Podcast 96 Transcript
To hear the audio episode from which this transcript was made, or to comment on this episode, go to the InDesignSecrets Podcast 96 page.
Anne-Marie Concepcion: Welcome to InDesign Secrets, episode 96! I’m Anne Marie Concepcion, and I’m here along with my co-host, David Blatner.
David Blatner: Yeah, what’s up?
Anne-Marie: What’s up, homey?
David: Yeah, hey,…yeah.
Anne-Marie: Yeah. That’s about the extent of it, huh? [laughter] All right, our podcast and blog at indesignsecrets.com are the independent resource for all things InDesign.
David: Yo. [laughs] All right, all right, all right. Coming up on today’s show is paper white!
Anne-Marie: I love those flowers, I love those flowers.
David: Yeah. Actually it’s not even called paper white, it’s called Simulate White, but we’re going to call it paper white today. How to take screen captures and put them into InDesign.
We’ll also talk about a few really useful blog posts, that… oh and also comments to those blog posts which are often overlooked, and so we definitely want to point them out, because there are some really interesting things.
And then we’re going to give away a keyboard shortcut poster that we have here. We’re just going to give it to a random person. So we’ll tell you all about that later. Hopefully a random InDesign user, not just a random person out there, but…and then the obscure InDesign feature of the week: [Echo noise] reset workspace. Hmm..interesting.
Anne-Marie: It’s a CS4 only?
David: It’s a CS4 thing, but…
Anne-Marie: That’s Right.
David: It relates to CS3 and earlier in an interesting way, so we’ll have to talk about that as well.
Anne-Marie: All right and today’s episode is sponsored by In-Tools World Tools, which is a very cool product that works with InDesign CS4, and lets you set text from right to left.
David: Yeah, yeah! Well you know, the In-Tools folks, it’s a company out of Delaware, I think. But anyway, they sell both World Tools and they also sell InDesign ME. So you can actually by the full Middle Eastern Version of InDesign, if you want the full package.
But the World Tools plug-in lets a regular non-ME version of InDesign, you know like the English version, International version, use the ME features, if you have CS4. So you can do right to left typesetting in InDesign. Very, very cool whether you’re doing a word, or a paragraph, or a page, or whatever. Very, very nifty. So, and it’s much less now. He…I think it’s only special offer for forty-nine dollars to get the plug-in.
Anne-Marie: That’s right. For InDesign Secrets listeners, I believe.
David: Yeah, so we’ll put a link on the show notes to get that.
Anne-Marie: One other neat thing about that company, that I want to mention, is that if you’re outside of the Middle East, he’ll ship anywhere, worldwide, for free.
David: Um-hmm. That’s right. That’s right. So if you’re buying InDesign ME, or…well World Tools is an easy download, but if you’re buying ME, he’ll actually ship it to you. So that is definitely a good deal.
They also make In-Tools, which we’ll probably talk about in a future episode. But In-Tools is a great set of plug-ins, there’s like, I don’t know, a dozen plug-ins.
You may have seen Brad Waldridge’s review of those in InDesign Magazine, but just great plug-ins for doing mostly textbook publishing, or book publishing, any kind of book publishing. Very, very clever stuff for footnotes, and…
Anne-Marie: Sign heads.
David: Yeah, yeah. All kinds of amazing stuff. So you should check those out as well, when you go the In-Tools website, which is in-tools.com. But again, we’ll give you a special URL that you can go to in our show notes, so check that out. So World Tools, very cool, In-Tools, very cool. Check them out, just very impressive set of plug-ins.
Anne-Marie: Yeah, so this question about Paper White/Simulate Paper, I think it came in from one of our most loyal readers of the blog, from Eugene, our friend Eugene.
David: Yeah, in Ireland, who wrote about…he said something about, he just doesn’t understand the whole Simulate/White thing. What is that issue? Now paper white, for those of you who are not familiar with, lives…we’re not talking about the paper color in the swatches panel…we’re talking about the simulate white feature that lives inside the Custom…
Let’s see if you go to the View menu and choose Proof Setup and then choose Custom. And this is a way you can set up your soft proofing. Soft proofing is a way to proof your colors on screen. And so if you go to View, Proof Colors, Customize, you can tell it what device you want to simulate.
So what is your final output going to be? Is it going to be on newsprint? Is it going to be on sheet-fed coated paper? What’s your final output going to be? And once you’ve dialed that in, once you’ve chosen an output profile from the list there, you have an option to display paper colors, a simulate paper color. And what that does is, is it maps your screen white to the white of that output device.
