Podcast 79 Transcript

To hear the audio episode from which this transcript was made, or to comment on this episode, go to the InDesignSecrets Podcast 79 page.

[music]

David Blatner: Welcome to InDesignSecrets Episode 79. I am David Blatner. I am
here with my astonishing co-host, Anne-Marie Concepción.

Anne-Marie Concepción: Hi there.

David: You are astonishing. It’s true. Our podcast and blog at
indesignsecrets.com are the independent resource for all things
about this little program called InDesign.

Anne-Marie: InDesign, ign, ign, ign.

David: [laughs] There you go.

Anne-Marie: And once again we are sponsored by the good people over at
Recosoft. They are the developers who make the cool PDF2ID plug-in.
Drop it into your plug-ins folder, restart InDesign and, bam, under
the file menu you have got open PDF.

David: It’s very cool. Actually, it will even work in the open dialog box.
All of a sudden, you open the dialog box itself and you can
suddenly start opening PDF files, and they open as editable open
InDesign documents. That’s pretty cool.

Somebody actually emailed us this past week about it, saying “It
sounded really cool in your last episode, but I went and looked at
the website and it says it does not open it as editable text. You
don’t get any editable text out of it.”

Anne-Marie: Did she ever respond to us saying where she saw that?

David: She did. She responded saying, it was two A.M. in the morning when
she was reading the website and she apologizes. But, then I went
back to the website and looked at it, and, you know, it is a little
bit off. The language there is a little bit weird. I think they are
talking about something completely different, but yes, it really
does open up PDFs with the text being editable. That’s the whole
point.

Anne-Marie: It would be pointless if it didn’t.

David: Exactly. It really does, so don’t get fooled at two A.M. reading
that website. It really is editable text, and it’s really quite
astonishing.

Anne-Marie: Did I tell you that it’s saving my bacon last week? That plug-in.

David: You know it’s funny. I have been hearing that from a lot of people
this past week that it’s saving bacon. How did it save yours.

Anne-Marie: I got a 30 page PDF from a client who said, “Yeah, in this thing
that you are writing for us you can pull text from here.”

David: Oh, yeah, yeah, yeah. Of course.

Anne-Marie: And the text is all broken up and all over the place. I’m like, “Oh
you’ve got a dual?” You know, I know some shortcuts for getting
text out of the PDF. I could have saved it as Word or whatever, but
I thought why not just open it in InDesign. Then, it’s right there
as another InDesign document, and I can copy and paste.

You know, that thing applies styles; you can have it apply styles.
Styles are named paragraphs 1, 2, three or 4, but still.

David: It is quite clever.

Anne-Marie: I thought it did an excellent job for what it could do. It didn’t
come out to be like a perfect InDesign document but everything was
editable. Even stuff like some of the graphics were done in
Illustrator and then PDF, they came in as grouped editable InDesign
drawings. I was amazed.

David: It’s quite amazing. Anyway, PDF2ID, we definitely recommend it.
Check it out.

Anne-Marie: We do have a special deal.

David: For 20 bucks off.

Anne-Marie: For InDesignSecrets people. How much?

David: I think it is $20 off, and if you go to their website which we are
going to have to put on the show notes. I have already forgotten.
It is recosoft.; I think it is just recosoft.com/PDF2ID.html. We
are going to have to confirm that. Anyway, you get 20 bucks off,
and that’s pretty cool. Check it out.

In the meantime, we also want to point out a couple of other things
that are going on on the blog. The blog is certainly taking off. We
are all so excited because we have been working on a redesign. Can
we tell people about that, that we are working on this…?

Anne-Marie: Don’t say a word.

David: We can’t say a word about that though. Anyway, things are taking
off on the blog.

Anne-Marie: And the redesign looks very very cool.

David: What redesign? We don’t have any…

Anne-Marie: [laughs]

David: One of the things that came up on the blog this past week, and it
came up all over the blogosphere is Acrobat nine is coming. That is
really cool, I think. I am very excited.

Anne-Marie: It is amazing. It is astounding. Did you see acrobat.com?

David: Acrobat.com is looking very nice. They announced that as well. So
it is all coming together.

Anne-Marie: I hear that with Acrobat 9, you know, that whole problem I was
talking about when you select text, when you edit text in a PDF
that you can only edit one line at a time. That problem is no
longer.

