Podcast 107 Transcript
To hear the audio episode from which this transcript was made, or to comment on this episode, go to the InDesignSecrets Podcast 107 page.
[music]
David Blatner: Welcome to InDesignSecrets, Episode 107. I am David Blatner. I’m here along with my cohost, Anne-Marie Concepcion.
Anne-Marie Concepcion: Hey David, how are you today?
David: I am doing very well. I’m very excited. We’ve survived the heat wave.
Anne-Marie: Oh yeah.
David: We’re back down into the 80s, instead of the 100s.
Anne-Marie: I know, that’s crazy.
David: Yes it was.
Anne-Marie: I was thinking when I was writing about episode 107, and that was the temperature in Seattle.
David: It was. It actually hit 107 here. Which is…
Anne-Marie: Really? Oh my gosh!
David: It did! It really, it was horrible, horrible. And, you know, no one here has air conditioning. So…
Anne-Marie: Oh….
David: Complain, complain, complain. Anyway. Welcome to InDesignSecrets.com, and the Weather Channel, where we talk about InDesign and how it related to the weather. Exactly.
Anne-Marie: Yes.
David: Coming up on today’s show, all kinds of cool stuff.
Anne-Marie: Yeah.
David: What are we talking about, besides the weather?
Anne-Marie: Well, first of all, we’re going to be talking with our friend, and InDesignSecrets contributor James Fritz.
David: Yes, good!
Anne-Marie: Fritzy, Fritzy! He is a real InDesign guru, and he is also going to be doing his first eSeminar for us next week on InDesign and topography. He’s a big topography freak. We’ll be talking about all sorts of stuff like that during our interview. And then we’re going to jump into working with InDesign and all of it’s color plates. Like, if you were doing a two color job, but separations preview says, ‘No, you’re doing a 15 color job.’ How do you fix that?
David: Right.
Anne-Marie: And all sorts of interesting fixes in InDesign for both CS3 and CS4. And then, our obscure InDesign feature of the week…
David: …eek, eek, eek, eek, eek…
Anne-Marie: …eek, eek, eek, eek….
David: …float.
Anne-Marie: …is float.
David: Float.
Anne-Marie: We all float down here.
David: We all… [laughter]
Anne-Marie: We all float. That’s that Stephen King book. Did you ever read that? It?
David: I didn’t, I didn’t.
Anne-Marie: It’s called ‘It’. They made it into this very scary movie of the week, like in the early ’90s.
David: Yeah.
Anne-Marie: But, it’s about a scary evil killer clown that lives in the sewer…
David: Oh good, nice.
Anne-Marie: … And that’s sort of like the phrase that keeps getting repeated during the movie is, ‘We all float down here.’
David: [laughs]
Anne-Marie: I’m petrified of clowns, so, it was a very scary one for me.
David: Very scary, well exactly. This is going to be a very scary feature of the week.
Anne-Marie: That’s right.
David: Floating clowns, and InDesign.
Anne-Marie: Floating killer clowns.
David: There you go. OK.
Anne-Marie: So, who’s our sponsor? Do we have one?
David: Our sponsor. We do have a sponsor, repeat sponsor. From InTools, and World Tools, Harbs has been doing amazing plugins for the past couple years. You’ve got to know about them. If you are doing any kind of long document publishing, text book publishing, or multilingual publishing, where you need right to left, text flow, you just have to know about them. Go to intools.com. Of course, we’ll have a link in the show notes, but check out intools.com. And you’re going to be amazed. That’s the thing about the third party plugin world out there. There’s this whole environment, this whole world of cool tools that add functionality to InDesign. I mean, InDesign has lots of cool functionality, but when you start seeing what people are doing with it, adding these plugins, it is mind blowing.
Anne-Marie: Yes I know.
David: So, check it out. Check it out.
Anne-Marie: It always surprises me how some people and some companies, they refuse to use third party stuff. ‘Oh, I bought InDesign, it was expensive enough, and I shouldn’t need anything else.’ And that reminds, and that’s like, you know, buying a, what, buying a car and then never buying a cup holder. ‘Oh, I just bought this car and it’s expensive enough. I don’t need anything else. I’ll just hold the coffee between my thighs.’ It’s kind of… You want an emergency kit, it didn’t come with the car, so get one. And now look, you’re covered in emergencies. It’s sort of, like, there are some extras around that really make your life a lot easier, and they’re not that expensive, so, yeah. And Harbs, and InTools, they have a whole bunch of good ones.
