Mine has an AMD Ryzen CPU with internal GPU (in other words, lousy compared to separate GPU), but it has lag problems. Someone else in the thread said they're having the issue on a Mac. So it seems independent of hardware. My lag is not only actions related to styles, but anything in InDesign - even as simple as dragging an object, changing the current tool, or typing text. Plus, after having retreated back to version 2024 months ago to avoid the lag, in the last couple weeks even 2024 has started to have some of the same problem. If I restart InDesign it gets better for awhile and then gets slower again. Adobe folks have tried to reproduce the problem but haven't witnessed it yet (perhaps because they might not keep the software open for long periods of work), and of course they can't figure out the cause without being able to see it for themselves, so they might have inadvertently added the culprit code to 2024 as a minor update. ... View more

Thanks, but that's just images generated independently from text in the Firefly interface. I want to determine how many credits I've used by doing Generative Fill and Generative Expand in Photoshop - I don't see that in Firefly's Generation History. ... View more

I do plan to change my CC plan from Pro to Standard before it auto-renews next month. Are you suggesting I turn Firefly Standard on for a month only when I need it, and then cancel it until the next time I need it? I pay for CC annually, but I guess I could pay for Firefly monthly - if I only need it a few months per year, that comes out cheaper.   And what about my first question - is there a way to know how many credits I have been using recently? ... View more

I already know that method, as I've said twice. I don't consider it "easy", because I can only see 3 or 4 fonts at a time as I scroll - there are 3-5 lines per font, the line spacing is wide, and the window's height is fixed. Plus, I'm looking for something that isn't there rather than something that is - the absence of a word is not much like a "red flag" (i.e. something that jumps out at me). If I assume Type 3 fonts are the only fonts with this issue (that is typically true, but I don't know if it's always), they are much easier to find in Preflight, where there is only one line per font and the list is sorted by type rather than name, so I can just scroll right to the bottom. Anyway, I guess you aren't aware of any easier ways, including scripts. I'm really surprised that Preflight doesn't do it, always saying there are no issues when there clearly are.   Related question: No matter what method I use to search, if I find problematic fonts, is there any way I can get Acrobat Pro to tell me what page a given font is used on? The opposite is not hard - in any of the font-related selections in Preflight, I can click on Overview/Pages/Page:[number] and see what fonts are on that page. But the reverse would be much more helpful. ... View more

Amal, your answer is just a boilerplate response. I already said that I don't trust #1 as a method, because the list for a whole magazine could contain dozens or even hundreds of fonts, so I can't be confident that my eyes would be that accurate while scrolling through the long list. And I already tried #3 "Embed missing fonts" (I don't have one called just "Embed fonts", but the result would be the same) and described it thoroughly in my original post. As for #2, if Preflight can't embed them, Optimize can't either - from what I understand, Type 3 fonts are not true fonts but just graphics in a font wrapper (in the list, they don't even have names), so the installed fonts on my computer wouldn't help. And most importantly, I'm not asking about how to fix the problem; I only want to know how to easily check to verify that all fonts in a document are embedded. If one of the ads in my magazine has unembedded fonts, someone would contact the advertiser and tell them to fix it themselves (or if there is no time to wait, I'll just rasterize the ad like I did this time). The important thing is that I want to verify that my document will be accepted by the printshop. I can easily check for spot colors (the other reason the printshop might reject the document), so I assumed there would similarly be a way to easily check for unembedded fonts. ... View more

Update: I tried em-dashes, but they have a gap between characters in even more fonts than underscores. We're staying with tildes. ... View more

Thanks for the reply. After receiving no response here for several days, we decided to go with "~ ~ ~", and for the print version I chose a font that has an attractive tilde glyph. Today is release day for the ebook. But we might consider switching to em-dashes for the paperback that isn't quite done (and later updates to the ebook). ... View more