David: Really?

Anne-Marie: That text will wrap in a PDF.

David: Interesting.

Anne-Marie: I haven’t tested it, but that’s what I heard.

David: It’s very cool because my favorite things are actually the more
interactive features, the ability to do flash directly in Acrobat
because they have built the entire Flash player into Acrobat now.
All of those horrible problems we were having with - every time you
try to run a movie or something you would get a little dialog box
saying, “Are you sure you want to do this? This could be a security
breach”. All of that just goes away because it’s just all built-in,
no longer relying on Quick Time and that’s huge for anyone doing
interactive stuff in PDF.

But then even the pre-press stuff, they’ve done. They’ve made pre-
flight better. They have added the overprint preview sensor thing
so basically Acrobat will look at the PDF and say, “Is there
anything that needs overprinting on here?” And if there is, it will
just automatically turn on overprint preview so you don’t have to
tell people to do it.

Anne-Marie: Right. Right. Right. So you don’t have to telling your clients, “Oh
I know it looks crappy. Just make sure and turn on overprint
preview. Well, let me explain to you what overprint means.” While
you look it up in the dictionary. You know?

David: Exactly. Exactly. This is insane. So now they have built the
intelligence into Acrobat and the Acrobat Reader. So it will be in
Reader as well. There’s a lot of cool stuff that is going to be in
there.

Anne-Marie: Did they say when it is coming out? They are taking pre-release
orders. They are recording this in early June of 2008, so I thought
maybe, July?

David: I am guessing Julyish. I am not sure. I don’t really know.

Anne-Marie: I did go on the site to see if they what date it is going to be
released. I didn’t see a date on that, but I didn’t hunt down every
page.

David: I think Adobe does not usually wait a long time, too long after
announcing so I don’t know, I guess Julyish but I don’t actually
know. But, what’s interesting to me is that they are building it
into the Creative Suite, and they are updating the Creative Suite
to Version 3.3, so 3.3 will be a paid upgrade and you will get
Acrobat 9. If you already have the Creative Suite, here in the
States, it is like a $159 upgrade so it’s totally worth it.
Overseas I don’t know…

Anne-Marie: Ten thousand dollars.

David: Exactly. Adobe has been sticking it to the overseas people, and
that’s quite unfortunate. But I am hoping that it won’t be too much
overseas as well.

Anne-Marie: They did the same thing with Creative Suite 2, you know. Creative
Suite two and three had Acrobat 8.

David: Yeah, good point.

Anne-Marie: What’s up with those Acrobat people? Why can’t they get on the
schedule?

David: That’s a whole other discussion for a different episode. We could
do a whole episode on what’s up with those Acrobat people? But, not
this time.

But they are also throwing in Fireworks. Adobe Fireworks is also
being… CS3 is also being bundled with 3.3. Fireworks is very nice
actually. If you are doing any kind of web prototyping or
something, it is very cool. So the fact that you now get Fireworks
in there is awesome. Anyway…

Anne-Marie: I live Fireworks.

David: Well there we go.

Anne-Marie: And Sandy Cohn did an incredible seminar on Fireworks in Nashville.

David: At the Creative Suite Conference. Was it great? I think I missed
that one. I think I was doing another session.

Anne-Marie: Well, I was actually doing my seminar on blogging and podcasting at
the same time, but I got bored so I went over to watch.

David: [laughs]

Anne-Marie: I saw some of it, and also Sandy has been a big help with me with
the Fireworks for a bazillion years. I one time emailed her- I
think, about 10 years ago- with a Fireworks question because I had
her Fireworks Visual Quickstart book, like 1.0. I was doing a
website for a client and I couldn’t figure out how to do a remote
rollover- I remember clearly- in Fireworks. I emailed her and she
called me, because I had my phone number in my sig. She called me
on the phone and spent a half an hour with me. She didn’t know me
from Adam.

David: That’s great.

Anne-Marie: And she stepped me through how to do the rollover.

David: Wow.

Anne-Marie: Unbelievable. First time I ever talked to her.

David: Wow. Sandy is wonderful. And I’m going be seeing Sandy next week at
the InDesign conference in Auckland, New Zealand. We’re both flying
in at 5:30 in the morning into Auckland from different places. So
apparently, that’s the time of day to get into Auckland.

