A Closer Look at the Sub-Level Sorting When Sorting Comments by Color In Acrobat 9

Let me start of by saying that this article is all about sorting comments by color in Acrobat 9. You may ask, "Why are you writing about features in old software? Acrobat X has been out for over a year now." Well, sadly, Sort Comments by Color (my favorite Acrobat feature) was removed in Acrobat X. So I still use the old software. But I digress.

Sort Comments by Color is at the heart of my production workflow. I have a dozen or so colors that I use to color-code pertinent parts of my documents. Each color represents a similar type of information. So when I'm working an a project, I'll start with the pink comments, then go the gray comments, then to magenta, and so on down the line. The Sort Comments by Color feature allows me to group all the similar information together so that I work on it more easily.

So, once my comments are sorted by color, there is another secondary level of sorting that Acrobat uses. It doesn't sort as you think it might. It sorts not by where the comments fall in order of creation, nor where they fall in the page sequence (as you'd think they might), but rather, Acrobat sorts them based on the Y coordinates. Like so:

In the example above, I have two purple comments: the first is on page 1 at the bottom of the page, and the second is on page 2, near the top of the page. In this example, the comment on the second page will appear at the top of the list when sorted by color.

If you'd like to read more about Sorting Comments by Color: check out my other article on the topic: Acrobat Rectangle Tool: Why Do You Disappoint Me So?

Edit 10-9-14: I recently found a useful add-on for Acrobat X and XI. It allows you to filter comments by color. While it doesn't have all the same functionality as Sort Comments by Color in Acrobat 9, it may be a good choice for those that use color-coded comments and do not have access to Acrobat 9. Here is the script: Acrobat -- Filter Comments By Color 

Edit 9-25-15: Please check out my latest article: Sort Comments by Color... In Acrobat DC!

Edit 7-12-16: I'm happy to report that when Adobe finally restored "Sort Comments by Color" back to Acrobat DC, they fixed the secondary sorting issue. So now, when comments are sorted by color, they are listed in order by page, then by Y-coordinate.

When Text Won't Left-Align

I recently came across a bit of text that wouldn't left align. It would center-align and right-align just fine, but it wouldn't left align. (Note that my left-indent was set to zero, and my left-cell padding was set to only 0.08 inches.)

I tried what normally works to fix alignment isues: I went to the Text Frame Options. I figured that maybe there was a mysterious text-wrapping on an object nearby. So I checked the Box "Ignore Text Wrap." I figured that would solve the problem. But no.

So then I went though all the paragraph settings and tried to see what would cause left aligned text to NOT left align. I didn't find anything that would cause weird indent issues. However, I found that this paragraph style (H4) was based upon another paragraph style (H1).

So I applied the H1 paragraph style to the text in my table, and it magically left-aligned as it should.

I then reapplied the H4 style, and tried copying and pasting the offending H4 text into a new text frame, and it left-aligned as one would expect it to.

So then I went back to the H4 paragraph style options and examined the differences between the H1 and the H4. After a little digging, I found that the H4 had an "align to decimal" tab stop.

I removed the tab stop, and presto! The text now left-aligned as it should. (See the fourth row?)

I'm not sure why the "align on decimal" tab stop was there... I most certainly put it there intentionally at some point in time, though I don't know when, nor why. For some reason, I was trying to align digits, and had set the tab to align on a dollar sign. (Click on photo to enlarge.)

Based on the fact that the same text behaves differently when placed in a table, I am inclined to think that there is a bug in inDesign, that when you use an "align on" tab stop within a table, InDesign will not honor your left-align paragraph settings. Though I have used the words "Left Justified" in my screenshots, this issue holds true for both left aligned, as well as left justified text within a table.

Edit on 4-23-12: I recently came across a great article that explains this behavior. Apparently, this falls into the category of: "it's a feature, not a bug." Check out the InDesign Secrets article on this topic: Tab Stops in InDesign Tables.