It's not the Windows version, but the InDesign version that is the issue. After much frustration, I re-installed the 2024 version for the sake of my sanity and workflow. I only fire up 2025 when I need to use something provided by others that was saved in 2025 - I open the file, save as IDML, close InDesign 2025, and do the rest in 2024. ... View more

Thanks - nice tip. (For people like me, Ken Lunde is a hero!) I'm not currently doing a project that needs the Japanese options (so they would just be extra clutter in the UI), but I have in the past and no doubt will again in the future, so I've saved the info. ... View more

Perhaps this is a good enough workaround for you, but that's a lot of work to go through every time we restart ID. And at least in my case, the delineation is clearly between 2024 and 2025 - version 2024 has no troubles, while 2025 is slow as molasses (not just working with styles, but almost everything). A question about the font: When you say "Adobe Garamond Premier Pro", is that the same as "Adobe Garamond Pro"? The latter is a font I have used extensively for years - it is the designated body text font for a quarterly magazine I design, and I like it for other things too. ... View more

@Peter Spier For people good at Photoshop, doing it all in PS makes sense. I originally started out planning to do it all in PS. But I didn't know how to get text the way I wanted it (gradients, effects, etc.) and was getting tired of googling every little thing and watching tons of tutorial videos. So I fired up my beloved InDesign - I can save named swatches of colors and gradients (and if I modify a swatch, the content follows), and I know where to find all the controls and effects. Plus, the Photoshop document was getting unwieldy. Even without the text, it has a ton of layers that are challenging to organize (I have all three books in one document because of common elements), and even though I've changed all the large embedded images to linked, the file size is barely below the 2GB limit for PSD (I'd never even heard of PSB and didn't want to try it).   In answer to your first question, yes, the problem exists even without the text. I ended up using a flat TIFF of all the image content plus another TIFF just for the bits of alien that overlap the text - it looks good enough. ... View more

A couple of the files are too big for this forum's attachment limits, and I doubt it would help anyway. ... View more

I don't know what you mean by layer comps, but I tried this: First I tried saving a TIF with layers (insanely large at over 600MB), but I couldn't select layers in InDesign - it seemed to just be a bloated way of having the same thing as a flat TIFF of everything. So I went back to Photoshop, removed everything related only to the other two books (to reduce the file from almost 2GB to 450MB), and placed that in InDesign, selecting only the layers related to the aliens. But the result was the same. See the screenshot here - the head on the right (and the background) is the layered TIFF - nice and smooth because the background and foreground are together. The head on the left is the Photoshop file with only the alien layers selected during the place operation.     I gave up doing it the "proper" way. Today I exported one TIFF of the whole scene and another TIFF of the aliens with transparency, and in InDesign only use the tiny portion of the transparent image that overlaps the book title. ... View more

@rob day I hadn't tested bringing the TIFF back into Photoshop, but I guess it does the same thing as InDesign in that case. While still in Photoshop with the original image layers, that dark edge isn't there. (I was mistaken when I said I can merge layers and be okay - apparently that's not quite the case.) After creating a base layer with what Aaron Blaise calls "local color" (including the fur at the edges), I press Ctrl and click on that layer thumbnail to select the not-transparent area of that layer before painting other layers (shadow, highlight, rim light, etc.) Perhaps that doesn't quite work right with semi-transparent pixels. This project has taken me way deeper in Photoshop than I've ever been before (I even bought a pen tablet just for this purpose, even though I'm not really an artist).   @BobLevine I'm much more comfortable in InDesign than Photoshop - I wouldn't know how to do the text treatments I'm doing if I had to use Photoshop for everything. (I'm sure it's all possible, but I struggle.) And it's convenient to have multiple pages in one document, because there are actually three book covers, not just one, with some common elements I can put on the parent page.   Only a small part of the image overlaps with the book title (the ends of the alien's long ears), so perhaps I should just export a complete background image including the aliens (which would look clean like my first screenshot above) and then put an image of only the ear tips on top of the text, which would be far less noticeable. I lack confidence to try to reduce the edges of the darker layers in Photoshop, partly because of my lack of skills (I worked really hard to get this far) and also because I would not get feedback while I'm working on it (since the problem doesn't appear while still working on layers in Photoshop). Thanks for trying to help. ... View more

