InDesignSecrets Podcast 100

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(16.5 MB, 22:22 minutes)

 View the transcript of this podcast.
“A Very Special Episode” in honor of our 100th podcast …
  • InDesignSecrets Videocast Debuts
  • Travel back in time with us to Episode #1 and giggle
  • Flub-O-Fest: Outtakes from previous episodes you’ll enjoy
  • The Winners of the First Annual InDesignSecrets Eeek-eek-eek! Awards
  • Obscure InDesign Feature of the Week: Font Version
Comments

15 Comments on “InDesignSecrets Podcast 100

  1. Fantastic! I can’t wait to listen to the show when I get a chance.

    Next stop … 200!

    You can do it!

    Out of curiousity how many versions of InDesign have you guys gone through from 1 – 100?

    What was your favourite episode to do so far and why?

  2. Hi!
    First of all: congratulations for the 100!
    Second: I love (yes I really do) your audio podcasts. I always hear it on my way to … everywhere (university, work, clients,…). So I hope video won’t kill the radio (podcast).
    Go on like you are!
    Best regards from Austria
    Martin

  3. Congratulations folks! Thank you for infectious enthusiasm and freely-shared expertise InDesign. You’re the soundtrack of my Saturday walk.

    Mention of your low-tech audio “clappers” caught my ear. (Small round of applause for making do) The next time you’re in PetSmart pick up a dog training clicker for a couple of bucks. A clicker produces lovely, visually consistent spikes that show up well in an audio editing program.

  4. @David: I?m confused about your complaint with Myriad Pro. Maybe I?m talking through my hat, but…

    When the vertical and horizontal lines in letters have significantly different widths — as if they were written by a fountain pen with an ?italic? nib, as in most Serif typefaces — scaling them up or down can subtly change their ?flavor? to the eye. Big display letters can have a big difference in vertical-horizontal line width, but the thinnest lines of small caption letters have to be comparatively thick. (Which is why they look so clunky when scaled up.)

    Having distinct small caps makes sense in such a font, but wouldn?t make much sense in a font like Myriad Pro, where the lines are in effect ?written by a pen with a circular nib?. You might want to change the overall weight of the lines, but Myriad Pro does allow you to do just that.

  5. @Old Jeremy: I guess I have to disagree with you. Small caps are just as required in a san serif as in a serif. For example, look at the two following paragraphs. Seems to me that the faked small caps in Myriad Pro look anemic and out of place, whereas the true Minion Pro small caps look like they fit:

  6. Yeah, you make a very good point there. I was vaguely thinking of making up a character style that fakes small caps by moving up a notch from “regular” to “semibold”, then reducing the font size (say from 12pt to 9pt). That gives better results than standard pseudo small caps, but it’s far from perfect, and it takes up too much time.

  7. Congrats on 100! I’ve listened to them all at least once.

    BTW: where do I download the newest version of the Adobe-packaged fonts?

  8. Playing catchup on the podcasts today…

    I was curious about your comment that “Adobe doesn’t upgrade fonts during install” on the Font Version OSFOTW, since I have CS2, CS3 and CS4 installed (in that sequence, of course). Contrary to David’s experience, I have version 2.037, like Anne-Marie. This may be a difference between how the Mac handles font installs vs. Windows.

    Not only that, but Myriad Pro Regular is in /windows/fonts, where Condensed Bold is in /program files/common files/adobe/fonts. This adds a whole new level of obscurity to the feature, I guess.

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