David: And, you know, the thing I like about Harbs is he’s so involved in the InDesign community. He’s on the forums. He has his own blog where he does all kinds of scripts. One of the things that happened you know, we did this video cast, we’re dong video casts now, and so we did this video cast all about guides. How you can select guides, and things you can do with guides, and things you better know about guides. So, one of the things we mentioned was there’s like a keyboard shortcut, Command Option G, or Control Alt G on Windows, to select all the guides on a spread. But, you know, you can’t select just the vertical, or just the horizontal guides. And, so, Harbs says, ‘Oh, well, I could do that.’ So if you look at his blog, he has a script, a free script that you can download if you need that functionality, because, you know, it’s easy for him. And so, he just threw that script up there. He’s listening to what we’re doing. We’re trying to promote what he’s doing. And it really helps out the environment, because there’s all this cool stuff out there to help you get your job done better. So, if you need a script that will let you just select vertical or horizontal guides, check that out, definitely. Go to intools.com, and then click on his blog.
So, anyway, we better move on, but that was important stuff you have to know about our sponsor. Now.
Anne-Marie: Now, here’s another wonderful contributor to the InDesign ecosystem…
David: Yeah, absolutely.
Anne-Marie: … Fritz. James Fritz, whose been a big InDesign supporter since the early days, as you’ll hear in this great conversation that David and I had with him. So, today, we have a special guest. James Fritz, or Fritz as he’s known to his friends and, well, I guess yeah, just to his friends and family.
David: [laughs]
James Fritz: And my family doesn’t really go by Fritz very often. If you say Fritz, we all say, ‘hey.’
Anne-Marie: I would guess so, yeah. [laughs]
James: It’s very confusing.
David: That’s right.
Anne-Marie: I was just thinking about that. So, James, can you tell us a little about yourself and how you came to be such an InDesign geek.
James: All right, well, first I had to be a geek, I guess, before I could become an InDesign geek. So, I’ve had that base covered for a while, now. But, to start out, I guess, I went to UTB in Milwaukee for graphic design. And, going to school there, I graduated in ‘03, and around that time it was more Quark days, of course. And InDesign was around, but I think when I started taking the graphic arts classes, my teachers were like, ‘You have to use Quark 4.’ They were like, ‘You have to use this Quark 4,’ like they were teaching this to us. And I’m, like, ‘This program stinks. You know, this is so hard, this is weird. I’m going to figure out if there is something better.’
So, I was like, I get Illustrator and Photoshop. And I did a little research and there was this program called InDesign out there. So, I got a copy of it and started playing around with it, and I’m like, ‘Oh, I really like this, it makes so much more sense.’ And I started to talk to my teachers, and I’m like, ‘Hey, I’m going to use this program.’ And they were like, ‘You can’t do that. You can’t use InDesign. No one uses InDesign. The file will never print.’
David: Oh great. Always nice when professors tell you those things.
James: Absolutely, so, I told them, OK, I’ll just make a PDF, and they can just print the PDF. And my teachers were like, ‘Well, they won’t take PDFs; PDFs won’t print.’
David: Oh, man.
James: So I’m like, OK, fine. I’ll just going to do it, and they won’t know the difference. But my teachers, they could kind of tell that I wanted to do it in this. So they said, ‘All right well, well what you have to do, is you have to do it in Quark. And to prove that you do it in Quark, every project, you have to print out the separations, in order to prove you did it in Quark.’ So what I did was, I did it in InDesign, and I made EPS files, and placed the EPS files in Quark 4, and printed out the separations.
David: Great, great. Hacking the system.
Anne-Marie: Right, just like a lot of printers do to this day.
James: Exactly. So, I’m like, you know what, down to that level, if I can figure that out, I don’t think they care that much.
Anne-Marie: Now, did you go to school to become a designer, or to become a production person, or repress?
James: Designer. Designer. To be a designer. I’m mostly a designer But, the thing is, I geek out about it so much, I just kind of dug into it this stuff so much, it was so much fun. I became the person at every company they’re like, hey, asking questions. There’s always that goto person, and I essentially was that person.
Anne-Marie: Where were you working?
James: I was working at a variety of place. I did some freelance stuff. My first place was at a catalog company, doing these Cascio Interstate music, doing these big huge catalogs, you know, like 800 page catalogs on trumpets and guitars. Man, trying to put 16 guitars on 8.5 x 11, there’s no way to put a guitar, because they’re so tall, it’s impossible.
