Adobe FrameMaker: Copy a Paragraph Format to All Chapters in a Book

by Barb Binder, Adobe Certified Instructor on Adobe FrameMaker

This question came in yesterday:

How do I get a paragraph tag that is present in one .fm file (and its corresponding paragraph catalog) to appear in all the .fm files and paragraph catalogs within the same book? Of course there is a Rube Goldberg way to do it. I’ve been pasting an instance of the desired tag into each of the .fm files and then selecting Commands:  > New Format… in the paragraph designer, but there has got to be something better.

Here’s what I do:

  • Open the chapter that has the desired paragraph format(s).
  • Remove all of the other paragraph formats, except for the one(s) you want to copy to the other chapters in your book. (If you have a really long list, use Alt+e to rapidly delete them.)
  • Save the file as “para format.fm” and leave it open.
  • Open your book file.
  • Select all the files within the book window that need the format(s) added.
  • Choose File > Import > Format. Pick “para format.fm” from the top row. Remove all the checkmarks except Paragraph Formatting. Click on Import.
  • That should do it!

Adobe Photoshop CS6: New & Improved Vector Options

by Barb Binder, Adobe Certified Instructor on Photoshop

I don’t know about you, but I love the reorganization of the vector options in Adobe Photoshop CS6. I’m finding myself using vectors where I would have been using pixels in CS5 and earlier.

What’s making me so happy? The first reason is very minor: there are now two ways to add vector shapes to an image. In either case, you start by picking a shape tool. We still have the traditional press and drag to draw a shape, but now we can just click (à la Illustrator and InDesign) to access a dialog box and specify a specific size. When I need a precise size, this is awesome.

The second reason is the major reorganization of the options bar. The first options bar (shown below in light gray) is from CS5, the one underneath (shown below in dark gray) is the one from CS6. Despite how it might appear at first glance, no functionality was lost, but quite a bit of vector goodness was added. Continue reading for a left to right comparison.
Adobe Photoshop CS5: The vector tool options bar
Adobe Photoshop CS6: The newly-reorganized vector tool options bar

  1. When you select a vector shape tool, the first decision you have to make is if you want to add it to a shape layer, a path or as pixels. As I trainer, I had a devil of a time directing students to the proper button on an options bar chock full of little square icons. Now, the choices are displayed as a menu…with words! Now I can just say, “Choose Shape from the first menu on the Options bar.”
    Adobe Photoshop CS6: The revised vector options bar
  2. The next two options (shown below) give direct access to Fill and Stroke types. They are immediately recognizable to any Illustrator or InDesign user. Even better, when you click the Fill or Stroke button, the first option is No Color. I can hear you now… “Wait! You mean if I want a shape with a stroke and no fill, I don’t have to mess with Layer styles and Fill Opacity? I can just click one button?” Yes! That’s exactly what I mean.
    Adobe Photoshop CS6: The revised vector options bar
  3. The next two choices (shown above) give instant access to stroke weight and style. Yes, style! Solid or dashed, you have now have options. And again, no layer styles to adjust the stroke weight.
  4. Width and height values are newcomers to the options bar. Great when you need a specific size shape and you forgot to click and enter the values when you were adding it.
    Adobe Photoshop CS6: The revised vector options bar
  5. The next three buttons are the pathfinder commands (now grouped into a vertical menu and not spread horizontally across the bar), and two more newcomers: alignment and stacking order. Stacking order impacts the pathfinder commands in the previous menu (no more cutting and pasting to change the order!) and alignment offers both align to selection and align to canvas.
    Adobe Photoshop CS6: The revised vector options bar
  6. Finally, we have a gear button to set shape properties (it used to be the tiny little triangle next to the sea star shape), and an align edges button which is important for those of you working in pixels with a web intent.
    Adobe Photoshop CS6: The revised vector options bar

All and all, the new design is so much easier to understand and I can’t wait to show it off in my next Advanced Adobe Photoshop CS6 class. Join me?

Adobe Photoshop: How to Add Color to a White Object

by Barb Binder, Adobe Certified Instructor on Photoshop

From a former Rocky Mountain Training Adobe Photoshop student:

I need to turn a white shirt to black or some dark shade and still see some detail in the clothing. I tried using the color replacement tool, but when I choose black, it comes out some weird peach tone. Any suggestions?

