Spencer–

Do you get a missing font message when opening the file (or does the other person)? Or does it just show up pink with no missing font message?

I had a situation a few weeks ago using the “Symbol” font. It had been supplied by the customer. Anyway, different machines were having problems with the multiplication sign. It would show up as pink, until InDesign was quit and then relaunched. And then it was fine. There were no issues with the other things (i.e., division sign, plus sign, equal sign, etc.). Just that darn multiplication sign. We ended not using the Symbol font the customer gave us and used our own and no more problems.

So I'm wondering if something is wrong with the Wingding font you're using.

So far as the bullets and numbering palette–some characters will be pink due to your default font (usually Times). I get that as well.

I guess the big question is: Do you (or the others) get a missing font message when opening the file?

If you get the missing font message then someone has a different version of that font on their system somewhere. If no missing font message, then that font may be corrupt.

Hope this helps.

Our publishing clients don't like multiple files or they want them kept to a minimum. One client in particular INSISTS on one file. I think a lot of the reason is for their archiving purposes or something. But whatever the reason, if it's a 20 chapter book, they don't want 20 chapters.

Ann-Camilla: I have no problems at all using text variables for my running heads in a single file that has 20 chapters or more.

For the OP's catalog–I can see why you would want to make single chapters out of them, due to artwork and stuff. You'll learn a lot from the folks here about using the book feature. Unfortunately I rarely use it due to our workflow.

This is a bit dated:

https://creativepro.com/pri…..-specs.php

You don't say what version of InDesign you are using or the OS, so I'm not sure if that link will help, particularly if you're using CS4. You can try to contact the company and see if they have a newer script, or maybe it will work by following the CS3 instructions for using older scripts.

Good luck.

What's wrong with EPS files? So long as they are not imbedded and are imported properly, I don't understand the reason to steer clear of them.

I think that on those other machines (or your's), a different Wingding font is being used. Did your tech people check that there aren't multiple wingding fonts on the machines? The Mac OS will put fonts in several places. In a font folder in your “system” folder, a font folder in your “library” folder, in your “user's library font folder, and Microsoft has it's own set of fonts as well.

Have your tech people checked the path of the wingding on each computer?

By that, I mean, when it's working on your machine have them go to “Type” then scroll down to “find font.” Click on the wingding font and get more info and check the path name. Then for the troublesome machines, if they need to change to their font, have them change it to their winding and have them check the path.

I really think it's an issue of a different version of the wingding on the problem machines or duplicate fonts, and not an InDesign problem.

Have you cleared font caches?

Are you using any font management apps, like Suitcase?

At my company we use Suitcase and Fusion and really manage our system and user folders, and keep them to a bare minimum. We put the fonts for each job into a separate folder within that job. If we ever get issues like your's, it's simple to easily follow the path to that individual font folder.

John M–I'm glad I was helpful. Good luck.

John M–I'm glad I was helpful. Good luck.

I use the Q2ID several times a month. But it's definitely not perfect (and it never claims to be).

One is the style sheets and how they come across. If a paragraph style sheet is based on another, come through that way, but without any changes that may have been to it in Quark. For example, my TX style sheet is regular text with a 1p6 paragraph indent. My TXF is based upon that but was changed to no indent. The file converts okay and the paragraphs stay the same so far as indents or no indents, but with a + next to it. If you look at the TXF style sheet it has the 1p6 indent. It's okay if you're just converting a file, but if you flow in new type with those style sheets the TXF will come in indented. One needs to definitely fix all the style sheets after conversion.

Paragraph style sheet kerning is messed up. Although it will convert and the style sheets may say “metric” kerning, if you go into the actual paragraphs they are all 0 kerning. You need to go to each paragraph style and change it to 0 and then change it to metric (or optical if you wish). Then it will take hold.

Master pages come through okay, but because of the way Quark does things, the running heads and folios can be touched on all the actual pages. If you make a change to the master only (i.e., change wording of running head) on the master, it won't effect the actual pages in the book. You need to kill all the running heads individually then reapply the master.

Also–it seems Quark and InDesign measure ascenders a bit differently. I've found that the first baseline of text of a converted document sets down about a point further than it did in Quark.

Oh–you'll probably need to readjust the head margin so the text box starts in the right place. A lot of Quark users set the margin for the top of the running head instead top of text.

Note that when the files convert “single line composer” is automatic, and if you want “paragraph composer,” you will need to change that.

H&Js definitely come thorough as what Quark file was, but you know that. All the line breaks will change.

Art sizes: They won't be exact. Instead of say 88 percent, they may come in 86.984038403 or some weird number like that. I've never had any come in at the right size (even though they were linked/updated in the Quark file).

Sidebars and the like seem to come in okay. I think I had problems with oval boxes, though.

And please don't get me wrong, this plug-in works great. But if the majority of the files that need to be converted are Q4, I'd say to just open them directly through InDesign. You will get the same results as the plug-in. (I've actually found that the files convert better if you open Q4 files directly in ID). But if you have Quark 6, 7, or 8, files than it's worth the money to buy it just in cost savings of having to downsave all the way to Quark 4 (one version at a time) and having to boot into OS9 and stuff.

It's worth the money, but it's just a conversion tool. You still need to do a lot of work no matter how you convert those files. If it's just converting and no new set or new material, then mainly you have tweaking to do. But the more complicated the job the longer it's gonna take to tweak. If your clients are super-picky, then it could be a hassle. If they're not so picky, convert it to ID (with or without the plug-in) and you should be okay.

I do suggest that when you convert the file that you export is an .inx file and then open that. It will clean up any possible corruption or problems that may be lurking in that Quark file.

And to the makers of Q2ID–I hope I didn't come across as bashing your product. I was just giving my honest opinion.

And for those who've ever had corrupt InDesign files. I've used ID2Q and opened corrupt ID files in Quark. I then save it, and bring into InDesign via Q2ID. Works like a charm.

{EDIT: I apologize for the length and if I was ranting}

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