Publishing II: Can the Old Master QuarkXPress Still Turn Things Around? Since their emergence, there has been a constant back-and-forth among layout programs vying for the top spot. PageMaker, the first desktop publishing application developed by Aldus, was the sole player in the field for a long time after the demise of Ventura Publisher. Then PageMaker faced a new competitor in the form of XPress from Quark, which eventually surpassed the «page maker» in prepress. This situation did not change when Adobe acquired Aldus and, along with it, PageMaker. With InDesign 1, Adobe has been staking its claim to the throne since 1999. However, the launch of version 1.0 was a failure for Adobe. Despite new features, the company had reached for the stars too high at the time. One ill-advised requirement, for example, was the demand for the then-new Level 3 RIPs for output, which most companies simply could not—or would not—meet. InDesign had to scale back in this regard, but even the 1.0 version scored points with, among other things, powerful typographic features and a significantly better display of imported elements compared to XPress (which remains true to this day). Starting with InDesign 1.5 and then InDesign 2, Adobe has since won over many users.
Quark is banking on Version 7. A major factor in QuarkXPress’s current difficult position was its late switch to Apple’s modern OS X platform. By that point, Adobe had long since made InDesign compatible with Mac OS X. Adobe must be credited with a clever move in bundling the Creative Suite. As part of this software bundle, Adobe InDesign CS offers unmatched value for the price. The quick follow-up with Creative Suite 2—which is now available in the U.S. and will soon be available here as well—is likely to further strengthen Adobe’s market position.
Quark has announced that the upcoming version of XPress 7 is the most comprehensive update since XPress was first introduced. Here are some of the new features that have been announced:
OpenType: A key and central innovation is support for Unicode, which enables full use of the new OpenType fonts (in XPress 6.5, only the «first» 256 characters could be accessed). XPress will even be based on Unicode internally—which underscores the importance Quark attaches to Unicode/OpenType. This change alone has several implications: For example, individual characters can now be set in different languages, rather than just individual paragraphs as was previously the case; the same applies to the use of ligatures, true small caps, etc.
Transparency/Drop Shadows: Designers and graphic designers, in particular, will be pleased to hear that transparency features will soon be available in XPress as well. To this end, Quark has completely revamped the graphics engine responsible for rendering. The rendering model, called XDraw, will soon provide significantly better rendering on both Windows and Mac OS X systems than the previous Graphic Engine. Thanks to XDraw, transparency features are also making their way into XPress. However, these aren’t limited to images; they also allow transparency effects to be applied to grouped elements as well as tables. Drop shadows can now also be added to objects without the need for additional tools.
Palettes: Quark is breaking new ground with its palettes. They are «smarter» and organized more logically. This means they can be accessed as bundles with the click of a button. But they can also be organized by user, group, and workflow.
No release date yet
Not much else is known about Quark at this point. The only other thing is that this is expected to account for less than 30 percent of the new software to be released this year. However, that’s not enough to convince former Quark users who now work with InDesign to switch back.
Soon, drop shadows will also be available in XPress without having to use separate XTensions.

Palettes can now be grouped into sets and saved.
XPress 7's handling of OpenType fonts will satisfy virtually every need.
The new range of sizes, which is set to become even more compact in its final version, provides significantly improved access to all functions.
The Showdown: XPress vs. InDesign
With InDesign CS2, Adobe has taken a major step forward in typesetting—particularly in the production of publications with footnotes and marginal notes. A key advantage is its integration into the Creative Suite, which, thanks to Adobe Bridge, allows the software to become part of a unified work environment.
Judging by the initial information, XPress 7 stands out for its consistent further development, which also compensates for many of InDesign’s previous unique selling points (e.g., drop shadows). To this day, the program impresses above all because the application has a leaner and more streamlined structure. This appears to be here to stay. Thus, it can still be broadly defined that XPress is more of a «typesetting program» and InDesign is the «program for creatives»—even if this distinction is becoming increasingly blurred. (jf)
Jürgen Franck

Credit cards Following an agency evaluation, Swisscard AECS AG has chosen Sulzer Sutter, the Zurich-based advertising agency entrusted with the management of direct marketing projects for the American Express brand. Swisscard AECS is a joint venture between the US credit card company American Express and Credit Suisse.