You bet. Give this a shot:

  1. Open the image containing the white shirt. (In this tutorial, I’m using Adobe Photoshop CS6, but the basic steps are the same in the earlier versions.)
  2. Select the white shirt. (I started with the Quick Select tool, and then used the Refine Edge command to get better contrast along the selection edge.)
    Adobe Photoshop CS6: Select the white shirt
  3. Jump the shirt to a new layer. (As a keyboard gal, I used Cmd+J (Win: Ctrl+J). The menu command is Layer > New > Layer Via Copy.)
    Adobe Photoshop CS6: Jump (Copy) the shirt to a new layer
  4. With the new layer selected, click the fx button on the bottom row of the layers panel, and choose Color Overlay. Set the Blend Mode to Linear Burn, the color to Black and play with the opacity. (In this example, I wanted to retain the lines in the model’s shirt, so I pulled the opacity down to 83%.)
    Adobe Photoshop CS6: Add a color overlay as a layer style
  5. When you are satisfied, click on OK.
    Adobe Photoshop CS6: The finished result...the white shirt is now black

Not bad for a couple of clicks, and the change is non-destructive. You can double click the Color Overlay effect in the Layers panel to change the color to something else, or just hide the layer to return to a white shirt.
Adobe Photoshop CS6: Oh, the possibilities!

Adobe InDesign CS6: What’s New?

by Barb Binder, Adobe Certified Instructor on InDesign

InDesign CS6 new Adaptive Design Tools—Liquid Layout, Alternate Layouts, Linked Content and the Content Collector tools—all geared towards allowing you to easily adapt page layouts for print, tablets and screens. Another really powerful new feature is the ability to set up forms fields in InDesign that will work in Acrobat. All of those topics deserve their own posts. (They are coming.) And all of them represent terrific reasons to upgrade to InDesign CS6. But what if you don’t need to adapt your page layouts for a variety of devices and you don’t create forms distributed through Acrobat? Then this post is for you…here’s my list of the little changes that won’t grab headlines, but will help streamline your work. My top six are listed first.

New Favorite in Adobe InDesign CS6 :: Split window: View two side-by-side layouts within the same document to compare the look and feel of the layouts and help ensure consistency. This feature is geared towards alternative layouts, as it makes it easy to compare a horizontal layout to the same page in a vertical layout. However,  anyone can take advantage of this when they want to see two separate pages at the same time. In the example below, the same page is open in both windows, but the text is magnified in the second window. Click the button (outlined in red) at the right of the horizontal scroll bar to turn split window on and off.
Adobe InDesign: Split window turned off

New in Adobe InDesign CS6 :: Recently used fonts: Access fonts you use frequently. Recently used fonts appear at the top of the font list in the Type menu. Just like Microsoft Word! Go to InDesign > Preferences > Type (Windows: Edit > Preferences > Type) to display between 0 and 50 recently used fonts at the top of fonts list.
Adobe InDesign CS6: Recently Used Fonts

New Favorite in Adobe InDesign CS6 :: Persistent text frame fitting options: Set frames to grow with additional text, based on simple parameters. Grow and shrink frames automatically for headlines, call-outs, or other variable content. Again, this one is geared towards tablet publishing, but when you are working with small frames, what a great way to avoid overset text! Turn it on in Text Frame Options. Set Auto-Sizing to expand just the width, just the height, or both. You can control where the frame expands and set a minimum width and height.
Adobe InDesign CS6: Persistent text frame fitting options

New Favorite in Adobe InDesign CS6 :: Key object alignment: Align selected items to a key object you define. This one came right out of Adobe Illustrator. Just select multiple objects, then click the Key object one more time to get a darker outline. See the little key in the Control panel? Now when you set your alignment, all of the selected shapes will align themselves with the key object.
Adobe InDesign CS6: Align to Key Objects

New Favorite in Adobe InDesign CS6 :: Enhanced split and span support: Keep lines together in paragraphs that split or span columns. This feature was supposed to be in CS5, but we learned not to count on it working. Now it does!
Adobe InDesign CS6: Enhanced split and span support

New in Favorite Adobe InDesign CS6 :: Interactive PDF export as pages: Export an interactive PDF file as pages instead of spreads. Pretty simple request, and easy enough to fix in Acrobat, but way better to handle via export while you are still thinking about it.
Adobe InDesign CS6: Interactive PDF export as pages

Here is the rest of the list:

Grayscale preview: Preview your layouts in grayscale to see how they will look on a black-and-white device or when printed in black and white.