It’s going to be a good conference. We’re going to have a lot of
fun. Tim Cole is coming in and Martino Gloria is going to be there.
I think Chris Colpeters is going to be there, showing some script
stuff. Our friend Cari Jensen will be there, coming in from Perth.
She works for Typify now. She’s coming in to do some XML stuff.
It’s going to be an awesome show. Michael Stoddard… Oh, a cast of
thousands. Cast of thousands! That’s going to be next week.

I’m looking forward to seeing Sandy there. We’re going to see the
penguins. Seeing Sandy is number one, and the second is seeing the
penguins. Because we’re so far down under there that there are
apparently penguins just walking the streets. I’m looking forward
to that.

Anne-Marie: [joking] I hear they’re good eatin’!

[laughter]

David: [joking] I don’t know about that. I don’t know if they let you eat
them. Maybe go out to dinner with them. [laughs]

Anne-Marie: Alright, let’s go on. Yes?

David: Russel Veers. The other thing that happened on the blog was Russel
Veers snuck in a little post. Russel Veers, who many of you know,
is one of the world’s funniest InDesign trainers. He put a post up
about a swatch problem that a client of his had, and we found a guy
who would write a script that would fix the problem. It had to do
with swapping Adobe Swap Exchange - those ASE files. If you have a
file that has Color One, Color Two, and Color Three, and you import
an ASE that has the same swatch names, InDesign does not tell you,
“These have the same names, what do you want me to do about it? Do
you want me to rename them? Do you want me to replace them?” It
just imports them.

Anne-Marie: It brings them in as a copy.

David: Yeah. Color One Copy and Color Two Copy. Which is really stupid.

Anne-Marie: And then like Russel said in his post, if you’re being paid by the
hour that’s no problem. Because you can just delete your original
colors one by one, replacing them with the copies. But for the rest
of us we need a script.

David: We need a script. So we found a script. Steve Warem, I think is his
name. (I have to go back and look. I apologize, Steve.).

But Steve wrote this great script that’s very cool, and it simply
swaps it out. It looks for swatches and anytime there is a color
swatch and then another one that has ‘Copy’ after it, it deletes
the original and replaces it with the copy, and it takes the word
‘Copy’ off the end.: That’s all it does.

But it’s very fast and it exactly fulfills the need. So that was
nice. Check that out on the blog.

Thank you, Russel, for sneaking in as a guest contributor. And
hopefully we’ll be seeing more of Russel in the days to come.

Anne-Marie: [joking] You can actually see his picture in that transparent side
video that we talked about.

David: [laughs]

Anne-Marie: [joking] He’s the ghostly head screaming in the background towards
the end.

David: [laughs] It’s true, it’s so horrible. Right. If you go back to the
transparent side video that Tim Cole and Rufus Deuchler did that we
have a blog post about, at one point, you see this PDF head kind of
floating around in the background. Yes, that is in fact Russell. Go
Russell. OK.

Anne-Marie: All right. Another topic that I want to talk about here is that
question that we got, “What is this blue line around all my frames
and why is it sometimes red and what’s happening?”

David: Yes.

Anne-Marie: I wrote a post about that last year because I got a question from a
client as well asking how come some of the frames don’t have the
traditional blue color.

David: Right, right. Well, and we got an email this past week from
somebody specifically saying, “How do I get rid of that blue? Every
time I make a frame, I have this blue line around it and I want to
get rid of the blue line.” So this is a quick thing for the
beginners out there or for anyone who’s ever been frustrated about
this. The blue line is OK. It’s not really there. That’s the edge
of the frame. It all has to do with what layer color you have.

Anne-Marie: Right. Yes, because all new InDesign documents have, default layer
even if you never open up the layers panel. Just like they all have
a default master page even if you never edit the master page and
the color of that layer is that blue. So the color of the frame is
a clue, it’s a visual cue to let you know which layer does this
object sit on. If you made a second layer–and I think the default
color is red–and you put an object on the second layer, then the
frame would be colored red. So without having to open up the layers
panel, you can look at the doc and say, “This thing is on layer two
and this one’s on layer one.”

David: Right.

Anne-Marie: That’s the point of the whole thing.