Although the handover of staff at the School for Practice-Oriented Communication SPOK took place some time ago, the graduation ceremony for the marketing communication planners was the first official event for the newly appointed office with Julia Köpfli and Marianne Aebli. And they put on a good event - SPOK co-founder Ronny Schmid even said that the diploma ceremony had never been held in such a beautiful location as the Blumenhalle. In his speech, Peter Döbeli recalled that ten years ago, a class from the SPOK took the Assi exam for the first time and presented a new tool to celebrate the day: the SPOK Directory. According to Döbeli, it is a rough address guide, as it contains the names of all previous graduates. He would actually prefer to hold a larger school party every year if a sponsor could be found. In any case, NZZ and Edipub have already paid the first major bill for the basic work on the first directory. With the good connections that SPOK founders Schmid, Döbeli, Monica Jäggi and Peter W. Bächtiger have, attracting further sponsors should not be a major problem. And the party will probably not be long in coming.
The thesis presented on the WOZ was a pleasure. Ten years ago, this could easily have been submitted for a degree. Professional solutions with imaginative measures and a strong multimedia presentation. The most piquant thing: WOZ readers like to steal! A survey of diners revealed that the WOZ is the newspaper that restaurant guests prefer to run with. Hony soit qui mal y pense!
Diplomas, known as Letters of Distinction, were also on the agenda at the Swiss Dialog Marketing Award Night. Philipp Skrabal stood out in particular - the Publicis man won various trophies, albeit for his former employer Matter & Partner. The work for the Tribis dog school was particularly strong, with one of the entries also winning the audience award. In addition, Eugster Kommunikation, Lowe Direct, Fisch Meier Direkt, Euro RSCG Dialog and OgilvyOne, other old acquaintances, also won several awards.
Once again, the DM Awards are pleasing: They have understood the event business. At the beginning of the evening, the announcement that 32 awards would be handed out left us speechless. Normally, so many awards would make an evening drag on agonizingly long. Not so when Sandra Studer is hosting. Thanks to a clever script and stage dramaturgy, the SDV manages to present all the awards, a gala speech and two show blocks in no more than three hours - and that's with breaks for food. A successful evening. Chapeau Messieurs!
Beat Fritsch in telephone stress? It seems that the whole world wanted to know from the shortlisted author what the winners of the Swiss Dialog Marketing Prize were called.
And the award trophies, as the designer wanted, are simply modeled on telephone receivers. The SPOK marketing communication planners also won. They celebrated their graduation last week in the Blumenhalle and received their internal school diploma.
Beat Fritsch

Press The SonntagsBlick's glossy supplement launched at the beginning of May does not seem to have got off to the best possible start in the advertising market: while the first issue of Sie+Er had around 27 paid pages (out of a total of 96), the following issue only had 23 and last Sunday's only 13. Ringier's newspaper boss Bernhard Weissberg believes that the new supplement is still on target, and according to well-informed sources, the hoped-for upturn in the parent paper's retail sales has so far failed to materialize. After a brief jump towards the mean value of 100, the SonntagsBlick's index values have thus leveled off again at the usual 85, although Weissberg vigorously denies this.
"At the newsstand, we are above the average of previous months in May," says the Ringier newspaper boss. He adds that journalism is a long-term business and Sie+Er is "a magazine that grows in content from time to time", which he enjoys very much.
(oc)