Grayscale PDF export: Export PDF files in grayscale directly from the Print dialog box. Just set up your export options and leave the original in full color.

Export to PNG: Export your InDesign document to PNG, a lossless format, for use on the web. You can export the entire document, part of the document, or individual items.

Enhanced zoom for linked objects: Zoom in to a linked object from the Links panel to evaluate it more clearly.

Hunspell dictionary enhancements: Access more than 100 open source dictionaries.

IDML support: Save in IDML format from the Save As menu to use the layout in an earlier version of InDesign.

Complex calculations: Calculate values in panels and dialog boxes using complex calculations (for example, 12.5p/2×3).

Extension set management: Enable or disable groups of extensions based on your current workflow.

Indic language support: Use the World-Ready Composer, an alternate composition engine, to work with Hindi, Punjabi, and other Indian languages,† as well as complex script languages such as Arabic and Hebrew.

Interactive HTML: Include interactive HTML, such as Google Maps and animation developed with Adobe Edge™ software, in InDesign layouts. Interactivity is retained when exporting to HTML, EPUB3, or .folio for Adobe Digital Publishing Suite.*

Style mapping in linked text: Control how content in linked text is styled. Specify different text styles for parent text and children.

Enhanced packaging support: Package InDesign projects for handoff in Adobe Digital Publishing Suite workflows, including functionality such as overlays. You can also include an IDML file as part of the package.

 

Adobe Photoshop CS6: Automatic Color Adjustments

I had the pleasure of attending the Photoshop World conference in Washington, D.C. this spring. It was fun to be a student for a change, and I picked up lots of great tips and tricks. One of the most memorable moments for me was attending an impromptu “What’s New in Photoshop CS6” session at the Adobe booth. The session was led by Bryan O’Neil Hughes, the Senior Product Manager for Photoshop, Bridge & Lightroom at Adobe Systems, Inc. He began his presentation by asking how many of us use the automatic image correction commands in Photoshop (Auto-Tone, Auto-Contrast and Auto-Color). I tentatively raised my hand–I love it when they work, and know how to fix things when they don’t–but noticed that most people shook their heads and kept their hands by their sides. Bryan smiled knowingly at the response, and went on to tell us that Adobe uses software to track mouse clicks (if we agree to it, of course), and that while no one wants to admit it, those three correction commands are used more than any other image correction technique in Photoshop. Busted!! I tried not to laugh out loud.

One of the recently observable trends at Adobe is active listening to users (and now watching user behaviors) to help shape software upgrades. Even if most of us won’t admit to using these automatic commands, we do use them, and Adobe decided to make them even better.

What didn’t change from CS5? Adobe CS6 has kept the same three automatic image correction commands listed in the Image menu. What’s new in CS6? Adobe has added or modified the Auto button in three specific types of Adjustment layers (Brightness/Contrast, Levels and Curves). The super cool thing about the newly enhanced buttons is that they give us a great start, but still allow us to fine tune the results. It’s the best of both worlds!

Assuming you know how to use Levels and/or Curves, start here. If you don’t, scroll down to read the second-to-last paragraph.

  1. Open an image that needs a color or tonal range adjustment.
  2. Add a new Levels or Curves adjustment layer, whichever one you are most comfortable with.
  3. Click the Auto button and observe the results. Each image is different, of course, but you will likely see improvement, but equally likely, you are thinking it could be a bit better.
  4. Choose Edit > Undo to remove the Auto correction.
  5. Hold the Option key (Windows: Alt key) and click on the Auto button again. This time a dialog box opens. Take a look
    • Enhance Monochromatic Contrast (same as Image > Auto Contrast)
    • Enhance Per Channel Contrast (same as Image > Auto Tone)
    • Find Dark and Bright Colors (same as Image > Auto Color)
    • Enhance Brightness and Contrast (new in CS6)
      Adobe Photoshop CS6: The image correction algorithms for automatic level and curve corrections
  6. The first three are the same commands found in the Image menu, and are applied to your individual color channels. The fourth algorithm is new to CS6 (and the default when you click the Auto button.) Here’s the difference: because the correction is applied to the entire image (and not on a channel by channel basis), you are easily able to tweak the results until you get exactly what you are looking for.
  7. Keep Enhance Brightness and Contrast selected, and click on OK.
  8. In Levels, you can immediately tweak the shadow, mid-tone and highlight values.
    Adobe Photoshop CS6: The improved Auto button in the Levels properties panel.
  9. In Curves, you can tweak the curve until you get the desired result.
    Adobe Photoshop CS6: The improved Auto button in the Curves properties panel.