Anne-Marie: Now, were you able to use InDesign for those projects…
James: No, of course not.
Anne-Marie: … or were you stuck with Quark?
James: When I got there, they were still on OS 9, Quark 4. And I convinced them to switch to InDesign. I’m like, ‘This is a lot better,’ and trained everyone there to use InDesign, and got new machines. That’s when we switched to CS. I was there for about a year. And then I took a job with the current company I work for, it’s C2, in Milwaukee. And I was a freelancer, where they just put me at various places, and I just went from company to company. I was at Reiman Publications, which is now Reader’s Digest, filling out magazines. Worked at a couple of different ad agencies. And various different corporations. So, I’ve worked across the land.
Anne-Marie: You were like a migrant worker.
James: Pretty much, yes. I had songs that I would sing. I had my hobo thing across my back. Eventually if someone wronged me I would get chalk and put the marks on the back of their computer monitor. [laughter]
David: So what’s intriguing about this is that you came from this design background. You learned all this, the high tech geek stuff. You were the go to person. Now, you are sort of putting it all together. You can talk the language of the designer because you are a designer and the language of the geek because you are a geek. You are putting it in one thing. I want to take then segue into this eSeminar, which you are about to do, all about type and the topography deep type and I just want to learn a little bit more about why you are doing this and why you are so interested in this. I know why you are interested, because you are a designer. Designers love type.
And just tell us a little bit about what you are going to be covering.
James: Sure. Well, typography is just the art of type. And that’s pretty much the most important thing. You know, you can have a beautiful layout with just type, but to have a beautiful layout with just pictures is a lot harder. So, type is just what it kind of boils down to, especially where I come to love it so much is just doing a lot of projects for clients that are too cheap to use photography and use only use type. [laughs] Like oh, just use type. Put a big letter in the background, I guess.
So that’s kind of where the importance comes in. You can have a layout with lots of photographs and type but type is really what holds the layout together. It’s the most important piece.
So anyone can layout a text frame and then just type it in there but there’s an art form associated with it, too. There’s a lot of subtle things that really just kind of, that little, that little extraness that can really can help a layout.
So, my online seminar is going to focus on some of those extra little nuances that really make a difference as well as showcase some examples of good typographies and interesting ways to use type that you might not have experienced so far.
Some of the areas I was planning on going into are some of the more advanced open type features, as well as using, setting proper hyphenation, justification settings, space before and after. So, some areas that people are familiar with or if they are, they aren’t familiar with how to use it properly.
David: So do you think you need to be a designer to understand what you are going to be covering?
James: Well, absolutely not. Absolutely not. I’ll be giving some tips for if you are not a designer some good rules to go by where if you don’t know exactly know how much of this setting you should put, here’s a good ballpark to be comfortable to set with. And then eventually you can experiment and add maybe a little more, maybe a little less, but some just general rules to go by and as there are with any rules, once you understand the rule that you can break it.
That’s why like the highways says 65. Once you understand that, you can go 75. [laughs] So it’s focused on, you know, if you are a designer you may not know some of these techniques. If you are a production person you may not know how to use some of these techniques effectively. So, it should be for everybody.
David: That’s great. I am really looking forward to that seminar. I think it’s going to be lots of fun.
Anne-Marie: Me, too. You know that one thing he wasn’t able to get across. I don’t think he finished is that the temp agency that he was working at, they hired him fulltime so he’s a trainer there, now. A trainer. So I know that I just saw his Facebook status today that he’s training CS4 update training. So, you know, he knows all those apps. He knows Dreamweaver, too, very well. So…
He’s one of those all around power house guys.
David: Exactly. Exactly. Very good. Great.
Anne-Marie: All right, so we want to talk about doing all these plates. You know the plate issue with InDesign because I just finished a couple projects for a couple different clients this summer of they are moving to InDesign. They have all these templates they also need to convert. And so, I’m helping teaching their designers to create new templates from now on. What are the best practices? One of the issues that they have that they have some templates, they have artwork like Mastheads already placed for the newsletters, that sometimes generate more than two plates. A lot of their products, a lot of their work is just black and a pantone color.
And their printer kicks back stuff. Like if they give them a PDF that says, well, I’m actually four colors plus a pantone, even if those extra plates are empty, I think the printer just kick them back to them.
David: Yeah, a lot of printers get nervous about that.