Television McCann Erickson shows: Cablecom is a smarter way to watch TV Cablecom has greatly expanded its TV offering in recent days. Cablecom Digital TV customers have a range of new channels to choose from, such as two specialty channels from Walt Disney or the channels AXN from Sony Entertainment, The History Channel, National Geographic, Eurosport 2, ESPN Classic Sports and NASN. Almost all analog channels broadcast in German-speaking Switzerland and Ticino can now also be received via the Cablecom Digital TV platform. This increases the digital offering to around 130 television channels. To ensure that viewers can continue to keep track of so much television at close range, Cablecom is also providing a new electronic program guide EPG at the same time as the program expansion. The entire system costs CHF 25 per month with a subscription.
McCann Erickson implemented a comprehensive campaign for the launch of the Electronic Program Guide with two TV commercials, four double-sided ads and below-the-line material to explain the product in detail. The campaign is based on a clearly defined consumer benefit and formulates this with the claim: "Always see immediately what you like to see most."
With the miracle EPG box, you can find what you want to watch in the huge selection of programs within seconds: Movies, shows, news, cartoons, action or documentaries. Instead of endlessly zapping through the diffuse program, you program your wishes and are immediately shown on the screen which channels offer the corresponding programs. This is how Cablecom Digital TV will allow you to watch "smarter TV" in the future.
Elaborately designed commercialsThe first commercial demonstrates this with an action heroine modeled on the super agent Lara Croft, who finds the action films she loves in seconds. The second spot shows a sportsman who, after a somersault into the TV chair, finds a favorite gymnastics show in a flash. Other film genres such as cartoons on the Disney Channel or animal programs are used in the advertisements. These were photographed by Julien Vonier.
The subjects each work with a witty connection between the events on television and the respective viewer. The informal level in the text is thus complemented by entertainment in the picture section, when the action figure Lara Croft watches action films or a pregnant woman is delighted by a stork in an animal program. For the Disney cartoon channel offered with Cablecom's Digital TV, the advertisement shows a cartoon character that has been copied into a real environment like in the film "Roger Rabbit" and is watching a Disney animated film on the screen. "If you want to sell the product, you have to work with the genre," says CD Peter Rettinghausen at McCann Erickson.
The elaborately designed spots were produced by Snap Film in Prague, in the same studios where major action films such as "Mission Impossible", "xxx" and "Van Helsing" were shot. For the gymnast's precise somersault into his chair, for example, the action specialists used a stuntman on strings.
Each spot is accompanied by a reminder on television, which prompts viewers to order further information.
In an additional, deliberately conventional advertisement with such information, the new wonder box EPG is depicted as a zapping device. In the program guides Tele and TV Star, this motif is supplemented with a cleverly glued-in fanfold explaining in detail the difference between the EPG and a conventional zapping device.
The campaign is a concrete reaction to its competitor Bluewin, which wants to popularize "smarter television" with a similar offensive (see page 8). The battle for the audience is therefore in full swing, as Cablecom has also announced the introduction of a digital TV recorder for the second half of the current year as a further step towards "intelligent television". This device also enables simple recording and archiving of programs, which can then be watched time-shifted. Naturally, this new type of recorder is optimally complemented by the functionalities of the EPG.
At the end of last year, Cablecom already had 109,000 digital TV subscribers. At the end of 2003, the customer base still amounted to 87,000, so growth in interest also appears to be digitally programmed.
The box for success: Even superheroes and pregnant women know about the speed of the EPG.

Andreas Panzeri

Subnotebook With the new Intel Centrino platform and Sony's own X-black LCD screen technology, the new subnotebooks in the Sony Vaio VGN S4 series offer plenty of power for mobile use.Subnotebook With the new Intel Centrino platform and Sony's own X-black LCD screen technology, the new subnotebooks in the Sony Vaio VGN S4 series offer plenty of power for mobile use. Packaged in an elegant magnesium casing, the notebook with its 13.3-inch widescreen display cuts a fine figure not only when traveling.