But what if you are a novice user, baffled by Levels and Curves adjustment? Come take a Adobe Photoshop CS6 class with us, of course! And in the meantime, play with Brightness/Contrast adjustment layers. You’ve got a brand new Auto button in the Properties panel and clicking it not only uses the new algorithm, it also allows you to fine tune the sliders so that you can improve your images.
Adobe Photoshop CS6: The brand new Auto button in the Brightness/Contrast properties panel.

Whether you are a novice or an expert, I think you’ll find that the new (or newly enhanced) Auto buttons are going to be a terrific first step in your CS6 image correction workflow.

Adobe FrameMaker 11: My Wish List

by Barb Binder

Adobe FrameMaker, we have been BFFs for a long time. You have provided a steady source of training income over the past 20 years (remember when I used to teach 5-day FrameMaker classes three weeks out of every four, for months on end?). And you are still my one and only for laying out my longest, most technical documents.

As the years go by, we have lots of chances to improve ourselves. I know I’m working on my personal and professional growth, but I’m just not sure you are as focused on yours. Here is a list of just a few things I wish you would consider adding to your repertoire:

  1. Nested formats. I really want to embed character formats within my paragraph formats.
  2. GREP Find & Change. Pattern-based find and change would be life-changing for cleaning up documents.
  3. GREP Styles. Pattern-based character formatting would be even better.
  4. Save Find & Change Queries. Without GREP, clean-up is still very manual. If I’m going to have to run the same series of Find & Change sequences again and again, I’d like to be able to save them.
  5. Footnotes. Please allow them to break across pages, and never ever put the footnote text on the page after its reference number.
  6. Letterspacing: Can we make tracking/kerning a little easier to do on a manual basis?
  7. Full Screen Mode: How about an intuitive way to get out of Full Screen mode when you inadvertently activate it from the Screen Mode button in the Application Bar? May I suggest the letter f, like in Photoshop? (Maybe it’s just me, but I don’t think Esc S M t is intuitive.)
  8. Fonts. How about a reliable way to remove undesirable fonts? I know you think you are doing it, but they still linger in the document. While they might be gone from the Fonts panel, they still bring up the Unavailable Fonts message.
  9. Scaling. Can’t we please have Scale in the context menu when we have a frame selected?
  10. Frame formats. I would love to see a Frame Designer and Frame Catalog.
  11. Updated Templates. I do believe that the templates that ship with FrameMaker are valuable teaching tools. You can pick them apart to see how to accomplish an advanced task but really, they look like they were designed in 1988. (Oh, right. They were.)

Now FrameMaker, it’s not lost on me that many of these features are already part of Adobe InDesign. However, you two don’t appeal to the same market and very few people own both products. InDesign is used primarily by the creative folks, and the FrameMaker users are almost exclusively technical writers. These writers deserve some new features on the unstructured side to make their lives easier. Please just think about it.

Adobe FrameMaker: Fixed Spacing and Anchored Frames within Tables

by Barb Binder

This question was posed yesterday by a past Rocky Mountain Training FrameMaker 9 student:

Last fall … you taught me a great way to handle the placement of many graphics in a very short time, by building a table, importing the image, and using Esc m p to shrink-wrap the image in its frame. I used the sequence many times with good success.

However, [after a major layout change,] the anchored frame and the image in it no longer seem to know they’re in a table cell. They extend out of the table and over the preceding text, as shown in the attached jpg. I cannot figure out how to get the anchored frame back into a table cell.

Adobe FrameMaker: The image is extending over the top of the table.

Looking at the screen shot, it looks like my student is one Esc m p from success. Esc m p is the keyboard shortcut to “shrink-wrap” an anchored frame or equation. It’s an awesome little shortcut, as long as you understand that when it comes to anchored frames, it performs two separate duties: it tightens up the frame to fit the size of the graphic and it anchors the frame at the insertion point. My students will normally agree that it makes the frame pretty, which in turn helps them to remember the command.