Diamonds, Dots, and Waves: Stroke Style Options for InDesign Tables

For today's episode of Fun With InDesign Tables, I started out by to experimenting with the White Diamonds stroke style.

I made a table 4 columns by 2 rows and gave it a 35 point White Diamond stroke. Just a note: "White Diamond is the name of the stroke, but you can color the diamonds however you want. I suspect that the name "White Diamond" has to do with the fact that the center of the diamonds appear as white (paper-colored)...that is, unless you give the stroke a gap color.

Then I colored the outside border red, and the inside column strokes to yellow.

Next I took the same table and widened it a bit, and then added a black gap color to the table strokes. I thought it was interesting that the gap color stayed confined to the border of the diamond shapes, and made inverse white knockouts in the corners of the table.

Next, I took the same table and gave it a stroke style of Japanese dots. Notice how the black gap color now extends to fill out the rounded corners. This one sort of reminds me of the beaded counting toys that I remember from my childhood

Here are a few more tables, with different stroke styles.

Straight Hash Stroke Style

Think-Thin-Thick Stroke Style

Wavy 

Dashed

Note that the only thing I changed in these 6 tables is the stroke style. The stroke width, stroke colors, and gap color remained the same.

The British Flag as an InDesign Table

This post is a continuation of my other posts about diagonal lines within tables. Now for those of you who are British, please don't get upset that I didn't get the diagonals quite right. But my goal was to: using a single InDesign table, replicate the British flag as closely as possible.

Technically, the diagonals should line up exactly from one corner of the table to the opposite corner of the table, but InDesign: diagonals run from one corner of the cell to the opposite corner of the same cell. In this case, our table is 2 cells wide by 2 cells high, so the diagonals aren't perfect. But you get the idea.

My mental starting point for this table was a graphic containing geometric specifications for the British flag. You can find it here.

Because the specifications graphic listed proportions for the stripe width, I was able to create custom stripe stroke styles based on those proportions.

First, I made a table; then I filled the table with Blue and then started working on my strokes. I made a three custom stroke styles: one for the horizontal and vertical lines, and two for the diagonals. Then I applied a thick white stroke, set the gap color to Red, and applied my new custom stroke styles.

So, download my sample files, make 2 row by 2 column table, with the cells each 15 points high x 30 points wide. Then apply these cells styles to it. Voila! An almost British flag. 

The stroke style for the horizontal and vertical table strokes (10 pt white stroke with gap color set to Red )

Stroke style for the right-slanting strokes (6 pt white stroke with gap color set to Red)

Stroke style for the left-slanting strokes (6 pt white stroke with gap color set to Red)

If you're puzzled by the logic that InDesign uses to apply stripe stroke style to diagonal lines, well, you're not alone. Check out one of other articles where I have a bit of a writeup about it, as well as some samples of a larger variety of stripe stroke styles applied as diagonal lines. Data-less Tables: InDesign meets Knitting

The Case of the Possessed InDesign File - Mystery Solved

I recently encountered a problematic file that locked up every time I got to a certain point in my editing tasks. After restarting InDesign a few times, I attempted to go right back to where I left off, only to have the  program lock up again. Here are the things I attempted before I was able to pinpoint the problem:

• Restarted InDesign
• Deleted preferences
• Deleted my InDesign recovery files
• Restarted my computer
• Tried editing the file from a different machine

Then I tried editing another section of the file (a different page), and all was fine... until I went back to that troublesome editing spot, which, in this case, was a table. Every time I touched the right-hand border of the table, InDesign locked up. I found that I could edit the text, and pretty much anywhere else in the file, just not the right hand border. So I decided to get rid of the table.

But I didn't really want to retype the whole thing, so I converted the table to text, then converted the text back to a table. And now I was able to move the right border without my program freezing.

For instructions on how to delete your InDesign Recovery files, see Anne Marie's instructions at the bottom of one of my other posts: "InDesign Crashing and Making Me Crazy.