David: What I think is intriguing about that…and if you don’t want to
see those, you can hide your frame edges, under the view menu,
choose “hide frame edges” and then those things go away.

Anne-Marie: I think a lot of people do that. They hide the frame edges. I like
to see them all the time, because I just press “W” to go to preview
mode if I don’t want see the frame edges.

David: I agree. I do the same thing. I leave them turned on and then go to
preview mode if I don’t want to see them temporarily. But one of
the interesting idiosyncrasies about that whole red-blue thing-or
however you may colors-actually there’s two different
idiosyncrasies. One is we’ve goten a number of emails from people
saying, “How do I get rid of yellow?” Because they make a bunch of
different layers and InDesign automatically assigns a different
color each time you make a layer and yellow is frustrating to
people because they can’t see it on their page. You don’t get the
visual cue. It’s too light of a color. So they say, “We just want
to get rid of yellow. We don’t want InDesign to ever do yellow.”
Unfortunately, I don’t know of anyway to do that, you have to
manually go ahead and change it.

Anne-Marie: But people want a lot? They want a lot? They want everything
perfect.

David: Everything has to be just–well, that’s actually an interesting
thing, maybe in CS4, maybe CS5 or something. If anyone from Adobe
is listening out there, anyone, anyone. It would be very helpful to
simply don’t choose colors that light in luminosity or just make
that yellow a little darker or something and it wouldn’t be so bad.

Anne-Marie: You know what I like?

David: What’s that?

Anne-Marie: I like white layers.

David: [laughs] You like white layers.

Anne-Marie: Yeah. Have you ever done that?

David: You just said you always like seeing your frame edges. If you had a
white layer, you wouldn’t see your frame edges.

Anne-Marie: White layers are perfect when you’re taking screenshots. You can’t
do it in preview mode, so if you don’t want to see the frame edges
and for whatever reason you can’t use preview mode, then you change
the layer color to white.

David: It’s a brilliant tip but why would you not be able to use preview
mode?

Anne-Marie: Well, say that you want to take a screenshot of something that
doesn’t appear in preview mode.

David: Oh, but you don’t want the other stuff.

Anne-Marie: Right. Because for whatever… Yeah. Because it’s getting in the
way. You’re trying to take a picture of something at the very edge
maybe. I don’t know. Actually, I think, I was trying to take a
picture of the little double-headed arrow that goes back and forth
and I didn’t want to include frame color in it.

David: Interesting. Well, and to change that color because you are never
going to get a white color by itself I assume. But you could simply
double click on the layer in the layer’s panel and that opens the
layer options dialogue box. And then, you could change the color to
anything you want. I am going to try it Change it into white. Wow!
Fascinating!

Anne-Marie: Weird huh?

David: I…worse than weird…Oh! This is great! Want to know what is
great about it? You can’t even see that it selected.

Anne-Marie: Correct.

David: That is very funny. You put it on there. I kept clicking. What was
freaking me out is I kept clicking on it. I put it on the white
layer and then I do a command A or control A on windows, just like
everything. And it says it’s selected on the layer’s panel but
nothing appears on screen.

Anne-Marie: That is right. It is like a ghostly cursor that changes from a
normal tool, to the text insertion bar, and then to a double-headed
arrow. It is like what is happening with my cursor? It is probably
a good April fool’s joke.

David: Wow! It freaks me out. It is a great April fool’s joke and you
heard it here folks, the white layer, why it is important for your
workflow.

OK. The second thing I want to point out about this is…the second
idiosyncrasy is that layers change… How do I say this? Whatever
the last object you clicked on becomes the active layer. And it
makes sense once you understand what is going on. But, for example,
you might be working on a document and you are creating frames and
they are all blue because they are all showing up on layer one.

And then, you just click on a different one which has happens to be
on let’s say a red layer and then, every frame you create from now
on is going to be on the red layer. The all get red outlines. And
that freaks people out as well. But you just remember, all you have
to do is click on something and it becomes that color. That becomes
the active layer.

Anne-Marie: Right. We could go on and on with layers tips.

David: We could. Are we done with it? That’s it.

Anne-Marie: But I think we are at least to [coughs] the traditional blue color.
I love that. OK.

David: Traditional blue.