Back to his screen shot, shrink-wrap appeared to be the next step. It wasn’t until I asked for the file and did a little detective work that it became clear that it was the paragraph tag that was causing the problem, and it had nothing to do with the image, the frame, the table or the shrink-wrap shortcut.

It turned out that CellBody, the paragraph format within the troublesome table cell, was inadvertently set to Fixed Spacing. Turning it off restored shrink-wrap to its’ intended functionality. My student was happy, but what the heck is Fixed Spacing used for?

Let’s say that you have a paragraph with the type set 10/13 (10 point type on 13 point leading, aka line spacing) with Fixed Spacing disabled. Everything looks good.

Adobe FrameMaker: A body paragraph set 10/13, with Fixed Spacing turned off.

Then you add a footnote, with a superscript reference number. Notice how the line spacing increases on that one line to accommodate the superscript reference.

Adobe FrameMaker: A body paragraph set 10/13, with Fixed Spacing turned off and a footnote added to line 4.

If that bothers you, turn Fixed Spacing back on. With Fixed Spacing on, the line spacing is always going to be your fixed line spacing value, even if it means overprinting the line above it.

Adobe FrameMaker: A body paragraph set 10/13, with Fixed Spacing turned on and a footnote on line 4.

There are times to turn Fixed Spacing on or off. Triggers for me are the inclusion of footnote references and inline equations. When they appear, I consider my options and make the appropriate decision. When it comes to large, shrink-wrapped graphics, we all know now that there is only one good option: turn it off!

Adobe FrameMaker: Adding an Image in Front of a Paragraph

by Barb Binder

This question came in yesterday from a former Advanced FrameMaker student:

I’d like to insert a graphic each time my document is going to reference a “Note.”  How do you suggest I do this? Just insert the graphic each time?

That would work, but here’s what I’d do:

  1. Add the graphic to the Reference Page.
    • View > Reference Pages.
    • Graphics > Tools > Place a Graphic Frame tool.
    • Draw a graphic frame and give the frame the name “Note”. Click on Set.
      Adobe FrameMaker: Place a Graphic Frame on the Reference Pages
    • File > Import > File to add the graphic to the frame, then size the frame to fit the graphic.
      Adobe FrameMaker: Add your image to the frame, and size to fit.
    • View > Body Pages.
  2. Create and format a one-row, two-column table.
    • Table > Insert Table and define two columns and one body row.
      Adobe FrameMaker: Add a table with 2 columns and 1 row
    • Use Table Designer to create a Table format (I called mine “Alert Table”) and set your table up to look the way you want. In my example, I’ve hiding the table title and all of the table rules, and adjusted the column widths.
      Adobe FrameMaker: The basic table
  3. Set up the first cell to call in the image.
    • Click an insertion point in the first cell.
    • Create a new paragraph format. (I called mine “Note Graphic”.)
    • In the Advanced properties sheet of the Paragraph Designer, set Frame Below Pfg to “Note” and Update All.
      Adobe FrameMaker: Add a frame below the paragraph
    • You many need to adjust the table and paragraph spacing values to put the image exactly where you want it.
      Adobe FrameMaker: Use a paragraph format to call the graphic from the reference page
  4. Set up the second cell to hold the note text.
    • Add the text to the second cell.
    • Create a Paragraph format in Paragraph Designer and format as desired.
      Adobe FrameMaker: Add the note text to the second column
    • When you hide your borders and text symbols, no one will even know it’s a table.
      Adobe FrameMaker: The finished table, with the borders and text symbols hidden

Once you have the first table set up, this gets a lot quicker. And you can also create a series of graphic images on the reference pages so that you can use the same table for any kind of alert: Static, Caution, Danger, etc…

Adobe FrameMaker: Rely on System Fonts Only, Do Not Use Document Fonts

by Barb Binder

Picture this: you’ve finished up a project using FrameMaker (or InDesign, PageMaker, Word, Publisher) and all you have left to do is create a PDF. Sounds simple. You’ve done it before and you know what to do. But your work comes to a screeching halt when this error message appears on your screen:
Adobe FrameMaker: Rely on System Fonts Only, Do Not Use Document Fonts

Great.  Now what? It’s actually an easy fix and there are two ways to do it: via FrameMaker or via Windows.