Opening the PDF in Photoshop, yes, the "edge" is still there. I don't know what you mean by rendering at 1200 - I can't imagine upscaling being of any use.   As for a sample image, the Photoshop file with layers is too big, but attached is a crop of the TIFF. Try putting it in InDesign with a medium-lightness background, and I assume you'll see what I'm seeing.   If I can't solve this in InDesign or with something simple in Photoshop, I guess I'll have to try to trim back the edges of all the underlying layers (a base color layer that is mostly a reddish brown, a shadow layer, and a couple others with details), even though that's a lot of work and risks creating other oddities. Even though I can't see those layers' color coming through the rim light layer, perhaps something is going on under the hood. ... View more

I don't know if your tweaking of the frame height was changing the top or the bottom, but wouldn't that be functionally the same as leaving the frame height alone (with vertical justification being either Top or Bottom) and putting up with the opposite end not always being aligned? If a page only has 29 lines instead of 30 because of orphan/widow rules, either the top or bottom would not align. Making the frame shorter changes nothing, and making it taller to allow 31 lines instead of 29 still doesn't make it align with 30. I'm very familiar with tweaking word/character spacing to change the number of lines, but as I said, I have no time to be THAT professional, and my husband is also afraid of the ripple effect when things get edited later.   I just had a talk with him about it - it's handy that the author and the designer can just sit down in the same livingroom for a chat at any time. At first he felt like you, that differences in line spacing would be noticeable and distracting. But then he looked at actual books on his bookshelf. None of the books we found used a grid - the line spacing was allowed to vary slightly so that the top and bottom of the pages aligned. And he discovered that the variance didn't bother him like he thought it would. However, all the English books we found were non-fiction, and larger format than the 5"x8" trade paperback size we plan to use for his novels, so conventions might be different. We live in Japan where storage space is limited, so we threw out our collection of paperback novels years ago and just read on Kindle, but tomorrow I'll be passing near a bookstore that is large enough to possibly have a small English fiction section, so I'll stop in and take a look. We're also on the fence about font size and default leading (currently 11pt with 140% leading, but we might increase one or both slightly), so that will be a chance to see what others have done in that regard. Currently I'm favoring Garamond as the font - I like the open feel of its low h-height.   However, all this hand-wringing might not matter much in the end, as he is a self-published new author, so sales are likely to be almost all ebooks, not paperbacks. ... View more

@Peter SpierThanks for the input.   "The only text that needs to align to the grid is the body copy. Headings, titles, etc can be whatever you like." I know, but the sum of the non-grid content and its extra spacing has to be a multiple of the grid size (or ends up that way by force). So differing number of lines in section headers/epigrams and whether a header lands at the top of the page (where the Space Before is nullified) will cause the Space After to vary, sometimes enough to look sloppy. I fight this with the afore-mentioned magazine all the time, although there it's more noticeable due to having several headings on the same spread, which won't happen in the books.   "Quite frankly, it would bother the heck out of me if the two sides of a spread had different line spacing caused by using vertical justification." Hmm, I thought it would be too subtle to notice, since it would be no more than the difference between 29 and 30 lines on the page. Survey question: Would it bother you less if the bottom of the two pages was left ragged? I won't have time to poll a bunch of readers with a bound proof copy (we are currently at risk of running out of time to get a proof copy at all before the release date my husband promised people, unless we just release the ebook and then release the paperback later), so I'll ask you as one voice for starters.   "Seems to me that either tweaking line lengths..." For ~800 pages of book content, this is a non-starter. These books have a lot of dialogue and other shortish paragraphs, so there would be many, many such tweaks. I just don't have that kind of time. And just yesterday I learned that I'll need to revisit the cover design that I thought was done, and that's much more important, as it's the first thing people will see on sales sites and will be on the ebook as well as the paperback.   "...or doing away with Keep Options to prevent single lines at top or bottom of a page..." Echoing your phrase, quite frankly it would bother the heck out of me to have widows, at least at the end of chapters or sections where they would really stand out. Orphans at the bottom of pages might not be so bad (as long as it's not the first line of a section, which is easy to prevent in my case because that's a different paragraph style due to not having a first-line indent) - it's against convention, but not so glaring. Allowing orphans in mid-section paragraphs would reduce the number of short page bottoms, but would not eliminate them. ... View more