Anne-Marie: Yeah, so they wanted to make sure that what I was helping them create would also be a good way for them to avoid that problem. And so I had the [inaudible 13:50] files and I found something that looked like it should be just two color was generating extra plates. So that’s talk about it a bit.
First of all, how do you know if the layout that you have in front of you, how many plates is it going to generate on the press? Or how many is the printer going to generate?
David: It’s a tricky thing because there’s sometimes where it just looks like it’s always going to give you CMYK. If you look at the print dialogue box, it has the impression that it is always going to give you CMYK. If you look at the ink manager, it always says that it has CMYK plus any spot colors that are there. So, there’s no immediate indication that it’s just going to be black and a pantone color. You can, however, use a separation preview panel, which I find an amazing number of InDesign users are not aware of. They are aware of it, they just haven’t gotten themselves around to using it yet.
And I want to encourage everybody to check that out. It is one of the most amazing prepress features in InDesign, the ability to…
Anne-Marie: I think part of the problem is that it’s hiding there. It is hiding in the output files. If it was just listed right there in the Ses, separation preview. Like it is in Illustrator.
David: Yeah, yeah.
Anne-Marie: It might be a little easier to see.
David: But you open that panel, turn on separations from the little popup menu and all of a sudden you can get a real time densitometer if you move your cursor around the screen. You can see what colors are there under my cursor right here. You can turn on and off individual plates. And so if you want to see is there anything other than black and you pantone color, just turn off black and your pantone color.
You’ll see I believe on CMY and you can immediately see, oh, this text was colored text. It didn’t look colored, maybe it looked black but…
Anne-Marie: It is scary when you turn off the black light and hide the black stuff and you still see your text. You’re like, wait a minute, wait a minute.
David: Yeah. Yeah.
David: That shouldn’t be happening. [laughter]
Anne-Marie: It’s a case of rich text, black or sometimes RGB black is 000 is pure black in RBG speak, but the separations preview panel doesn’t how you RGD plates. It always converts anything that is RGB to CMYK and shows you what it will be as CMYK. And RGB black does not translate to 100 percent K in CMYK.
David: Yeah, I wish it did.
Anne-Marie: I know that would be great. It translates to a mix of all four process plates. So it’s kind of a pain. [crosstalk]
David: That can happen with imported artwork or even imported text. Sometimes Word will make colored text RGB. It will come in as RGB text. And that is definitely a problem. Or in an experience you had, you had this imported artwork where it was showing CMYK.
Anne-Marie: Yeah, it was… they had just come off a 20 year Quark Jag so they had all these EPS files. When a lot of these EPS files, they were supposed to be two colors. But, for some reason, the EPS was reporting them as being five color. They were saying that there was data on the cyan, magenta and yellow plates and there was nothing there. Now that’s so strange.
David: It is strange.
Anne-Marie: It’s very aggravating.
David: It is strange. There may be something wrong with the files as well. But, I have also had the experience where EPS files sometimes come in, in the header it says: Oh, yes, this is CMYK and so InDesign just says OK, well, it must be theme CMY there, even though there really isn’t. And so, there are instances where InDesign just gets confused by the EPS files. But, that ability to turn on and off the plates in separations preview and that’s in CS4 and CS3 and CS2 as far as I remember.
It is wonderful and can very often help you track down erroneous colors. But, another way to do that is only in CS4. And that’s with a preflight profile. You pointed that one out to me recently. And it’s really helpful.
Anne-Marie: Right. That was really, that came in very handy because one thing that I found separations preview will do is that even if you don’t have anything on say, cyan, magenta or yellow, it’s always going to show those plates. I had never seen separations preview, though maybe I thought I did, maybe in a dream once, long ago. I opened it up and it just said black and the pantone. Maybe that was a different program. Maybe it wasn’t InDesign.
David: I bet it was, yeah.
Anne-Marie: But, you could have just pure black and pure pantone in a document and you’ll open up separation previews always going to show all four CMYK plates. So you could say let me see each plate individually and then scroll through your document looking for anything, any black that appears in the document indicating there’s something with that ink, but faster is to use, in CS4, the Preflight Profile. Now, the basic profile, the default one, doesn’t check for this. But, if you open up the Preflight Profile panel from the Window menu or from the status bar at the bottom and choose Define Profiles, what you can do is just click the little “+” symbol at the bottom left to add another profile, and in the areas of things to check, just twirl open where it says color. You’ll see a little checkbox there. One of the options is to check for this attribute: “Cyan, Magenta, or Yellow plates not allowed.”