So if you’re printing on newsprint, you’re whole screen is going to turn gray. Your document is going to turn really gray. Because it’s trying to simulate what your final paper white is going to look like. It’s kind of freaky when it happens, too, because everything just gets really dull.
Anne-Marie: You know even if I choose just the, if it’s at the default of the CMYK, you know, web offset, whatever that default is, it also turns gray. It turns like a brownish-grey, and I wonder why that is. I mean I’ve held up actual printed material next to it, and it’s not that grey.
David: Well, there’s two issues going on here. There’s no way that InDesign can simulate the proper colors on screen, unless you have a custom monitor profile calibrating and characterizing your particular monitor.
So if you don’t have a good color device, like this DataColor Spyder three that we just gave away in the quiz from last time, if you don’t have one of those, then there’s no way that the color on the screen can accurately match that profile. So you need to have a good monitor profile.
Second thing is, you want to have a pretty accurate profile, output profile, for your device. So the standard CMYK swap, middle-of-the-road, color garbage thing, is just not going to give you very accurate color, because it’s actually based on kind of on middle-of-the-road, crummy color. So everything is just going to get gray.
Now if you have a more tuned in profile, they you’re probably going to get a little more accurate color, but it’s still going to get really gray. And that’s why before you ever turn on soft proofing, you want to do a few things. You definitely want to hide all your panels, by hitting the tab key. The tab key will hide all of your panels.
You want to maximize your monitor, so to fill the screen as much as possible, so you don’t have a lot of other brighter, white stuff. And you want to be in Preview mode, so you hit W to go into Preview mode and that will make everything gray on your screen, as much as possible. You want to minimize anything that’s truly white on the screen.
I really wish InDesign let me hide the menu bars, like you can do in Photoshop. Photoshop is really set up to do soft proofing better than InDesign. But I really wish I could hide my menus, hide everything that’s really white, the rulers, everything. Well you can hold the rulers, with the Command-R, Control-R.
But hide everything so all you see is the screen. And what happens, is when you do that, you’re eye is extremely adaptive, and it will immediately make whatever is the brightest thing in your field of vision white. So if you hide everything, and all you’re seeing is that king of dingy gray paper color, simulated paper color. Your eye starts to see that as white.
Anne-Marie: Interesting. So when you’re looking at it in normal view, with the bright, blazingly, white pasteboard, then it looks ridiculous. But if you give you’re optic nerve and your brain cells a little while with mainly gray surroundings of the page, then it starts to make a little better sense. Is that what you’re saying?
David: That’s absolutely right. In fact, a little trick that I may have mentioned in a previous podcast. A little trick that Bruce Frasier taught me a few years ago, was before you turn on Proof Colors from the View menu, close your eyes.
Like select it, but don’t let go of the mouse button in the menu, until you have your eyes closed, and then let go of the mouse button and then open your eyes. Then your eye will immediately adapt to the newest, brightest thing it sees. And so the white of the screen, even though it’s kind of dingy, will become white in your brain.
So, you know, there’s no way that your monitor is ever going to truly, truly reflect your ultimate white on paper. You know, it’s just different, we’ve got things coming out of your eyes versus reflecting of a page. But you can start to get a sense of the-
Anne-Marie: Things coming out of your eyes?
David: Things coming out of the screen at your eyes.
David: The photons flying at your eyes. Maybe I said that wrong. You can start to get a relationship. You start to get the sense of the relationship, like, if this is what I see on screen, this is what I’m probably going to get on paper. So you’re not trying to get it exactly the same, you’re not trying to make your screen really look like paper. You’re just trying to get a better sense of-
David: Well, it’s going to be more dull colored, more gray than it would otherwise be when I’m not in preview mode, when I don’t have simulate white turned on.
Anne-Marie: Now, oh color management guru, would you say that if you were ever going to turn on simulate paper color, that you should always turn on simulate black ink to map the darkest areas of the page to the printed sample? As well as both lightest areas?
David: Yeah, I think so. Yeah, in general because the point is if you’re trying to simulate on screen what it’s going to look like in the final output, you want the blackest black on your screen to be more or less like the blackest black in the output as well/ We all know black ink is not really black, it’s dark charcoal.
So, unless you’re using a rich black, so you do want to simulate those sorts of things. And you can get that effect when the simulate black is turned on in that custom proof setup dialog box as well.