Thanks for pitching in, Rob, before I even had a chance to send you guys a test document to play with. This statement worked perfectly. ... View more

Hiding in an old version is not truly "solving the issue", but it's what I need to do for the time being, for the sake of my sanity. Fortunately I've never seen IDML mess up anything - my documents always look the same. Of course if you are using features introduced in 2025 for the first time, that would be a different story. ... View more

Pardon me for resurrecting a four-year-old thread, but... Instead of trying to mess with the leading, why not use the baseline grid and align text to that?   Because that wouldn't solve the problem of having the frame one line too short because of orphan rules. I'm here because of that issue. I'm using baseline grid for a magazine with multi-column articles, but in order to get the bottoms of columns to align, I frequently have to change wrapping on an image, squeeze a paragraph whose last line is short (to reduce it by a line), or stretch a paragraph whose last line is almost full (to make it one line longer). I accept that as necessary for the magazine, but now I'm designing a trilogy of 300-page paperback novels that my husband wrote, and I'm definitely NOT going to manually tweak every page like that. Currently I'm doing it without baseline grid, which allows us to easily tweak the paragraph styles (font size, leading, space above/below) for section headings, chapter titles, epigrams, etc., as we look over the books and see what we think of the appearance. I would hate to be locked into making the resulting height of all those elements always multiples of the grid.   I found this thread because I too would like to use vertical justification in Text Frame Options in a way that it would only stretch things if the frame is almost full. Perhaps irregularity in the bottom of the text on the pages is okay, but it's bothering me. It has been four years, so I don't know if InDesign has new options I'm not aware of. TAW's plugin is pricey and I prefer not to add plugins to software unless I have to, but I might need to consider it. ... View more