Anne-Marie: Now you know why.

David: Some people call it cyan.

Anne-Marie: It is actually light blue is the official color.

David: OK. Maybe it is not cyan. OK.

Anne-Marie: Ba-dup. Ba-dap. Ba-dup. What is the next topic?

David: [laughing] The next topic. You know, what we should do is actually
skip right over to the obscure InDesign feature of the week.

Anne-Marie: Yeah, let’s do that.

David: Because the Obscure InDesign feature of… Did I actually say that
with no echo?

Anne-Marie: You have not really announced it yet.

David: Oh, OK. Now we are going to do the Obscure InDesign feature of the
week! [David and Anne-Marie doing echoes of word "week"] Thank
goodness.

Anne-Marie: All right. It is updates content in data fields.

David: [laughs]

Anne-Marie: And data fields. Well data is a clue of where this command would
be.

David: Yes, data and so it is going to end up in a Data Merge panel.

Anne-Marie: Which is hiding in automation flyout under the window menu.

David: Right, so go to window, automation, then choose “Data Merge”. And
Data Merge is a wonderful program. It is really kind of a little
program inside of InDesign. It is a wonderful feature that a lot of
people do not know about. And it let’s you do like a “mail merge”.
It merges data from a data base or spreadsheet into InDesign
replacing “placeholders”.

So, you might have business cards or table temps or flyers or
whatever where you want to swap out somebody’s name or address or
other kind of information. And you can do that with Data Merge. And
we do not need to go into Data Merge a lot. We’ve talked about it a
little bit.

Anne-Marie: Right. No. You just need to make sure that you have exported your
excel or data base file into tab formatted or comma formatted
format, CSV, something like that.

David: Right and we have got some great tutorials on Data Merge on the
site. So we will point to those. But the real obscure InDesign
feature of the week though is the “update content in data fields”.
And that is not always available or if it is it does not always do
something. So we need to talk a little bit about what “update
content in data fields” means.

Well, go ahead.

Anne-Marie: I can’t tell you. Yes.

David: What it does is it updates the content in all your data fields.

Anne-Marie: Really?

David: Yes. That’s what it does.

Anne-Marie: [laughs] All right. That’s a great feature, OK.

David: OK.

Anne-Marie: Well, that’s it. I never would have guessed that was a function
from the title of the feature.

David: All right. You import a bunch of data. You build your final
document. Because what data merge does is it actually builds a new
document based on a template. So you create a template. You put
your data stuff in there. You say “merge document”. It builds a new
document where all of your data is in there.

Now, what’s intriguing about that new document, a couple of things.
One is that- Jim Maivald pointed this out. It was kind of shocking
news to me. I just didn’t even notice it before. - But when you
create that new document especially in CS3, you have created all
the XML tags. Data merge actually builds in and tags all that text
with XML tags. So if you look at a structure pane, you can see the
XML structure of your document. It’s absolutely amazing and
actually links to that. So that’s very cool. The second thing
though is it still is linked to the original data file. So InDesign
knows where the original data file is and you can update it. So if
the data changes…

Anne-Marie: Now, I think, you skipped over though an important point.

David: Well I did. I did. But I just wanted to put in.

Anne-Marie: On purpose. OK.

David: the overview thing first. If the data changes, you can update it in
your InDesign document. But- What’s the piece I skipped over. Let’s
see if we both have the same idea.

Anne-Marie: It only works if you have created those fields on the master page.

David: That’s exactly right. Yes, yes. You have to put it on the master
page.

Anne-Marie: Most people will just start dragging fields right from that panel
into the page one, which is the normal way to do it. But then that
command will not be enabled. If you want to be able to update the
data, to like maybe you redo the design or something like that, and
you want to update the data or somebody says, “Oh, I added 50 more
entries into that text file.” You have to create stuff on the
master page. Not only that, but you can only create it on the right
hand master page, not the left hand. So if you have a facing pages
document, you put that source stuff on the right hand side. Then
when you bring in the text, then all of the information appears on
the document pages as overwritten master page objects.

David: Right, exactly. It’s cool, when it works-which it usually does–
it’s really cool. I mean, having that kind of link to the data is
very, very powerful.

So you know what I did recently, we had a post sometime ago about
numbered tickets and how you could do numbered tickets?

