you paste a paragraph, if you copy an entire paragraph or cut an entire paragraph and paste it somewhere, you still get that little extra space at the end. So, if you’re pasting an entire paragraph, paste and then hit delete.
You know, it’s one of those little things and I’ve noticed the showing up in print too, where people are sending me documents to look at and I’ll see these little spaces and one phrase…
Anne-Marie: In front of the first word of the paragraph, yes.
David: Exactly. You have to search for those things. Don’t let those things sneak in there. So, whenever you paste, hit backspace in CS2. They fixed it in CS3 so you don’t have to worry about that anymore which is for me, that’s a reason enough to upgrade.
Anne-Marie: So, will you please…you know, I don’t… I guess I have to try it for myself but when you paste a paragraph in CS2, right after you paste, where is the cursor? Is it at the beginning of the paragraph?
David: It’s after the space. So, if you hit DELETE, I’ll have to go try it again. But I think you just paste and hit delete and it goes away. I’ll go try it.
Anne-Marie: Right. OK.
David: I’ll go try that again. OK. So, you know, some tips. We all love tips. It’s always good…a few things to keep in mind and enjoy as you’re InDesigning.
Anne-Marie: Right. So, the hot button topic of the week on the InDesignSecrets.com blog, the post that was written and got a lot of responses was from one of our favorite contributors, Sandee Cohen and it was called “Customizing the Control Panel” though actually her title I like is “Less is More for the Control Panel.”
David: [laughs]
Anne-Marie: And in her post she mentioned that she had just stumbled upon the fact that at CS3, you can customize the control panel. You can by default, the control panel shows everything possible but you can uncheck some items so that you see less in the control panel. And she was wondering why would anybody want to see less things in the control panel than what are there. And she got a lot of responses and I was one of the respondents too.
So, I think the reason I would and that I wrote about is that on my 15-inch Mac laptop, I can’t see all the cool stuff in CS3. And CS3 is different than CS2 when you’re in text mode. It will fit as many character and paragraph formatting commands as possible in the same panel no matter which mode you’re in.
David: Right.
Anne-Marie: So, if you’re in the character formatting mode, it starts out with all the character stuff like the type-faced drop down menu and so on, but then when it’s done showing you all the little character formatting widgets then it goes into paragraph formatting widget so you also see the horizontal alignment and indents and things like that.
David: Right, which is great.
Anne-Marie: When you switch to paragraph mode then it just flops them so you see all the paragraph formatting stuff first followed by the character formatting.
David: Yup, which is great but like you said if you’re screen isn’t wide enough then you don’t get to see a lot of that stuff. And so…
Anne-Marie: Yeah. So, in my laptop I was never able to see like…I could see character styles but not paragraph styles, for example when I was in character formatting mode. Actually, I hadn’t bother customizing it until I read her post and like: “Yeah, let me do that.”
So, I just turned off some of the things that I don’t use a lot like I hardly ever use character scaling.
David: Sure.
Anne-Marie: You know, the horizontal and vertical scales, I turned that off. I turned off a couple of other things I can’t remember and now I see all of the commands that I want when I’m in character mode in InDesign CS3. I can see both character styles and paragraph styles drop down menus, all the indents, all the kerning. So, I really never have to switch modes now.
David: Yeah, which is wonderful, which is a really a great thing. And I also pointed out on that post that those things, those control panel customization actually get saved in your workspace as well. So, you can have multiple workspaces as we’ve discussed in previous podcast, you a get a multiple workspaces with different panel configurations and so on. And with different control panel customization options.
So, you may sometimes want to have all of them there and sometimes you don’t want to have all of them there, just make different workspaces. I think that’s could work out well.
Anne-Marie: Right. It’s easier than actually checking them on and off all the time.
David: Exactly. Right. You really should…
Anne-Marie: You know, I don’t think we mentioned where you do that. It’s in the control panel menu, in far right.
David: Right.
Anne-Marie: So, the very last item in the menu is customize control panel. And by the way, also in CS3, you’ll see that all the commands for both character and paragraph are in that control panel menu.
David: Oh, yeah, which is great. There’s two things about that control panel menu which I love: One is it now puts both the character mode and the paragraph mode, like you just said. The other thing is the menu is always in the same place. In CS2, it’s a little thing what is driving me crazy, in CS2 it depended…the position of that little fly-out depended on whether you’re in character mode or paragraph mode.
So, to me it’s so much as about body memory. You know, where the mouse just goes automatically and I had to constantly look to see: “I wanted to go to the menu, where is it now?” And that was driving me nuts.
So, in CS3 they put it in one place. The menu is always in that one place in the control panel. So, it’s just a little bit more efficient. And you know what, Adobe pays attention to that kind of thing. They watch people…they want to shave a half second of your time here or shave off a step here, that just makes everybody more efficient. So, that’s a good thing.
So, yes thank you Sandee for pointing out the customization feature in CS3 but I think we all, on that blog post ultimately agreed that what we really want is the ability to truly customized the control panel. Like add the features that we want to add, completely remove the stuff we don’t want to have, move stuff around, you know.
Anne-Marie: Yeah, that would be neat; to be able to move stuff around and it is wonderful, it is the version one of the feature but like…one thing that I found a little aggravating was, what was it that I turned off? Oh, when I turned off horizontal scaling, OK. I never used words along the vertical scaling of character, I hardly ever but that also meant that I lost baseline shift.
David: Oh! Wow.
Anne-Marie: Because it’s that group that keeps removed.
David: Oh, I see, right.
Anne-Marie: So, same thing like if you don’t care about paragraph styles in a drop down menu, which a lot of people don’t; they always use quick apply or they use the panel. So, if you say: “OK, I don’t want to see the paragraph style,” you lose the hyphenate check box.