TV The Bluewin video recorder makes targeted, ad-free television possible. JvM/ Limmat shows the way. Product-specific media placements can often be tricky: in the multimedia section of the last SonntagsZeitung, two competing products vied for the favor of an almost identical target group - young, active multimedia enthusiasts whose lifestyle is characterized by modern multitasking. Mass vs. individuality
Because they are not allowed to zap around aimlessly and gawk mindlessly, communication technology will be able to offer them two solutions in future: Cablecom's "smarter TV experience" (see page 7), which expands the range of programs on offer to such an extent that every taste is catered for at all times, or Swisscom's alternative - "self-determined TV experience". With the Bluewin TV 300 video recorder from the Internet provider subsidiary, consumers will be able to put together their own individual program from the existing TV offering. They can watch it when and how they like.
Thanks to a few remote control buttons, the video recorder with built-in hard disk heralds the end of the era of interrupted commercials. Not only can the program be stopped and re-watched with a time delay, passages can also be repeated or skipped at any time. The device can store up to 200 hours of TV programs. Accordingly, the way the TV is used is likely to be similar to that of a print medium, as content can be selected and viewed in a targeted manner. This requires not only the rentable recorder, but also an Internet connection, which enables the electronic program guide to select and record programs.
But back to the "coincidental" proximity of the ad placements. This also reflects the similarly dense distribution network and the pricing policy of the two innovations - ten centimes cheaper monthly rents at Swisscom and CHF 95 each for the set-up fee, which Cablecom waives for its customers during the launch phase.
It is therefore obvious that the launch campaigns are related in their multimedia mix: In addition to the informative PR and online channels, Jung von Matt/Limmat (JvM) is also relying on two TV commercials with five tagons. The latter are the centerpiece of the campaign. Compared to the publicity-style ads - in which a rather irrelevant testimonial by Bertrand Piccard tries to enhance a better instruction manual - the spots shine with the best cybernetic irony in their environment.
Deus ex machina
Under the motto "You make the program", the creative team of CDs Tom Seinige and Alexander Jaggy have made the advantages of Bluewin TV 300 obvious. In one, you see a pair of lovers in the 174th episode of the schmaltzy soap opera "The Filthy & The Rich". Suddenly, a giant hand - deus ex machina - appears and sweeps the fervently kissing couple off the set. In the other film, a smart aleck is annoying in a dozen-quiz show. Even before the quizmaster has finished formulating his questions, the nerd answers them with excessive complacency. Until a giant hand stomps him out of TV studio heaven.
The commercials show that in the dawning TV age, viewers are putting an end to the broadcasters' program dictates. "What they don't want to watch, they simply throw out and create their own program," explains Seinige. The benefit is obvious: throwing unpopular programs out of the schedule is fun.
It was probably too hot for the advertisers to remove an advertising block from the program by fist. Instead, the reminders come back to the product features of the hard disk recorder, which are also illustrated on the Internet with a product demo and in various supporting print products.
Publicity reports for Bluewin TV 300: Balloonist Bertrand Piccard ennobles the instruction manual.
A coup de grace: JvM/Limmat shows how to become a program director.

TMT Nokia wants to defend itself against price erosion in the cell phone industry with more sexiness. The world's leading cell phone manufacturer connects people - that's the claim. And recently also positive results on a rising sales curve. Despite a controversial product policy, Finnish cell phones have been able to regain their lost market share. In the last quarter of 2004, one in three cell phones sold over the counter carried the Nokia brand. In absolute figures: 66.1 million units. The fact that the brand is one of the top ten global brands according to Business Week completes the picture.
However, the path back to the lead position was steep and involved sacrifices. While competitors such as Sony-Ericsson, Samsung or
Motorola was able to celebrate several sales successes in a row with its clamshell, digital camera and MP3 models, Nokia launched models with a design that took some getting used to, brought improvements to the hybrid of mobile games consoles and cell phones and caused the prices of various models to plummet. Mistakes that could quickly cost the company pole position. Nokia was able to maintain this, but not its operating margin.
In order to get these and sales off the ground again, Nokia not only rethought its product policy. As a result, it was also recognized that the centrally developed and managed Markom measures had taken too little account of the various market conditions and needs. In other words, the local agencies should be given more freedom for campaign design. "Until a few months ago, everything that came from Finland was considered sacrosanct and had to be adapted," says Grey CD Enrico Bachmann, looking back. The interchangeable lifestyle ads for the various Nokia models had long been a thorn in his side.
It was only with the launch of Nokia's Ngage that a Swiss-relevant Grey implementation with more impact - teaser campaign and trade marketing measures - was agreed. Slowly, the work began to bear fruit. For the launch of the 6230i model, the Zurich agency was given a completely free hand for the first time. Even the blue and green bars were suddenly dispensed with.
"With a minimalist and new look and feel, we want to focus on the product and its most important features for the upcoming models," says Bachmann. The eye-catching motifs dramatize the benefits. Themes such as imaging, video camera functions or music playback complement the styling, which enhances the product's appeal, just like in car advertising. In future, band campaigns as well as individual models are likely to appear in an independent layout. Not only Nokia Switzerland seems to have acquired a taste for it: In addition to the sponsorship ad with its sexy look, a motif has already been booked by those responsible in Austria.
Cell phones with skills: The new Nokia advertisement presents them.

