using images), fancy paid-for technology (e.g. On the web we deal with a very limited font set, expanded only by bad techniques (e.g. Any font in the world can be had and used. If you are coming from print, you aren’t gonna love the font situation over here. Prepare to code, but don’t worry, it’s really not that complicated. If you are coming to web from print, don’t expect to use the same tools you did before. The result is either going to be exactly how you drew it and full of terrible inflexible code, or not at all how you drew it. ![]() ![]() There are too many other factors that come into play. You can’t just draw a box on a canvas and drag it around and expect a program to turn that into perfect HTML and CSS. You get pen tools and pencil tools and resizing tools, all of which behave like the metaphor that they are.Īdobe tried to bring these same metaphors to WYSIWYG web design tools like Dreamweaver, but it doesn’t hold up. Need three columns of text instead of two? It’s only a few clicks away. In InDesign, you click and drag boxes around and they stay where you leave them. The tools of print design are far superior to the tools of the web designer. WYSIWYG tools are ideal in print, and garbage in web design. You can set indenting and spacing, which controls how the paragraphs interact with each other on the page. You can set font family, style, and size. This Paragraph Style has lots of options you can set. For example, you’d create a Paragraph Style called “Article #1 Text” which you would apply to all normal paragraphs of the first article you are working on in a magazine layout. In InDesign (and other major layout programs), you can select a block of text and apply a Paragraph Style. Using paragraph styles in print is like setting block-level CSS. On the web we don’t use images that are 10,000px tall, as we need to consider performance, visible area, and fluctuating content. That means the dimensions for a complete web page are often really tall and thus relatively narrow. On the web, our designs can scroll, and users aren’t afraid to do it. ![]() A print designer takes that into account and makes sure the final product is well handle-able. Pricing for FontExplorer X Server 1.5 starts at $1,599 for a server license that includes 10 FontExplorer X Pro client licenses. Existing FontExplorer X Pro and Server users will receive updates free of charge through the software update function.In print, ultimately a viewer picks up and holds the material in their hands. A 30-day trial version of FontExplorer X Pro is also available for download for new customers. Single user licenses of FontExplorer X Pro 2.5 are available forĭownload for $79. The new versions run on Mac OS X 10.4 or later and are available in English and German. In addition, the interface that controls system settings has been redesigned to boost clarity and handling. And, the LDAP (Lightweight Directory Access Protocol) connection has been revised to allow administrators to authenticate users directly from the LDAP server via a domain password. Administrators may now assign without restriction the time of day and locations relating to when backups are conducted. Also new in this version is a server replication feature, which lets larger installations distribute the workload across multiple servers.īackup functions have also been enhanced in this new version. Features include the ability to hide Linotype’s integrated font store and the workgroup’s local library from view, as well as prevent font imports at specified client workstations.Īdministrators can also define fonts for automatic installation and activation on selected clients. Designed for workgroups, FontExplorer X Server 1.5 launches with a lockdown feature that allows administrators to limit certain functions of connected FontExplorer X Pro client users.
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