David: Oh, geez.
Anne-Marie: Because that’s why they don’t need there, so…
David: So, it’s pretty clunky. It’s.
Anne-Marie: …to compromise. Yeah.
David: It’s pretty clunky it compromises. Maybe in CS4, we can hope that it’s going to get better, interesting. OK, well how about the obscure InDesign feature of the week?
Anne-Marie: And that is “isolate blending”.
David: Isolate blending, interesting.
Anne-Marie: Where is isolate blending found? Where is that command?
David: Well, in CS2, Anne-Marie, it’s in the Transparency palette. But in CS3, it’s in the Effects panel, they changed the name of it. There we go. So, it’s a different panel.
Anne-Marie: And it’s always at the check box at the bottom next to its evil twin, knockout group.
David: And you can…what really gets me crazy about isolate blending is you can turn it on and off most of the time. It doesn’t even do anything.
Anne-Marie: Yeah [laughing]
David: And so, that’s why it’s obscure. It doesn’t seem to do anything. So, tell us when would it do something?
Anne-Marie: It’s also quite use…it’s just so obtuse. Isolate blending.
David: [laughing]
Anne-Marie: And same as knock out group, I think of them as like Romulus and Remus. You know, they’re just…
David: [laughing]
Anne-Marie: …two twins that stick together, that are sort of evil because they’re not quite clear in what they do.
David: A-ha, yeah. [laughing]
Anne-Marie: All right. So, isolate blending in a nutshell is this: You have a bunch of items and you have changed their blend modes from the effects or the transparency panels and so that one is multiply and one is hard light or whatever they call it, and you want them all to interact with each other and then you move those objects on top of a background image and you don’t want them to blend in with that background image.
So, like you group the items that you want to blend with each other and you drag the group on top of something else and InDesign normally those blendings carry through all the way back to the paper.
David: Right, right.
Anne-Marie: Because it blends with everything in the back. If you don’t want them to blend with everything in the back, just the other members of their group, you turn on isolate blending.
David: That is a great description. That’s exactly…that’s better than I could have said it by far.
Anne-Marie: Oh, good. Cool.
David: Yeah, it forces them to only blend with other objects within that group, which is great.
Anne-Marie: And yeah, I have not really encountered a need for that but I guess I just don’t do enough playing around with the blend modes in mode share.
David: I think Branislav Milic came up with several good uses of that in this transparency PDF. I’ll have to go back to that PDF that he came up with because he was using the knockout group and the isolate blending in some clever ways. I’ll have to go check that out again but he is the king of isolate blending and knockout groups. So, we’ll have to ask him.
Anne-Marie: Right. So, you have to remember though in the manual, the online help makes this clear that you apply the blend modes to the individual objects and then you group them and then you turn on isolate blending.
David: Right.
Anne-Marie: So, isolate blending on a multiple selection of things will do nothing. You’ll have to group them first.
David: Yeah and it only choose groups.
Anne-Marie: And it has nothing to do with blending like if you have a group selected and you choose a blend mode, isolate blending does nothing.
David: That’s right. Also, isolate blending also does nothing when you’re mixing my ties or frappucinos.
Anne-Marie: [laughing]
David: Neither of those situations does this feature apply. Only when you have the group of maitais or frappucinos. That’s the fact.
Anne-Marie: Actually.
David: Actually [laughing]
Anne-Marie: Actually, no…actually I made group because I’m testing it as I talk. Because everything gets transcripted, you know and I want to make sure I catch any errors before they make it into the transcript.
David: OK. All right.
Anne-Marie: And I’ve made a group that has blending…the things inside it are blending with each other and the isolate blending check box works just as I described but with that group selected, if I change the blend mode of the group to multiply, then turning isolate blending thing on and off does appear to make a difference.
Oh, no. I guess, that’s interesting that you can have blend modes of the objects within each other plus group itself can blend.
David: Yeah. Absolutely. Because the group…you always have to think of the group as an individual object. So, anything that you can do to an object, you can do to a group of objects in the same way.
So, yeah you can apply a blend mode to an object and then put that object into a group and apply a different blend mode to it and you get sort of stack of multiple blend modes happening at the same time.
Anne-Marie: Right. And you make your printer so happy: “Oh, thank you for doing this. We were looking for a challenge.”
David: [laughing] Right. But then the trick to grouping though is then if you ungroup, you lose anything that was applied to the group. As soon as you ungroup these objects, all that stuff…like if you apply the drop shadow to the whole group; you lose the drop shadow because the group…that object no longer exists. So, all of that stuff just goes away.
Anne-Marie: Good point. Right.
David: Text drop is the big thing that tries to be closer on that. I apply text drop to a group and then I ungroup it and the text drop goes away. I wish there were a way to say ungroup and apply whatever I had to each one of the objects in the group or something, like here, like that but…and that’s going to be a CS4 or CS5 or…
Anne-Marie: Maybe we should try one of you magic buttons on your mouse.
David: Oh, yeah. Maybe I’ll try that.
Anne-Marie: Maybe that will work.
David and
Anne-Marie: The secret button.
Anne-Marie: Maybe it’s like underneath the mouse.
David: The fifth Mighty Mouse button. [laughing]
Anne-Marie: [laughing] The fifth mouse, the fifth button. I love that movie.
David: Yeah. All right, all right. That is it for episode 57.
Anne-Marie: OK.
David: We would love to get your feedback about anything we talked about or anything at all. You can go ahead and just go to the show notes at InDesignSecrets.com or you can go ahead and email us at info @ InDesignSecrets.com. You know, we can’t always respond to those emails immediately but we do try and get back to you whenever we can.
Anne-Marie: Yes, that’s right. And until we meet again, this Anne-Marie and…
David: David Blatner for InDesign Secrets.
[music]
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