No longer the whole world: Nokia dispenses with a uniform lifestyle.
Luca Aloisi

Guest commentary The SonntagsZeitung's facelift is good for everyone. But Peter Rothenbühler thinks that the paper's redesign has run into de Weck's dead-end knife.
The new layout of the SonntagsZeitung is not a stroke of genius. Nor does it have to be. The paper has always had a good look. And it would be ill-advised to attempt to top the fantastic design of the NZZ am Sonntag. Mission impossible, and the designers obviously went about their work with this in mind: almost a little hesitantly. I would call it design with tweezers. The result looks like "changer pour changer". Well, the six-column pagination is more reader-friendly. Otherwise, however, the lifting does not bring any significant improvements. The page structure remains the same (thank you!). What's new are a few short food sections and two or three new columnists (I'm looking forward to Markus Gisler).
When I sleepily picked up the SonntagsZeitung and read "new today" above the logo, I first thought: just like in Migros. And then: Let's hope so. It took me a while to realize: Aha, layout pimped! If you take a closer look, you'll notice that the color bars on the opening pages are the most striking. Similar to the English Quality Sunday papers. So it can't be wrong. Only the colors are a bit more pastel than in the Sunday Times, and the logo blue on page one has something hungry about it (I liked the richer version better).
What is annoying, however, is the orgy of capital letters in these tear bars. Hurts the eyes. Stupid fashion thing, contradicts all the rules of the art, needs to be reconsidered. Newspaper psychologists read highly political things out of the smallest changes: Why has the DE WECK name been reduced in size so massively, and even the photo of "RdW"? Is it rank or stupidity? DE WECK used to be a brand, and - boom - it came across as a logo. Today, the name is just a meagre headline.
My money is on stupidity. Because the new design of the column headings is also brainless in other respects: to stick with Roger de Weck. So you read undifferentiated: "De Weck, Wir laufen ins Sackmesser, Der Publizist Roger de Weck lebt in Zürich und Berlin, Er kam, sah und gehen ...". Surely the title "Wir laufen ins Sackmesser" does not belong to the good Roger de Weck, but directly to "Er kam, sah und ging", i.e. the beginning of the text. As we all know, readers read from top to bottom. And they want order!
But these are just details. Overall, the new SonntagsZeitung from Tamedia has become more elegant and attractive. Double readers can now tell the difference between the original and the "Me Too" product from Falkenstrasse much better (and on every page). Conclusion: the facelift is good for everyone.
> Peter Rothenbühler is editor-in-chief of Le Matin and Le Matin Dimanche.

Data storage Zurich-based agency Musqueteers has been appointed to handle PR and media relations for Hitachi Data Systems (HDS) Switzerland following a multi-stage pitch within the PR networks of advertising holding company WPP. Musqueteers is part of Grey Worldwide Switzerland and represents the Grey network GCI in Switzerland. HDS offers storage hardware and software as well as services in this area. The Swiss headquarters of the Japanese company is in Dübendorf.