David: And as for being a color management guru-
Anne-Marie: Yes, sir?
David: I’m going to have to let go of that one. I’m not really the guru at all on that. I owe so much to other people. You know, Chris Murphy, and Andrew Rodney, and many of the other people out there who are doing great color management work. I am but an egg, as they say, a stranger in a strange land.
David: Just still learning the stuff and wanting to pass it on to people.
Anne-Marie: I crack you, I crack you, man.
Anne-Marie: Alright, well, thanks. And great question, Eugene. Alright, so our next topic is going to be on screen captures. So, screen captures are when you need to take a shot of something you see on your monitor and include it in a publication or a website or something like that.
Both Macs and Windows have built in screen capture programs, but they’re kind of clunky and they don’t really give you a whole lot of options.
Like if you’re trying to capture a menu and you need to hold down a mouse button, or you need to hold on to a command key or a shift key or control key while you’re doing something and then take a screen capture of that, usually the ones built into the operating system won’t help.
David: Right, right.
Anne-Marie: So people use third party programs to take pictures of the screen or just certain menus or dialog boxes. So the one I think most people use on the Mac is called Snapz, Snapz.
David: Yes. Is it Snapz Pro or Snapz X Pro?
Anne-Marie: Snapz X Pro.
Anne-Marie: Snapz Pro for OS10 or Snapz Pro X, they keep mixing it up. But from Ambrosia Software. And it’s a wonderful little program, I think just about everyone and their mother uses it. And it lets you take all sorts of, you know, you can just evoke a keyboard shortcut that you can change at any time. And you can even set the L key to be the screen snap’s hotkey.
David: Yeah, anything you want.
Anne-Marie: Which I’ve sometimes needed to do, if I want to take a screen shot of what happened when you hold down the four modifier keys as you’re booting up a program then you need to have another key to press to freeze the screen at that moment in time.
Anne-Marie: And that’s a great little program. And then for Windows, I think most people use Snagit.
David: Snagit, from is it Techsoft? Or Tech something. They’re the same people who make Camtasia, which is that awesome tool for doing screen captures. And also Jing, which I’ve started to use a little bit. Jing is both Mac and Windows, it’s a screen recording software for doing movies. Very, very cool, free app.
So yeah, Snagit from that same company, Techsoft, is really, really great for taking screen shots on Windows. And one of the things that it does that Snapz Pro doesn’t do, and I really wish Snapz Pro did is it lets you edit the image afterward. After you take the picture sometimes you want to crop it differently or erase something or whatever. Snagit has all of that built into it, and I don’t understand why Snapz doesn’t let you do that.
Anne-Marie: I don’t know. Right, after it’s taken then you have to open it up in Photoshop to edit it, which is kind of a pain. Sometimes I just place that capture right back into InDesign, then use InDesign’s tools to add a red circle around a menu command or something, and then I take another screen shot of that.
Anne-Marie: After I remembered to set it to high res, you know?
David: Right, right.
Anne-Marie: But, yeah.
David: That’s a good idea. I like that, I like that.
Anne-Marie: Yeah. And you know, another thing Snagit can do is it can take a screen shot of an image that’s too large to fit on your monitor.
David: I’ve never seen that. Wow.
Anne-Marie: Snagit is really powerful, but it’s a little, for that reason, quite a bit more complicated to use if you want to use some of those extra features. But you set it up in the Snagit application and say what mode you’re going to be in: regular screen snap mode, or continuous image mode.
So if you’re trying to take a screen snap of an entire web page, then you can say I’m in this entire image mode, and then take the picture and scroll down. You’re still in snag it mode, you scroll down to the end of the web page and then press another key and it takes one single image of the entire web page.
David: That’s cool.
Anne-Marie: Yeah, there’s all sorts of neat things it can do. But unfortunately it’s not available for the Mac.
David: It’s not. Well, we’ll have to find something out there. There are actually some other ones out there. We just found out about a new screen capture tool which is this layers, the layersapp.com thing. And Branislav Milic and Sandy Cohen were going on about this recently, and I haven’t tried it yet, but it looks very intriguing. It basically takes a screen capture of everything on your screen and pulls it all apart as separate objects.
Anne-Marie: In separate layers.
David: Separate layers, well, separate objects and each object is on a different layer. And it makes a PSD file that you open in Photoshop, and then every dialog box is on its own layer.