10-8-11 Edit: After thinking on this for a few days, I suspect the problem may have to do with Keep options. I had all the cells in my table set to "Keep with next row," but I also had a few paragraphs to "Keep with the next 1 line." I think there may have been a conflict between the two, and when I tried to make move the right-hand border of the table, InDesign just didn't know what to do, and so it froze up.


The next time this happened (and I'm confident that it will), I will closely inspect the keep options and  document my findings here.

Fun with Geometrics! Stripe Stroke Style + Tables + Diagonal Lines...

I came up with this stroke style idea while driving around town, slightly distracted at the geometric patterns used in traffic signage. Perhaps I should pay more attention the street names, and less attention to geometric patterns around me. Needless to say, I often get horribly lost. Here is what I saw that made me inspired to combine a stripe stroke with diagonal lines. This is offically known a "bicycle priority lane."

Here is my version: It is a 2-column, 2-row InDesign Table. The cells are filled with blue, and I made a custom Striped Stroke Style, which I then applied as 48 pt crossing diagonal lines at 50% tint.

There is a trick to getting the diagonal lines to line up perfectly both horizontally and vertically. You must have the space at the top of the top stripe be an equal distance from the bottom of the bottom of the bottom stripe. In this example:

1. The top stripe starts at 5% and extends 10% of the width of the stroke. That makes the ending point of the first stripe is 15%. Then I have a 10% blank space.
2. Then second stipe begins at 25% and extends down to 35% . Another 10% blank space.
3. Third stripe goes from 45% to 55%.
4. Fourth stripe goes from 65% to 75%
5. Fifth stripe goes from 85% to 95%

So there is a 5% blank space at the top (from 0-5%) and another 5% blank space at the bottom (from 96-100%).

Here are the diagonal lines settings that I used for these cells.

In this next example, I changed the diagonal lines from crossing diagonal to right slanting diagonals. Then I added a 48 point cell stroke (using my aforementioned custom stroke style) around all the cells. (Click on the pictures to enlarge them so you can see the stroke panel). This one is orange because I had the cells highlighted so the stroke settings I used would show up in the panel.

Here is the same design, unhighlighted, so you can see the original blue.

Something cool that I discovered is that because the pattern is created within the cell settings, when you increase the number of rows and columns (by holding down Alt/Option and then dragging on the table or cell borders), when more rows are added, they inherit the same size and styling as the cell you're dragging from. So it works like a dynamic step and repeat, only it's accomplished through just option-dragging. The pattern enlarges magically, right before your eyes.

Here is another example of a 2 row by 2 column table, 48 pt wide x 108 pt H, with a 108 pt crossing diagonal lines cell stroke. Because the cell diagonal lines are equal in stroke weight to the width of the column, they line up perfectly and make tidy little diamonds.

Just to mix it up, I decided to add some gradients and color it all pink. Does it remind you vaguely of a ski sweater? It should. This is a common graduated color technique used in Fair Isle and Norwegian knitting. Only they don't typically use pink.

You can more easily utilize reversed gradients by first making one gradient swatch, then swapping the colors and making a second swatch. Like so:

If you're want to investigate this technique further, or use my stroke style for your designs, here you go. I made a zip file with an CS 5.5 INDD, an IDML, and a PDF. Enjoy.

Using InDesign Tables to Duplicate the Window Structure Outside the Lincoln Memorial

Last May, I was able to attend the 2nd annual InDesign Secrets Print and ePublishing conference in Arlington, VA. I spent each day at the conference surrounded by fellow InDesign aficionados, talking about prepress, interactive graphics, searchable PDFs, and best practices for publishing workflows. Those conferences are more fun for me than any theme park. I was on InDesign overload, and loving every minute of it.

On the last evening of the conference, my husband and I took some time to tour the National Mall. Since I was recovering from the aforementioned (self-induced) InDesign overload, all I could think of was patterns. (If you've read my blog for awhile, you may have read some of my other posts about patterns.)

While I was touring the several-hundred-year-old buildings and streets, I snapped a few photos of some of the more interesting patterns in the architecture, with plans to recreate the geometry using InDesign tables.