Anne-Marie: Yeah, I remember that.

David: I posted a text file that listed all the numbers from one to 2,000
in it. So I was playing around with data merge and I used that data
file. It wasn’t a normal data file. It was just a text file with
all the numbers from one to 2,000 in it. But it happened to be
sitting on my desktop so I used that as a data merge sample. I
realized I could make numbered tickets like a hundred tickets per
page using data merge really really quickly. It was cool.

Anne-Marie: Well that’s pretty cool.

David: It worked so smoothly. So I put one sample text frame on my master
page, sized it to appropriate size, put the data merge linked into
it, went back to the document page, built my merged document, and
all of a sudden I had like a hundred of those numbers on a single
page out of that. Then later when I went back and I changed that
text file to different numbers, went back, used my Obscure InDesign
Feature of the Week, [echoes the word week], “Update Content in
Data Fields, ” and the numbers updated throughout all the tickets
that I’ve created.

Anne-Marie: Sweet.

David: Kind of wacky and weird.

Anne-Marie: That is good. That’s a good one.

David: Yeah. Anyway, there you go. That is the Obscure InDesign Feature of
el weeko, la semana.

Anne-Marie: [echoes the word weeko]

David: La semana.

Anne-Marie: Update Content in Data Fields. Now, everyone knows.

David: Now everyone knows.

Anne-Marie: Yeah.

David: Hey, wee wanted to give away something. I have here a copy of the
lynda.com video training of InCopy CS3 Plus InDesign CS3
integration!

Anne-Marie: [echoes the word integration]

Oh Yeah! That is right. The reason we’re giving this away is
because it’s to mark the debut of the InCopy CS3 Revealed Videos on
AdobeTV.

David: That’s right. That you did. You did this linda.com video and you
also did those videos for Adobe didn’t you?

Anne-Marie: That’s right. Well what happened was that last year they asked me
to write a work flow paper to sort of explain the work flow to
anybody who is interested in it and they put it up on the InCopy
product page. And it’s called some huge mouth thing like “The
collaborative InDesign Integration Video of the Paper Work Flow
Within Copy and Editorial Design.” Something like that. Alright?

But I tried to write it according to all the questions that people
asked me about InCopy and InDesign and “Wil it work for us, ” and
“What about this, ” and “What about that.” I tried to lay it out
very, very clearly unlike some other documentation on Adobe
website. Plus there’s no books out for CS3. So basically this is
the only thing that’s out there right now.

David: Right.

Anne-Marie: And then so I did that. They’re really happy, got a lot of emails
from people saying “Oh this is great” and when AdobeTV came out
they said “Can you make some videos that show some of the steps
that you went through in that paper using the same sample files
that I took the screenshots from.

David: Oh cool.

Anne-Marie: And luckily I saved all those sample files. So I found the CD
because I was like “ahumnahumnahumna” because I didn’t feel like
recreating those because I used an actual magazine for screenshots
rather than some fake thing.

So I found that and made a series of five videos because that’s all
the money they had for… And covered five topics and each video is
about 10 or 15 minutes long and they are kind of homespun. I did it
myself. I’m not really a video gal. But I think it went along
pretty well.

David: Very cool.

Anne-Marie: I edited each video in Quicktime Pro, which was a nightmare.

David: So you… [laughing] That’s the level of video editing. So that’s
all free at the Adobe TV site and we’ll put links to that so you
know where to find that. It’s very cool stuff but…

Anne-Marie: So the first episode went live Friday and I emailed David about it,
right? And said “Hey! Finally these things are up!” because I’ve
been trying to get these things up for the past few months. And we
thought “Well for the Quizzler we’ll give away a copy of the
linda.com training videos, which is 80 videos, each one about five
to ten minutes long. That covers the whole thing.

David: So this is eight hours long. So you have eight hours of InDesign
and InCopy integration stuff.

Anne-Marie: Yeah. And it’s for editors and designers. So I think they’re marked
on their like these chapters are mainly for editors, this one is
mainly for designers and the last few are for everybody to watch
because it explains how the files get shared back and forth.

David: And if you’re a lynda.com online training library subscriber,-you
know they’ve got the whatever it is, 25 dollars a month or
something- if you’re a subscriber then you can just go and watch
these online for free. But, well not for free but that’s part of
your subscription. But if you want to have an actual disk in your
little hands you can win one here.