David: And then every icon can be on its own layer, and you can set all that stuff up. It’s very intriguing idea. They seem very excited about it, I’m a little skeptical about how I would use it. Because usually I just want one dialog box anyway, I don’t really want everything on the screen. Just give me this one dialog box. But maybe it’s cool?
Anne-Marie: I think it’s one of those programs, and by the way, go to layersapp.com to look at it and we’ll put a link to it in our show notes. I think it’s one of those programs that has features that no other program had before. So you’re not quite sure why you’d ever do it because they were never available.
Anne-Marie: But once you’re using it, I think you might come up with some, oh, I can use it for… I think Branislav mentioned you could animate individual parts of the screen capture and save that as a movie. I don’t know.
David: OK, I’m going to be doing that any moment now.
David: I don’t know. It could be cool. It could be cool. I’ll have to try it out, because you’re absolutely right; sometimes when you start using those new things, you’re like, oh, that’s when you start getting the ideas of how you could use it for your benefit. So I’ll check it out. But listen, this is what I really wanted to say about screen captures-
David: Because somebody emailed us about this, you know, how do you do the screen captures for your books and so on?
Anne-Marie: How do you get them up to 300PPI, you know, just like your images in the book?
David: Right, and this-
Anne-Marie: Wrong, wrong, wrong, wrong, wrong.
David: Don’t do it! This is crazy making. You do not want to up sample your screen captures. You don’t want to take them, you know, like set your screen captures software to give you a 300DPI image or anything insane like that. You want regular, plain old screen resolution screen captures. Just save them as a TIF, or whatever you’re going to save them as, bring them into InDesign, and print them.
You can resize them in InDesign if you want to, but do not resize them in Photoshop, don’t up sample them to 300DPI or SPI or whatever you want to call them. Don’t up sample to a high res. Screen captures should not be high res. It’s just really a big problem if you do, because one of two things will happen.
Either the screen capture will get blurry and fuzzy, especially if you use something like bi-cubic interpolation if you’re resizing them. Or you will simply make your screen capture really huge on disc, really big file size for no reason whatsoever with no benefit. Either of those things is abhorrent to me, so just don’t do it.
Anne-Marie: You know, I used to write for Publish Magazine a long time ago, and they had this guideline that I had taped to my desk about how to prepare a screen capture for the magazine, and they did want us to up sample them to 300.
David: And that’s because whoever wrote was probably a moron.
Anne-Marie: I think maybe they’re one of our contributors now, so be careful. I don’t know. They said though, to use Nearest Neighbor, which still exists in Photoshop.
David: It does still exist.
Anne-Marie: Because Nearest Neighbor won’t make fuzzy edges. It preserves the hard edges.
David: That’s right.
Anne-Marie: It basically duplicates, as long as you up sample by an even multiples of what your current resolution is.
David: Do you know what you get? A really huge file size on disk for no benefit whatsoever. It is absolutely not useful.
Anne-Marie: But then when it is scaled down to fit in its normal size, then you have a 300 or 288 whatever DPI image that… I don’t know, maybe the text is easier to read when it’s half toned?
David: No. No.
David: No, no, no; absolutely not. The only good way to do screen captures is you capture them at your regular screen resolution, bring them into InDesign, if you need to scale them down, go ahead and scale them down.
You typically don’t want to scale them up, because they’ll just get even blockier. But, you can scale them down. And most screen captures, like in a book, we usually use between 30 and 50 percent scaling on the screen capture. Pick something.
And your normal resolution, your effective resolution, will go up, right? Because, let’s say that you captured at 72 DPI, you scaled it down to 50 percent, your resolution goes up to 144. That is fine. It sounds too low, but it is fine for screen captures.
Anne-Marie: That was the only publication that ever had us do that. I’ve written books and published articles in magazines, color, and black and white. Nobody else has ever asked for it to be up sampled.
I think maybe, also, that like you said before about how your brain interprets white, I think that when you’re reading a story in a book or magazine, and you see a screen capture, your brain doesn’t think, oh, man they forgot to increase the resolution on this thing. Look at how chunky it is, because you know it’s from the screen.
It’s supposed to look like that.
Anne-Marie: You don’t have to worry about pixelization, because if you see a few pixels in a diagonal, that’s what it looks like on the screen anyway.
David: Right. I guess ultimately what it comes down to is interpolating. Interpolating is basically like up sampling. You are adding information in Photoshop, let’s say. It doesn’t work. Now, there are tools out there that let you add information to natural scanned images.
