Generally speaking, it's not wise to open an existing file for editing in a newer version. You just might have to edit more than you think.

With every upgrade cycle, I took care not to do this, and I haven't had any of these problems at all.

(Only time I did get problems was when I got weird results with an existing file template; then again, it turned out that particular original file went all the way back to the original CS. So a simple saving as IDML cleansed that one.)

Hey, but you are very close!

All it needs is an “ignoreWrap” command, and that's to be applied to a textFramePreferences, which in turn is a part of a text frame proper. So it's “good” to locate where some text frame gets created, and really “best” when you can find a line that does something with the text frame preferences (*). See the first line you copied!

Add this right after that line:

and you should be alright.

[*] Why do text frames have separate text frame preferences? Nobody knows — it might be because you can, uh, “store” the text frame preferences into an object style. My personal 2nd best guess is the Adobe engineers didn't like the idea to have more than a hundred properties per each text frame.

Bob, change this line

fr = pg.textFrames.add(reportLayer, {geometricBounds: gb, textFramePreferences: {verticalJustification: VerticalJustification.CENTER_ALIGN}});

(12th from the bottom up) to this

fr = pg.textFrames.add(reportLayer, {geometricBounds: gb, textFramePreferences: {verticalJustification: VerticalJustification.CENTER_ALIGN, ignoreWrap:true}});

— I didn't try, but I'm pretty sure that'd do the trick.

I've never used LabelGraphics so I can't recommend something off the top of me head for that.

1. Do you see the little blue hash mark at the end of each cell? It's the “End of Story” marker, but dubs for End of Cell.

2. Do you see three of them floating in the space, right next to the cells-that-you-think are actual cells?

3. If you press Cmd+Ctrl+H (the default shortcut for “Show/Hide Frame Edges”), do you get to see thin blue lines, outlining the actual table cells?

If you answer all of the above with “Yes”, you will see that the Table Setup is not lying, and in fact your bizarre table is just what it says: two columns, six rows. The fact that not every cell has a visible border is throwing you off guard here.

So all you have to do to make the second column match the first is:

a. Give every cell a stroke. Check the cells in the left column for its width.

b. Remove the grayish fill of the cells.

You realize that it won't make this right column suddenly have six rows of data, right? These suddenly visible “new” cells will be empty.

Not using InDesign. Zip it and add a password?

It really sounds to me lparm is inspecting the type on his screen with a magnifier and is worried about the antialiasing …

Are you mixing up paragraph styles with character styles?

A paragraph style sets the global formatting of a paragraph. A character style only changes part of the paragraph style, for example, because you want a single word to be italicized or bolded.

If you don't have any 'special' formatting in your paragraph (at least, not at the point you inserted your cursor), there is no “local change”, and so if you create a new character style based on this you get exactly what you asked for: the difference between the current insertion point and the paragraph style, No Change At All.

Try this: set a single word in one of your paragraphs to bold. Click the cursor into it, then create a new char style. Now it should say “Bold”. (If it doesn't, there is something wrong with your computer, your InDesign, your document, or perhaps your monitor.)

Ah — and there is nothing happening in the background when you create a new style based upon current formatting; in particular, this new style is not going to be magically applied to all instances of that particular formatting! (Or possible only once, if you clicked the checkbox “Apply Style to Selection”.) So, yeah sure, you got a new style; but then you'd have to apply it everywhere where needed.

Gosh — it's just one generation of apparatus before I started. At least I got a proper display and could correct “on-screen”!

My first job in the typesetting dept. was to switch the photographic discs that each contained a single font, i.e.,

1. instruct the Compugraphic to image only Times New Roman

2. insert Times Roman disc

3. run job

4. rewind photographic paper

5. Repeat 1-5 for each of Bold, Italics, Bold Italics, and for any other font.

6. Do Not Make Any Mistake in The Above, or You Have To Start All Over.

It was great fun — nevertheless, Thank you Adobe for InDesign!