David: Yeah. I love that.
Anne-Marie: Right?
David: It’s hidden in there.
Anne-Marie: It’s hidden in there, yeah. So turn that on and then switch to that profile that you just saved. I just called it “Look for CNY plates.”
David: Mmmhmm.
Anne-Marie: And then it will got through and it will find any object that actually has any data in the CNY plates.
David: Yeah.
Anne-Marie: So, something that Separations Preview doesn’t really distinguish among. So, I did that and it said, “Oh, I found two errors in this document. Whoa!” And I said, “Where is this happening?” And it pointed me at a graphic that I was positive was one color, was just black.
David: Mmmhmm.
Anne-Marie: And it said it was going to generate data on those other plates. So I was able to fix that in Illustrator, bring it back, and the error went away.
David: You know, while you’re in that Preflight Profiles dialog box, I just want to recommend that you also turn on a couple of other checkboxes.
Anne-Marie: Oh, yeah.
David: I mean, you could easily turn on everything, but that’s usually kind of crazy. But beyond that “Cyan, Magenta, or Yellow Plates Not Allowed,” you can also turn on the “Registration Applied,” so if there’s registration color applied to anything inside your document, it will find that quickly. And if you are using spot colors, oftentimes you’ll be maybe doing black and one pantone color, writing like that.
Anne-Marie: Yeah.
David: And maybe some other pantone colors snuck in, so you can also turn on “Spot Color Setup,” and you can choose “Maximum Spot Colors Allowed,” right?
Anne-Marie: Right.
David: So you can say that there should only be one spot color, not two or five or fifteen. Just give me one spot color. So, very helpful ways of alerting you to whenever something goes wrong. I’m a big fan of this preflight profile thing.
Anne-Marie: That’s right. Now, if you too are creating templates for your organization I think August is Template Month in InDesign land because everything is so slow…
David: [laughs] huh.
Anne-Marie: And you want to use this new feature in CS4, what I recommend is that along with those thing that David said and maybe some other checks that you want to do yourself, like looking for bleed and trim size and all that kind of stuff that we’ve talked about before and that Steve Warner talks about in his “Best Practices for Print” webinar, is that you then embed that profile in the template.
David: Mmmhmm. Yep.
Anne-Marie: That way whoever is creating a new document from that template, even if they’re the greenest intern, that profile will be checking for these conditions and will report it live in the status bar at the bottom.
David: It’s very, very helpful. But, you know, this is such a big subject that I think we really need to break it up into two different podcasts. So, in the future, we’re all just going to be talking about what you can do with Acrobat.
Anne-Marie: That’s right.
David: Every InDesign user needs to have Acrobat Pro around to do a lot of the finetuning tweaking stuff to create really highquality PDFs. So, we’re going to be talking a lot more about things you can do in Acrobat like converting color from one [inaudible 21:39]
Anne-Marie: Yeah, ideally you would fix an InDesign file or convert colors in an InDesign file by editing the colors in InDesign or going to Edit Original for every singleplace graphic and changing the colors there to grayscale, but what happens if you don’t have time to do that or in case of emergency, you’ve caught at the last second that there’s an RGB black or a rich black that shouldn’t be rich black in the PDF?
David: Yeah.
Anne-Marie: You know? What can you do in Acrobat to fix it?
David: Well, and also there are some things that you simply cannot do except in Acrobat, and so we’re going to be talking about a lot of those in a future podcast. For now, we need to move along to an old segment with a new theme song. [theme song]
David: The Obscure InDesign Feature of the Week! [theme song]
David: OK!
Anne-Marie: That’s great.
David: Music by InDesignSecrets listener David Jenner.
Anne-Marie: Thanks, David.
David: Yes, thank you for…
Anne-Marie: We appreciate that.
David: We’ve got all about Float here.
Anne-Marie: All right. Yes, Float. And this was my suggestion because who knew that Float existed in InDesign? Actually, it was one of the first things that I saw when I first started working with the program. You find Float in the Control Panel Menu. So, at the very far upperright of your screen click that little guy and you’ll see Float towards the bottom. Once you see where it is, then you’ll understand what it’s all about because it appears at the bottom of the menu right underneath Docket Top which probably has a checkmark and then Docket Bottom, and then it says Float. So now you can figure out what Float does, right? Yep?
David: Yep. Nope.