And, you can fake it. You know fractal up sampling. But in general, it does not work with a screen capture. You can’t add information and make it look any better, period. It’s obviously one of my soap box issues.
Anne-Marie: I guess so. I guess that’s…
David: The other thing I did want to point out there, because I know we need to move on, is that sometimes if you’re taking color images, more often I have been putting the RGB images right into InDesign and just letting InDesign do the separation.
But the truth of the matter is, you’re probably going to get a better color separation from RGB to CMYK if you do it in Photoshop and separate with a Max K separation. Basically, you want to max out the black. Really put a lot of black in there and pull out a lot of the other colors. That usually gets you a better result for color capture.
Anne-Marie: Especially for text because you take the screen shots of the monitors they are RGB, obviously. So, when you convert that to CMYK, the text is going to be all horrible.
Anne-Marie: Little tiny menu commands and stuff are going to be a mix of a very, very rich black, and it would have to take a very precise printer to be able to hit that perfectly. So, by using that Max Black Plate generation, I think you just assign that to a specific custom CMYK profile, and then apply that profile, yeah? Before you place that into InDesign? Is that how you do it?
David: Yeah. Or, you could use Edit. I’m going to have to go play around with that, because like I said, I haven’t been doing it recently. But I think you can just choose convert to profile from the edit menu in Photoshop and it will let you specify which CMYK you want to be outputting to. We’ll play with that.
Anne-Marie: That was another main thing about Publish Magazine’s “Guide for how to Take Screenshots.” One of them was up-sampling using Nearest Neighbor. The other one was use this profile that we’re going to email to you for the Max black generation.
David: That’s a good idea. Great. Anyway, just a few tips for people who do need to make screen captures and print them. Hopefully that’s useful and will help you be more efficient.
Anne-Marie: All right. What’s been happening on the blog lately?
David: A lot.
David: A lot of good stuff on the blog. There’s been a lot of stuff. Mike Rankin’s been posting some cool stuff. He posted something a while back on saving INX files down from CS4 to CS2 which I thought was really quite clever.
David: And then somebody emailed me saying, well what about snippets. I want to get snippets out from CS4 and give them to someone who has only CS2. And I thought, oh, well that should be relatively simple. But it turns out it’s not. It doesn’t work well at all. There’s no easy way because snippets out of InDesign CS4 are based on IDML, not INX.
So to learn about the difference you can read Mike Rankin’s blog post. We’ll put a link to the show notes. But what was really amazing was the comments in the show notes. I want to encourage everyone here, when you’re reading the blog posts, don’t forget to read the comments.
Sometimes they’re just like, hey this is a great tip or whatever, but often they go into a lot more detail. In this case somebody wrote, oh well, you can get InDesign CS4 to export a snippet as INX instead of IDML. I read that and I was like what? What the heck?
Anne-Marie: Amazing. I wonder if the people at the InDesign engineering team read these and like, oh look. That’s pretty cool. I didn’t know it could do that. That’s great.
David: Yeah. Obviously someone who set up the scripting, like Oleg Vern must have known about it. I really do wonder how many other people at Adobe knew. That was cool.
Anne-Marie: Since they know, I’ve learned that they know you can do these things, but they have no idea why it would ever be handy or useful to somebody who’s on the front lines trying to get a job out the door.
David: Good point.
Anne-Marie: So it’s only the users who are really into it who discover these kind of features, or even if you’re not really into it, just reading their solutions. Because that situation’s going to happen to you at some point in the future. And like, wait, wait, wait. I read something about it on the blog. Yeah, we can fix it like this. And then you saved the day for everybody. And everybody’s going to be like, wow you’re a genius.
David: There were other good ones too.
Anne-Marie: I liked yours about all the crazy callout lines and frame lines. It reminded me of your snowflakes post from December. I think you have nothing better to do than to sit there and like, let’s see what cool things we can make InDesign do.
David: Well, I just get excited about these things. I sit there, and I’m supposed to be getting some work done, and my brain starts to wonder, and I start thinking, I wonder if I could make this look like… You know and then there goes the next hour.
Anne-Marie: Why don’t you explain what you did with the callout line.
David: The callout line thing, this is something I think Sandy Cohen taught me, like, fifteen years ago or something, back in Quark Xpress days.
When you want to make a line that crosses over a photo, if it’s just a black line that’s pointing to something in the photo, then the black line kind of disappears because you can’t see it over the photo.