Publishing III The InDesign CS program enters the next round with new functions, better integration and numerous improvements. 18 months after InDesign CS, Adobe is now launching InDesign CS2. The update is a largely new version with many additional functions such as marginalia, object styles and footnotes. The updated layout application will again be available as part of the Adobe Creative Suite (CS2), which will be available from June, or separately. New object styles: Professionals use character and paragraph styles to mark up and format text. For recurring graphic elements (text boxes, picture frames, margin notes), they previously had to make do with a library. This is now changing in the new InDesign version. With the so-called object styles, objects can be formatted as desired and an object style can be created from them. The process works in a similar way to text formats: The software collects all the attributes of the object (fill, outline, transparency properties, text frame options) and links it to the newly created object style. Changes to the format then affect all objects that have been provided with the object style.
Mouse-free formatting: "Quick Apply" is the name of a new method for formatting text. By pressing the Apple (Mac) or Ctrl (Windows) key together with the Return key, all paragraph and character formats or object styles can be accessed directly. A pull-down menu, which appears after pressing the two keys, now allows you to enter text. If you now type a "G", for example, the palette only shows formats/styles that contain a "G" - for example "Basic text". A line switch assigns the format to the text to be formatted. This makes the mouse redundant - and the user faster.
Interaction: InDesign CS2 supports compositions in PSD format (Photoshop's own data format), and layers in PDF documents (PDF version 1.5) can also be accessed. Import options and the object menu after import allow you to define which layer of a placed file should be visible. Furthermore, when updating placed objects, you can choose to retain what is visible in the image or PDF document. Instead, the layers/channels created in Photoshop or in the PDF document can also be used.
Individual pages from multi-page PDF documents can now also be easily imported or placed on the layout page. A mouse click is all it takes to scroll through the pages when importing.
Text import: InDesign CS2 automatically resolves name conflicts with character or paragraph templates, which often occur when importing documents in Microsoft Word format. A particularly practical feature is that Word templates can be assigned to InDesign templates. Specifically, a "Title 1" template can be converted directly into the "Main title" template of the InDesign document during import. These import settings can also be saved.
Smart Text: Some will love it, others will be annoyed by it: As known from Office applications or QuarkXPress, you can now also move text in InDesign CS2 using "drag and drop". Thanks to the "Drag and drop text editing" function, all you have to do is select the text and then drag it to another position in the document. Pressing the Alt key at the same time copies the text - and if a new text frame is to be created, this can be done elegantly by pressing the Apple/Ctrl key. "Text editing by dragging and dropping" also enables dynamic spell checking and improved handling of user dictionaries.
Real footnotes: Layouting multi-page documents used to be a relatively simple matter - at least as long as no footnotes were required. InDesign CS2 also eliminates this shortcoming. A simple command ("Insert footnote") can now be used to create footnotes that run with the footnote reference. These can be easily formatted globally.
Marginalia: In addition to footnotes, marginalia (text in the margins) used to be another hurdle. Adobe calls a function designed to remedy this situation "anchored objects". To do this, the text cursor must be placed in the appropriate position and an anchored object inserted. InDesign then asks at what offset to the cursor the frame should be placed.
In addition to graphics running in the text, an offset outside the column is also possible. This goes so far that you can instruct InDesign to always position anchored frames on the outer edge of the page: On the left for left-hand pages and on the right for right-hand pages. If the anchoring in the running text now moves from a left-hand page to a right-hand page, the marginalia also automatically changes sides or is mirrored.
Vector graphics: Many elements/graphics that were previously created with Illustrator or Freehand, for example, can now be produced directly in InDesign. To further improve the handling of vector paths, Adobe has expanded the Pathfinder. This means that several vector objects can now be merged into one in InDesign, for example, or one vector object can be mathematically subtracted from another.
Color management: Adobe has made ICC color management in Creative Suite 2 more practical. Unwanted CMYK-to-CMYK transformations are now also a thing of the past. It is important to know that color management is switched on by default in all Creative Suite applications (including InDesign CS2).
Colors: Anyone who painstakingly creates color swatches in Illustrator can now access them directly in InDesign, Photoshop and GoLive. To do this, the color swatches must be exported in Adobe Swatch Exchange format (*.ase).
Metadata: In order to find your data more quickly in future, it makes sense to describe it with metadata. Adobe has long since developed the XMP metadata format for handling this data describing objects, images and documents and made it available in earlier versions of InDesign. InDesign CS2 sets a good example and automatically enters the colors and fonts used in the metadata of each file. Clever, because this means that important information about the document is already visible in Adobe Bridge (the file browser integrated in Creative Suite 2). This goes so far that in future it will be possible to search for InDesign files that use a specific spot color or font, for example.
Compatible with CS1InDesign CS2 is compatible with InDesign CS1. Adobe uses the InDesign Interchange format, a complete XML ("Extensible Markup Language") representation of the InDesign file. InDesign CS1 can open such a file. However, a corresponding update of the Creative Suite is required. This can already be downloaded from the Adobe website. However, it is often not necessary to replace the entire document: Dragging and dropping InDesign objects onto the desktop or into Adobe Bridge creates so-called snippets (small XML files with InDesign content). These snippets can then be placed in other InDesign files. The position of the original document is even adopted.
Advances in XMLLAdobe has also significantly revised XML import and export. With the help of XML designed for marking files with metadata, tables can now be "tagged" throughout, i.e. linked to the original, and also exported. This also makes it possible to incorporate content from databases into tables. The XML files can now also be linked like images and graphics during import. This makes it easy to update them.
There are other exciting extensions for XML import. If you import many data records from a database as XML content into the layout, you only need to format one sample record. The subsequent data records automatically adopt the formatting/appearance of the first one. Furthermore, if desired, only elements that also appear in the structure of InDesign can be imported - or elements from InDesign that do not appear in the XML file can be deleted.
The exchange of content with Adobe GoLive, which was already introduced with Creative Suite 1, has also been improved. On the one hand, only selected objects or a page range can be exported for GoLive, and on the other, GoLive CS2 can now directly generate XHTML sites (an HTML extension). This is a particularly useful function for simple print-web integration.
InDesign CS2 makes it possible to read layers from Photoshop and PDF documents.