Anne-Marie: So choose Float. And then it starts moving back and forth on your screen as though it were bobbing on the…
David: [laughs]
Anne-Marie: No, it doesn’t. Mine actually gets completely messed up and I can’t grab it anymore, so I don’t like that Float. And it stinks because I’m using the application frame in CS4.
David: Huh.
Anne-Marie: But, you don’t really need Float, right David? That’s what you were talking about earlier when we started recording.
David: You don’t.
Anne-Marie: You don’t need Float.
David: Get Float… no, because the Control Panel has a little handle way over on the left side of the screen. You just grab that and drag it down and it’s floating.
Anne-Marie: Yeah, the other panels don’t have a float command.
David: Yeah, I don’t know why they put that in there.
Anne-Marie: And you can float those as well. I think maybe in a prehistoric version of InDesign, you couldn’t float anything, and that was the way to do it. Maybe it didn’t have that textured area.
David: Maybe.
Anne-Marie: And that was the only way to make it move.
David: I don’t think so. I think they just stuck it in there because they wanted to remind us of killer clowns in the sewer.
Anne-Marie: [laughs]
David: I’m pretty sure that’s what it was.
Anne-Marie: I’m afraid to choose Float, let me tell you. I’ll just leave my dock at the top, and I’m completely safe.
David: The funny thing about that Control Panel is Ole Kvern kept trying to get me to move it to the bottom, and I really think he’s right. It is more natural for that to be at the bottom. It’s more efficient for it to be at the bottom. The Control Panel really ought to be at the bottom.
Anne-Marie: I suppose.
David: Because that’s where your eye… you want to put all the important stuff at the top of the screen, meaning your document itself, what you’re actually working on. The Control Panel is all supplementary operation. It should be at the bottom, down where QuarkXPress has it. They actually got it right in my opinion. Put it at the bottom.
Anne-Marie: Well, what happens now in CS4 is that the Application Bar appears at the top.
David: Right, right.
Anne-Marie: On a Mac. Did you know the Application Bar on Windows is part of the Menu Bar?
David: Hmm.
Anne-Marie: Whereas it adds a whole new horizontal bar on a Mac, but on Windows it doesn’t really add that much space because these items appear to the right of the menu commands.
David: OK, but…
Anne-Marie: Because that’s how Windows is. It’s only on the Mac that you see that at very top part of the window are the commands for the active program. On Windows, it’s not like that.
David: Oh, I see, yeah. Well, on the other hand, you can take that application bar on the Mac and put it to the bottom. I don’t know on Windows, but you can actually…
Anne-Marie: Put it where the sun don’t shine.
David: [laughs]
Anne-Marie: That’s what I thought you were going to say.
David: I have gotten used to using the Application Bar. I know a lot of people turn it off.
Anne-Marie: Yeah. I use it a lot, but I wish it was that you could drag things into that huge gray void area.
David: Oh, I know. It’s a big waste of space up there. But, I think what I was trying to say is that the Control Panel you can dock at the bottom of the screen, but you can dock the Application Bar at the bottom of the screen as well. You just drag it out, float that puppy. Float it out and then drag it to the bottom of the screen, and now you have both the Application Bar and the Control Bar.
Anne-Marie: That won’t work if you’re using the Application Frame.
David: Ah, that’s right. Not if you’re using the Application Frame. I don’t use the Application Frame, I’m sorry. I should have pointed that out. I use the Application Bar, but not the Frame.
Anne-Marie: I use them both, and so if you use them both you can dock the Control Panel at the bottom, but the Application Bar stays there.
David: Because it’s part of the title, basically. It’s…
Anne-Marie: Part of the frame.
David: Yeah. I see your point. Good point. I do use the Application Frame when I’m recording videos or when I’m doing demos because it hides everything behind, and I like that. But, when I am working I normally do not have that because I like seeing what’s behind my windows. So, either way. It’s nice to have the option. I like having the option on the Mac, being able to do that.
Anne-Marie: That’s true.
David: OK.
Anne-Marie: All right. Well, ladies and gentlemen, that is it for Episode 107. Be sure to check out the show notes on our blog at indesignsecrets.com where we’ll have links to all the places we mentioned. We’d love to hear what you thought of the show. Leave comment or email us at info@indesignsecrets.com. Don’t forget about James Fritz’s webinar coming up next week on InDesign and Topography.
David: Mmmhmm.
Anne-Marie: And until we meet again this is Anne-Marie Concepcion and…
David: David Blatner for InDesignSecrets. [music]