In case it isn't clear, here's how you can check the Single Line/Paragraph composer question:

Click inside the story that has this large table.

Press Cmd-A (to select everything in the story).

On the paragraph panel flyout menu, click on “Adobe Single-Line Composer,” which will change everything at once. You don't have to change all the individual styles to test this out, and you probably don't need it for a table anyway.

There was a commentary somewhere, which David talked about a while back, that the paragraph composer, being processor-intensive, could have various side-effects if you leave it on all the time.

Hope this helps.

I go with Garamond, Caslon and Jenson in the old style serifs, Myriad Pro, Hypatia, Futura and Gill Sans in the sans, and Sanvito, Bickham and Zapfino (the newer OpenType uber-version) in scripts. Minion, Mrs Eaves, Palatino and Optima are also high on my list.

As a matter of practicality, I tend to work with faces that give me a wide choice of weights, and I've become addicted to opticals in the last couple of years (Garamond Premier Pro is an awesome face to work with for many projects, for that reason).

Pariah S. Burke said:

Designers aren't as well trained these days. …

My friend Sandee Cohen told me she recently met a couple of fresh-out-of-design-college kids who had never been told anything about prepping for print, who had spent only a day learning about kerning and leading.

I've gotten used to printers and magaizine people saying they like to work with me because they never have problems with what I send them. I used to think “Well, of course. What did you expect?”, but I've discovered that this isn't the norm.

Here's how bad it can get: Recently a contact at Lamar (the billboard folks) called to thank me for some client artwork I'd sent them for digital highway displays, because “it was perfect.” It turns out that “perfect” meant that I designed to a 1400 pixel by 400 pixel spec using (drum roll) 1400×400 pixels. This is rocket science? (The idea that it's unusual is actually a little scary. Perhaps that's another thing not taught in design school: read the mechanical specs.)

Fonts in this workflow would not likely be much of an issue, but no question that OpenType is the way to go if it's feasible.

My first press was a Multilith 1250, back in 1968 or so. I'm quite happy to report that it was also my last, because it was persnickety enough and infuriating enough to put anyone off printing for life. Earlier than that, I'd made negs (and spotted them) and plates as a summer job when I was in High School. Then I took a l-o-o-ong sojourn away from graphics in general, and only returned, really, when DTP had relegated rubber cement and process cameras to the back shed.

Now (getting swiftly back on topic) I produce everything from interactive Flash displays to websites, and booklets to billboards, and act as technical adviser and art director for various collaborators. In the last decade I've logged maybe a couple thousand hours of education (many of them right here at ID Secrets) that I now pass on as much as I can.

I'm also a serial beta tester, a geeky pursuit that combines detective work, computer skill and the feeling that one might just make somebody's world a slightly better place.

I love the freelance, second career thing. Pursuing an avocation that satisfies my inner geek as well as my creative side — well, it can't be beaten.

Fonts in this workflow would not likely be much of an issue, but no question that OpenType is the way to go if it's feasible.

My first press was a Multilith 1250, back in 1968 or so. I'm quite happy to report that it was also my last, because it was persnickety enough and infuriating enough to put anyone off printing for life. Earlier than that, I'd made negs (and spotted them) and plates as a summer job when I was in High School. Then I took a l-o-o-ong sojourn away from graphics in general, and only returned, really, when DTP had relegated rubber cement and process cameras to the back shed.

Now (getting swiftly back on topic) I produce everything from interactive Flash displays to websites, and booklets to billboards, and act as technical adviser and art director for various collaborators. In the last decade I've logged maybe a couple thousand hours of education (many of them right here at ID Secrets) that I now pass on as much as I can.

I'm also a serial beta tester, a geeky pursuit that combines detective work, computer skill and the feeling that one might just make somebody's world a slightly better place.

I love the freelance, second career thing. Pursuing an avocation that satisfies my inner geek as well as my creative side — well, it can't be beaten.