Paragraph, character formats and object styles are centrally accessible.
In InDesign CS2, the appearance of objects can be saved as a style.
Word style sheets can be assigned to InDesigns character and paragraph styles.
Anchored objects (to be used for marginalia) can also be positioned outside the record edge.
InCopy CS2 Adobe InCopy has also been updated. The separately available program InCopy CS2 is for editors what Adobe InDesign is for designers. Based on the same text engine, articles released by InDesign can be written line by line in InCopy. While the designer is still working on the page, the editor can start filling the text. The link between InCopy and InDesign in larger environments is provided by an editorial system.
For smaller workgroups, there is Adobe LiveEdit (formerly: InCopy-Bridge), a connection between InDesign CS2 and InCopy CS2 based on the file system. When using Creative Suite 1, the editor must have access to the InDesign file with this file system solution in order to be able to write line-by-line. Assignments now provide a remedy here. Assignments are a kind of mini InDesign layouts for InCopy. They only contain what is important for the respective editor. This is an important enhancement, especially if the editorial and production departments are separated.
In addition, the positioning tool can be used to place or move images in existing frames. InCopy CS2 can also be used to access layers created in InDesign and documents can be opened in Word and RTF format. The application also enables the text-before-layout workflow for the first time without the need for additional third-party tools.
(hu)
Haeme Ulrich