What you really want is kind of white edges to the black line. So she pointed out in Quark Xpress you could actually make a stripe and then make the color of the line white, so that the striped parts become white. Then you set the gap color, which is what’s in between the stripes, you set that to black. So I describe that in the blog post.
It’s a very nice, easy way to make callout lines. I’ve been using that ever since. It’s great.
Anne-Marie: Yeah, that’s cool.
David: I like the other that you did was about the yearbook, image spreads. Because that’s a CS4 – well you talked about how to do it in CS3 – but I really want to point out, I want to push that CS4 feature, which is the Command Shift Drag. When you’re placing multiple images…
Anne-Marie: Exactly right. People, I think, are aware of being able to do contact sheets from Bridge, because we’ve talked about a bazillion times, how you can grab a bunch of images, and then run the InDesign contact sheet script from the Tools menu in Bridge, and that will automatically place a whole bunch of images in a grid system, according to what you’ve set up.
Create a new InDesign document, and flow in all the images. Well in CS4, you can do that from within InDesign. So, what happened is somebody emailed us and said, you know, he’s got a layout, a bunch of spreads of a whole bunch of tiny pictures, kind of like a yearbook. And he wanted to know was any way to automatically get a picture to fit inside the frame, when he placed it, instead of always having to go up to the Fitting command, and choosing Resize Proportionally and that kind of stuff.
And I said well, yeah, you can do that in CS3 by setting up frame fitting options for an image, and then showed a bunch of examples. And I said, but in CS4, what might be even easier is using this contact sheet thing.
So you go to the Place dialog box, you grab a whole bunch of images, like I don’t know, two hundred, say there’s two hundred images that you need to place. Select them all, click OK, or Open, whatever that button says. And then your cursor is loaded with all these images.
What’s new in CS4, is that if you just drag with that loaded cursor, the first image up, what I call the on-deck image, is going to be placed within that image frame, automatically kiss fit, automatically going to be scaled proportionally to fit the frame.
So if you drag out a small frame, it fits in that small frame. If you drag out a big frame, it fits that big frame. Which is really neat, saves a whole bunch of steps, just in and of itself.
Anne-Marie: But if you want to go into this contact sheet mode, which is really buried in the documentation. There’s no button or preference setting for it at all, you just have to know it. If you hold down Command and Shift on a Mac, or Control and Shift on a PC, the cursor changes from that loaded image cursor, to something that looks like a little grid.
And hold down those keys as you begin to drag, and you’ll see that little grid enlarge. All right? And then you can release the keys, but keep the mouse button held down.
And as you drag, what that grid is, is actually showing you a certain, an even multiple of image frames that are going to be created as soon as you release the mouse button. So the grid might show, like, you know, three across and two down.
If you want to increase the number of image frames for your contact sheet, you just press the up and down arrow keys on your keyboard. Up and down arrow keys for increasing the number of rows or decreasing, left and right for adding or removing numbers of columns. The key is that you have to keep your mouse button pressed the whole time.
Anne-Marie: Because as soon you release the mouse button, the images get placed into whatever grid is in effect. But if that happens, you just undo, you get the loaded cursor again, and then hold down Command and Shift or Control and Shift again and try again.
So I wrote that, you know, say that you set up a grid, like you used the arrow keys to make three images going across with four rows. So you drag out your cursor to encompass the entire area for those twelve images, release the mouse button, and, bam, you have twelve images that are perfectly fitted.
So twelve of the images that were in your cursor, get placed into those twelve image frames. You go to the next page, hold down Command-Shift or Control-Shift, drag out the same area again, encompassing the page, and it remembers your last settings and, bam, you have another twelve images that have been placed on the page.
So like, David, you were saying you could lay out two hundred images in a document in about, I don’t know…
David: Like two minutes.
Anne-Marie: Two minutes.
David: I mean, I just drag it out, Command-Shift-Drag, create a new page, Command-Shift-Drag, create a new page, and it just goes very, very fast. It’s an awesome feature.
David: So, yeah. And there’s a lot more, there’s even more on the blog post. So we should point people to that, because we need to give away that poster and cover our Obscure InDesign Feature.
Anne-Marie: That’s right, that’s right. Definitely read the comments in those, because some people came up with some comments of really cool tips that we didn’t know about. So we’re like that’s great, that’s wonderful. So, yeah. Let’s give away a poster.