Anne-Marie: and all the sample files too!

David: And the sample files. Oh very good point because you don’t get the
sample files. All the sample files are here on this disk. We’re
going to give away one of these things with- I don’t know- a
hundred dollar value, 150 dollars, whatever it is.

Anne-Marie: I think, 99 or something like that.

David: OK. And we’re going to give it to a Quizzler winner and the
Quizzler this week is… I’ve already forgotten.

Anne-Marie: Oh yeah! We tried to give you something in InCopyish something that
both InDesign and InCopy share.

David: Right. And so this has to do with a pangram. You want to tell them
what it is or just tell them to go find it out on Wikipedia.

Anne-Marie: A pangram is one of those sentences that has every letter used in
the English language.

David: Exactly, exactly. For example the typical one is “A quick brown fox
jumps over the lazy dog.”

Anne-Marie: That’s right.

David: How about “Watch jeopardy, Alex Trebek’s fun TV quiz game!”

Anne-Marie: That is a good one.

David: Believe it or not that is a pangram.

Anne-Marie: That is good.

David: It has every letter in the English language in it! So that’s…

Anne-Marie: Five quacking zephyrs jolt my wax bed.

David: I don’t think I needed to know that actually about you.

Anne-Marie: Every night.

[laughter]

David: So InDesign and InCopy proving the InDesign and InCopy integration
story have a pangram hidden in them and. . .

Anne-Marie: Yes. The same pangram.

David: The same pangram in both programs. So we want you to find that
pangram and tell us where it is and we want you to email it to us.

Anne-Marie: If you don’t have InCopy and you find it in InDesign, don’t worry
it’s the same one. So you don’t need to own InCopy to win the
Quizzler.

David: Right. That’s right.

Anne-Marie: There you go.

David: And if you do know the answer, email it to us at
info@InDesignsecrets.com put Quizzler in the subject line so we
know what you’re talking about and don’t post it in the show notes
because we don’t want anyone else to know. And if we get more than
one answer which we probably will, more then one correct answer, we
will randomly choose from them and send you a copy of the Adobe
InCopy plus InDesign integration thing from linda.com. Very happy
about that.

Anne-Marie: When do the…

David: Oh when! Sometime before 2012?

Anne-Marie: [laughing]

David: No. Sometime…

Anne-Marie: Let’s see this Monday the ninth. How about by Monday the sixteenth?
One week.

David: Let’s do that. Monday the sixteenth, a week! Midnight, New Zealand
time. See, that’s where I’m going to be. On the sixteenth and we’re
looking forward to getting your answers. So that’s that.

And that’s it for episode 79. Thank you again to Recosoft, the
developers of PDF2ID, for all your support.

Anne-Marie: Recosoft.

David: Recosoft, Rakosoft for all their support of this show. And don’t
forget about that discount. That 20 dollar discount if you go to
the recosoft.com, recosoft.com/pdf2id.

Anne-Marie: That’s right. The actual URL- and we will put it in the show notes-
is recosoft.com -that’s r-e-c-o soft dot com- /pdf2id. All
lowercase except for the number 2. Pdf2id.htm.

David: Oh no way! Dot htm?

Anne-Marie: Htm.

David: Aww I hate that. Htm?

Anne-Marie: Why do you hate that?

David: Just the htm versus html and html doesn’t work. But htm does. But
you know what? I’m going to email them right now.

Anne-Marie: No no it’s an error. You get an error if you have the audacity to
add the L.

David: Right. Because it’s a Christmas URL. You know about the Christmas
URLs if it just says htm? They call it a Christmas URL? You don’t
know about that? Because it’s No L. [laughing]

Anne-Marie: Oh lord.

David: Oh man. OK.

Anne-Marie: Ow ow ow ow ow. It hurts so bad.

David: So be sure to check out the show notes on our blog at
InDesignsecrets.com. We’re going to have all the links of the
places we’ve mentioned. We’d love to hear what you think of the
show, except no comments on that last joke, or email us at
info@InDesignsecrets.com. Until we meet again this is David
Blatner.

Anne-Marie: And Anne-Marie for InDesign secrets.