Eugene, thanks so much for that script. I tried to modify it to assign a style to the second paragraph when a match is found, but I think I lack knowledge of the object structures or syntax. Here is what I tried to use:   // Check if a document is open if (app.documents.length === 0) { alert("Please open a document before running this script."); } else { var doc = app.activeDocument; // Try to get the "Pink" swatch or create it if it doesn't exist var PinkSwatch; try { PinkSwatch = doc.swatches.itemByName("Pink"); // If it exists, just skip the creation part PinkSwatch.name; // Access to confirm existence (does nothing if it exists) } catch (e) { // If "Pink" swatch doesn't exist, create it PinkSwatch = doc.colors.add({ name: "Pink", model: ColorModel.process, colorValue: [0, 100, 0, 0] // CMYK value for Pink (Magenta) }); // We won't add it to the swatches, just use it directly } // Create a dialog window var dlg = new Window("dialog", "Change Para Style based on Previous"); dlg.orientation = "column"; dlg.alignChildren = ["fill", "top"]; // Add dropdowns for the first and second style selection dlg.add("statictext", undefined, "Select the first paragraph style:"); var firstStyleDropdown = dlg.add("dropdownlist"); dlg.add("statictext", undefined, "Select the following paragraph style:"); var secondStyleDropdown = dlg.add("dropdownlist"); dlg.add("statictext", undefined, "Select the paragraph style you want to change it to:"); var newStyleDropdown = dlg.add("dropdownlist"); // Populate dropdowns with paragraph styles from the active document var paraStyles = doc.allParagraphStyles; for (var i = 0; i < paraStyles.length; i++) { var item1 = firstStyleDropdown.add("item", paraStyles[i].name); var item2 = secondStyleDropdown.add("item", paraStyles[i].name); var item3 = newStyleDropdown.add("item", paraStyles[i].name); } // Optionally, set defaults (for example, if you know the names) firstStyleDropdown.selection = firstStyleDropdown.find("Heading"); secondStyleDropdown.selection = secondStyleDropdown.find("Main text"); newStyleDropdown.selection = newStyleDropdown.find("Main - no indent"); // Add the action buttons var btnGroup = dlg.add("group"); btnGroup.alignment = "center"; var findBtn = btnGroup.add("button", undefined, "Find", {name:"ok"}); var cancelBtn = btnGroup.add("button", undefined, "Cancel", {name:"cancel"}); // Run the dialog if (dlg.show() == 1) { var styleOne = firstStyleDropdown.selection.text; var styleTwo = secondStyleDropdown.selection.text; var styleNew = newStyleDropdown.selection.text; var results = []; // Loop through all stories and their paragraphs for (var s = 0; s < doc.stories.length; s++) { var story = doc.stories[s]; for (var p = 0; p < story.paragraphs.length - 1; p++) { var para1 = story.paragraphs[p]; var para2 = story.paragraphs[p + 1]; // Check if para1 uses the first style and para2 uses the second style if (para1.appliedParagraphStyle.name === styleOne && para2.appliedParagraphStyle.name === styleTwo) { results.push("Story " + (s+1) + ", Paragraphs " + (p+1) + " and " + (p+2)); // For a visual cue, apply the PinkSwatch colour directly //para1.fillColor = PinkSwatch; para2.appliedParagraphStyle.name = styleNew; para2.fillColor = PinkSwatch; } } } // Provide feedback to the user if (results.length > 0) { alert("Found " + results.length + " occurrence(s):\n" + results.join("\n")); } else { alert("No occurrences found where '" + styleOne + "' is immediately followed by '" + styleTwo + "'."); } } }   When I ran it, I got the following error:     So apparently giving the `appliedParagraphStyle.name` property a new value is not how to change the style applied to the paragraph. Do you know how that is supposed to be done? ... View more

@victoriawolf I don't know if you solved this yet for your situation, but I am also using InDesign on Windows 11. (Side note: I'm a very long-time user like you - I started with Aldus Pagemaker 3, before Adobe bought it!) After upgrading to InDesign 2025 in May, I suddenly had a lot of lag doing various things - style changes as well as other actions. I also had similar problems in Photoshop 2025. I ended up re-installing v. 2024 of both apps and retreating. Of course I had to use IDML to convert InDesign documents that had been saved with 2025, but it was worth it - the difference is response time is like night and day. I assume Adobe is aware of it and working on solutions. But if you have discovered a solution in your case, please share. ... View more

Thanks! I have no icon for "Clear Brush Controls" at the bottom of the panel (the only icon there is "Create New Brush"), but your message made me aware that there should be such a command somewhere, so I hunted around and found it on the flyout menu for the panel. That was partially successful, but some settings were still stubborn - I had to select that menu item over and over when changing brushes. Then I noticed another menu item on the flyout menu: "Reset All Locked Settings". I had clicked the little lock button on a few of the settings along the way, even though I don't really know what that lock is supposed to do (I thought it might prevent local changes, but it doesn't). Anyway, unlocking everything seems to result in even better behavior, so perhaps that was the key.   Aside: You mentioned "Include Tool Settings", but most of the time I don't want todo that with my custom brushes - sometimes I want to be able to use the same brush to paint and erase, and that's impossible if I include the tool settings. I also wouldn't want the colors saved, although that doesn't appear to be happening with any brushes anyway - all the after-market brushes I have installed have the tool icon and won't let me use them with any other tool, so I think they were all saves with "Include Tool Settings", but none of them force particular colors. And blending mode is a function of the layer, not the brush, right? I don't see how a brush preset could dictate that. ... View more