Publishing I Apple delivers a trend-setting, important update with version 10.4 of Mac OS X. Word from Apple's competitor Microsoft is that their successor operating system to Windows XP will not be ready until late next year. Longhorn, as the update is codenamed, will then certainly be a particularly serious challenge for Apple. The Unix-based security system integrated into Mac OS X has been considered an important USP for the operating system, which has already been updated five times. But Longhorn is also to be equipped with comprehensive system protection against viruses and other pests. Before the market launch of Longhorn, it is therefore particularly important for Apple to once again extend the gap in technology leadership, in order to then be able to follow suit before or after the release of Longhorn. Oren Ziv, Director Product Marketing (responsible for Europe, the Middle East and Africa), spoke in Zurich at the presentation of Mac OS X to a large crowd of journalists never before seen in Switzerland. The interest in the operating system update designated Tiger is great.
With Mac OS X v10.4, as it is officially called, Apple is launching a significant update. Ziv speaks of over 200 "groundbreaking" innovations. That's relative, of course; but it's certainly true for the Spotlight, Automator, and perhaps Dashboard features.
If you search, you will be foundThe Spotlight searchlight enables a new way of searching. Instead of searching only for names of documents, pictures, pieces of music or videos or in contacts or appointments, Spotlight is able to look even inside documents - without opening the corresponding document. If you vaguely remember a PDF document showing the Bernese Oberland, you might have luck searching for "Schilthorn". If the name of the 2970 meter high mountain was used within a document or as part of the document name, Spotlight will find it - wherever the term occurs. If desired, the hits are sorted by document type in an overview and displayed with a preview image. A click on the vacation brochure, for example, which is accessible and available as a PDF, even highlights the word searched for in the document. The same applies to the search for data in the Finder (at the operating system level), in the Mail application (Outlook Express/ Entourage does not yet work on request) or in other applications.
This makes Spotlight almost a small asset management system - anyone looking for images properly tagged with keywords (metadata) will no longer want to do without Spotlight. You can also create so-called smart folders and use them to manage various files (mails, images, addresses, Word documents, etc.) in a project-oriented and dynamic/automatic way. In this way, for example, backups of data can also be created.
Configurable dashboardThe mini-applications within the dashboard, another Tiger highlight, are an "add-on", so-called widgets. The little helpers land as a new layer between the screen and the actual operating system surface via keystroke or "hot corner" (when you slide the mouse into a defined corner). There, some of the widgets provided by Apple do their job and help convert currencies, show temperatures in Los Angeles or current stock prices (an Internet connection is required for the latter two) or simply serve as games for entertainment.
Practical gimmicks? Yes, certainly at first glance. But not only. The interesting thing about the widgets is that they can be created (relatively) easily. The mini-applications are, when you get right down to it, miniature websites. They can be created with ordinary HTML commands, formatted with Cascading Style Sheets (CSS) and programmed with JavaScript. It is surely only a matter of time before a respectable number of industry-specific widgets are available and the clever approach is moved out of the corner of playful-looking tools into the right light (see box on page 24).
Visual AppleScriptThe scripting language AppleScript has long been one of the outstanding features of the Apple operating system - only it has been used far too rarely by users in the past. Even if the actions in the new Automator tool are not necessarily AppleScripts (but may contain them), the approach of simply automating routine tasks will fall on more fertile ground with users. Automator provides the framework for controlling applications for this purpose. After choosing the small and particularly easy-to-use program, the actions/functions accessible and logical with Automator become visible. The rest is "drag & drop" and storing parameters. This makes it easy to save workflows (direct) or programs (indirectly changeable later).
Automator may also look like a gimmick at first glance. However, downloadable actions are already available for controlling Adobe InDesign, for example. Used correctly, this can then be used to achieve productivity gains in repetitive/recurring processes.
Innovations en masseAs mentioned, more than 200 new features are supposed to have been included in the big update. Among the more important ones are Safari RSS and iChat AV.
The much faster Safari browser can directly display, filter, sort, etc. the increasingly popular RSS feeds (Really Simple Syndication; also Rich Site Summary). In addition, the Safari "private surfing" feature allows you to surf the web without leaving a trace: History is not kept, no data is downloaded, and no forms are simply filled out automatically.
The audio and video conferencing software iChat AV allows to talk to several people at the same time or to exchange information via video conference. The disadvantages here are the high system/hardware requirements and the fact that both sides need a .Mac (from Apple), AIM (from AOL) or Jabber account (Jabber Inc.). In return, users benefit from a new code (H.264), which also leads to significantly better results in the playback of moving images in the new version QuickTime 7.
Apple is still committed to industry standards. In addition, the compatibility with Windows systems has been improved in Tiger. In particular, improvements have been made to the Home Directory, SMB, VNP and access to Microsoft Exchange Server. The programs .Mac Sync (synchronization between Macintosh computer and data on a data medium called iDisk on the Internet or synchronization between two Macs) have been extended mainly for private use. This also allows data backups on a smaller scale, or data can be stored decentrally and then accessed from any web access point.
What I like most about the new mail application is that the data volume or image size of images can be changed before they are sent - but the original image remains in its original state. In general, the new e-mail software is more mature and adult.
On the other hand, the meanwhile very watered-down interfaces of many Apple programs are displeasing: Gradients, aluminum look and "Quartz" buttons are drifting more and more apart - the Pro applications, on the other hand, present themselves differently.
Overall, however, it is not the more than 200 features that distinguish Apple's new operating system 10.4, but rather the new approaches and possibilities when using the computer (Spotlight, Automator and Dashboard). This includes relieving the user of routine tasks, which leads to improved productivity.
What has remained is a moderate price. A single-user license is available for 189 francs and a 5-user license for 279 francs. That is not much for so much Tiger. And for 699/1399 francs, Tiger is also available as an all-round renewed server for ten and an unlimited number of clients, respectively. Finally, one question remains unanswered: What will be the name of the next cat - and when will it be let out of the bag?
The Dashboard software enables the display of mini-applications, so-called widgets.

Another central innovation in OS X 10.4 is the new search tool Spotlight.
Automator makes it easy to put together workflows.
Widgets and Automator actionsWidgets are mini programs accessible at the touch of a button. Technically, they are a combination of several files. In addition to an HTML-based page for layout and structure, a CSS file provides formatting. JavaScript can be used for programming. In addition, there are background images (in .png format) and a document called .plist, which can be used to define further functions related to the widget and to preset parameters. These documents have to be copied into a folder, named .wdgt and stored in the corresponding directory (.../Library/Widgets) at the user or system level - the widget is ready. The first widgets adapted for the Swiss market or new ones are available on the Macprime website at www.macprime.ch/widgets.
With the Automator, available functions of programs can be combined to actions. In addition to the Apple applications included with OS X v10.4, InDesign or Photoshop, for example, can also be directed. From third party suppliers, prefabricated actions are already available for download, subject to purchase. (jf)
Jürgen Franck