You know, we’re still going to be doing Quizzlers, but we thought in every episode, we’re also going to give away one of our InDesign Secrets keyboard shortcuts posters, for whichever version of InDesign that you have. We have them available for CS2, CS3, and CS4.
David: So what we’re going to do is draw from either the subscriber list of the people who are getting the email or the Twitter feed. And there’s lots of different ways to subscribe to InDesign Secrets.
We just want to encourage you to sign-up. If you’ve been listening to InDesign Secrets for a while, if you’re a reader of the blog, you can still subscribe. And the way to do that is to go in the upper right corner of the website. There’s a little button that says subscribe and when you do that it gives you various options.
You can subscribe to the Twitter feed, and get little tips and tricks via Twitter, if you’re a Twitter reader, or you can subscribe to the email. We don’t send out emails that often, sometimes just once a month, once every couple of months, so you’re not going to get deluged by email.
But go ahead and sign-up and we’ll send you things, and sometimes you know we’re going to be sending you tips, we’ll be sending you information about upcoming events, and so on.
Anne-Marie: We’ll be using it a lot more this year, I think than in the past. So…
David: Yeah, but still. We’re not going to deluge you, and we’re not going to sell your email address to somebody. It’s safe to go ahead and sign up there. And we will start drawing names from that list, and give away prizes to people from that list. So go ahead an subscribe, and we hope to see you there. And we have drawn one lucky, random winner from our list of Twitter followers, and that person is…I don’t know her name.
Anne-Marie: Well her twitter name is cjmaddigan.
David: Yes, that’s right! Cjmaddigan, we know that much about her! And so we’re going to contact her via Twitter and say that she’s won. She can contact us back via email at firstname.lastname@example.org, and we’ll send her a poster.
David: So, excellent.
Anne-Marie: So congratulations.
Anne-Marie: And now it’s time for us to go to the Obscure InDesign Feature of the Week, [Echo sound] which is Reset Workspace.
David: Reset Workspace. It’s a new feature in CS4, we’ll just cover it really quickly here. Basically in CS3, when you make a workspace, which I want to encourage everyone to do, you make a workspace and then you go and you change it somehow.
You open different panels, you open different…you know, you move your panels around. And then you later choose your workspace again, it resets it all back to the way it was when you first made that workspace.
Well in CS4, it doesn’t do that. In CS4, every time you make a change while your workspace is selected, it kind of saves the changes you’ve made. It remembers all those changes. So next time you choose your custom workspace, it brings you back to where you were last with all those additional, kind of, local overrides.
Anne-Marie: That’s a feature not a bug, of course.
David: Well, you know, it is. I’ve actually found that to be useful. Originally when I saw it I was kind of upset about the whole thing. But now, it’s like, oh, actually that’s kind of useful, especially when I move back and forth between workspaces a lot.
But the key is you need to remember that you can always get back to the way the workspace was originally defined. You just have to choose Reset Workspace, from that Workspaces menu. And either the submenu under the Window menu, or the Workspace submenu, the Workspace pop-up menu in the Application bar if you have that.
Anne-Marie: You know, it’s not just for custom workspaces; it’s for all of the workspaces.
David: That’s right.
Anne-Marie: And you choose Advance Workspace, and the you mess around with it, and then you go to a different workspace, and you choose Advanced Workspace again, it’s not going to be exactly…the default Advanced Workspace, it’s going to be the Advanced Workspace how you left it, and that’s when you want to choose Reset Workspace.
You know if you look in your InDesign preferences, you know, where all your custom Workspaces and saved Glyph Sets and stuff are saved. If you look at Workspaces, you’ll see there’s an XML file for the real Advanced Workspace, and the Advanced Workspace as currently modified by the user.
David: Oh interesting!
Anne-Marie: So there’s duplicate little XML files for each of those. That’s how that’s working.
David: I didn’t notice that. How interesting! Well anyway, that is, in a nutshell, Reset Workspace, the new Obscure InDesign Feature of el week-o, week-o, week-o.
Anne-Marie: Anna, Anna, Anna, Anna. [David laughs] And that’s it for Episode 96. Be sure to check out the show notes on our blog at InDesignSecrets.com, where we’ll have links to all the places that we mentioned, and that cool deal, also, from the In-Tools people.
We’d love to hear what you thought of the show. Leave a comment in our show notes or email us at email@example.com. And until we meet again this is Anne-Marie and…
David: David Blatner, for InDesign Secrets.