FrameMaker Fix

  1. File > Print
  2. Click on Setup
  3. Click on Properties to open the PDF Settings Dialog box
  4. Uncheck “Rely on system fonts only; do not use document fonts”
  5. Pick OK, OK, and Print

Windows Fix

  1. Open the Control Panel
  2. Navigate to Hardware and Sound > Devices and Printers > Printer and Faxes
  3. Right click your Adobe PDF printer and pick Printing Preferences
    Windows Control Panel: Printing Preferences
  4. Uncheck “Rely on system fonts only; do not use document Fonts”
    Uncheck "Rely on System Fonts Only, Do Not Use Document Fonts"
  5. Click on OK, and you have set your defaults for future PDF documents
  6. Go back and recreate your PDF (If you need help creating a PDF from FrameMaker, see “Adobe FrameMaker: Creating PDFs“.)

Great! It Works, But Why?

So what exactly does this mysterious setting do? When you deselect “Rely On System Fonts Only; Do Not Use Document Fonts” you are allowing Acrobat to download your fonts when the PDF is created. All your fonts will be available in the PDF, but it will take longer to create it than if you left the checkmark on.

NOTES: In older versions of Acrobat the wording was a little different: “Do not send fonts with Adobe PDF”. In any version, Adobe recommends that you leave this option selected if you are working with Asian-language documents

Adobe FrameMaker: Creating PDFs

by Barb Binder

This should be so easy, right? And usually it is, but I just received this inquiry from a former Adobe FrameMaker 9/10 student:

I am sorry to bother you, but I have a quick question. I have FrameMaker 10, so does my co-worker.  I cannot print to a PDF, yet I can do it from my co-worker’s computer.  The only difference is that I have Adobe Acrobat X version 10.1.2 and she has 9… is there a magic setting I am overlooking?

There are times when I’m really glad I’m an Adobe Acrobat X Certified Instructor, and this is one of them. Creating a PDF from FrameMaker should be so simple. After all, Adobe owns both products. However, my 20 years of FrameMaker production experience have shown this to not always the case. There have been many times over the years when I’ve had to try multiple techniques to produce a PDF from FrameMaker.

Here’s what I do, in this order:

  1. File > Save as PDF. This is the recommended method of creating a PDF from FrameMaker. You can initiate this command from a book file or a document file. After choosing where to save your file, you will be presented with a dialog box to set up your conversion options, including Settings, Bookmarks, Tags & Links. Click Set to create the PDF.
    Adobe FrameMaker: PDF Setup
  2. File > Print > Adobe PDF Printer. Start by unchecking Print to File, and then click on the Setup button to choose the Adobe PDF printer.
    Adobe FrameMaker: Print to Adobe PDF Printer
    Adobe FrameMaker: Set PDF Printer Properties
    You have the option of clicking on the Properties button to make additional adjustments, including setting security options, viewing the results automatically, adding document information (which FrameMaker reads from File > File Info) and whether to rely on system fonts or document fonts. (If you need more information on system fonts vs document fonts see “Adobe FrameMaker: Rely on System Fonts Only, Do Not Use Document Fonts“.)
    Set PDF Printer Properties
    Pick OK twice to return to the Print Document Dialog box. The print option also gives you easy access to the PDF Settings dialog box. Click on Generate Acrobat Data and click the PDF Setup button to set up your conversion options, including Settings, Bookmarks, Tags & Links (shown below step #1). Double check that Print to File is still unchecked, and then chose Print when you are ready to go.
  3. File > Print > Print to File. When all else fails, you can create a PostScript file and then convert it to a PDF in a two-step process.
    Adobe FrameMaker: Print to a PostScript File
    Start by checking Print to File and use the Browse button to indicate where you want to save the file. You can set the file name and extension by typing in the text box to the right of the Browse button. (You can use the default .prn extension, or change it to .ps, it doesn’t make a difference.) If you’d like to Generate Acrobat Data you can use the same settings described in step number 2. Because the Print to File checkbox is activated, when you click the Print button, a PostScript file is created, but not the PDF. There are multiple ways to convert a PostScript file to a PDF. Perhaps the easiest one is to right click the file, and chose Convert to Adobe PDF.
    Adobe Acrobat: Convert the .ps to .pdf using Distiller

I would be very happy to never see this combination of dialog boxes again. But in the meantime, I’m glad to have options!
Adobe FrameMaker: Refusing to Create a PDF