This photo is of the concrete window-type architectural details on the Lincoln Memorial. If you're inside the memorial, and about to head back down the stairs, stop and turn to your right. Walk two columns past the main entrance and look at the face of the wall. That's where you'll see these window cutouts. These tiny little windows are so small when compared to the rest of the memorial, that they're nearly impossible to see on most of the Lincoln memorial photos I found on the web. But fortunately, I found a photo that displayed the little windows on both sides of the Lincoln Memorial. See the little windows? (By the blue arrows.)

Copyright Rocco Caveng. Photo used with permission.

Here are the windows up-close.

Since my plan was to recreate the geometry of the windows in InDesign, let's get started. There are a couple of different ways to create these windows. Both methods use Diagonal Lines.

Table Cells with Crossing Diagonal Lines
Make a table with two columns and three rows, with crossing diagonal lines, as shown below. Using the Crossing Diagonal Lines method, each cell has an X through it, and so if you choose to fill your cells with colors, they will be limited in that the entire cell has to have the same fill color. This is definitely the easier of the two methods, as each of the cells have the same stroke and diagonal lines settings.

2 Columns, 3 Rows, Crossing Diagonal Lines

2 Columns, 3 Rows, Crossing Diagonal Lines (Colored Cells)

Table Cells with Single Diagonal Lines
Another way to create this window pattern is by making a table with 4 rows, and 6 columns, and manually formatting each of the cells with a single diagonal line. I explored this idea in another blog post: Data-less Tables: InDesign Meets Knitting.

Using this method, you have more flexibility in your color choices because there are so many more cells.

Something interesting that I discovered while working with diagonal lines with that they can have different stroke properties than the other cell strokes. By increasing the vertical and horizontal stroke weight (and leaving the diagonal lines at a smaller stroke weight), you can create some interesting effects. For this example, I created a separate orange-filled frame behind the table. I also added a drop shadow to the table frame.

By adding some color to the strokes, and then shearing the table, you can create some very unique geometric designs.

Windshield Repair Logo Turned Into a Custom Cake

 One of my friends is a pastry chef, and several times, she used my designs as a starting point for her amazing pastry creations.

Years ago, my husband and I started a mobile windshield repair business. Since I was a designer, together we designed the logo, web site, and all marketing collateral for our new business.

About a year ago, we sold our windshield repair business to our nephew, Trevor. Trevor recently had a birthday, and to celebrate, our-dear-friend-the-pastry-chef made Trevor-the-young-entrepreneur a very special birthday cake. As you can see, this is no ordinary birthday cake. Our pastry-chef-friend specializes in very fancy, completely custom cakes. Her cakes are not only totally amazing to look at, but without a doubt, the tastiest cakes I've ever eaten.

I'd like to point out a few things about this cake that make it so special. 

1. The shape: it's shaped like a windshield (wide at the bottom, narrow at the top)
2. The road: Not only did our-friend-the-pastry-chef manage to dye fondant completely black (which I'm guessing is tricky), she also made the road hang slightly off the left edge of the windshield, just like on the original logo. 
3. The font: for the words, "OnCall," we used a font called Wild Ride. While my baker friend only had a limited character set to work with, I say she did a pretty amazing job of keeping true to the styling of the letters. Notice how the letter "a" is 2-story, and the lowercase "o" is elliptical, slightly off center, and thicker on one side.
4. The windshield damage: Notice the large chip in the lower left hand corner of the windshield (passenger side). And in the top right hand side (driver side) of the windshield is a star break. And on both sides of the windshield are edge cracks. Here are the corresponding graphics from the OnCall web site.

We are so proud of our nephew Trevor, for taking over our business. If you are in the Portland area and need your windshield repaired, give him a call at 971-404-1247 or visit his website: http://portlandwindshieldrepair.com. He was trained by the best (my husband), and offers a lifetime guarantee on his work.

And we are equally proud of our dear friend Charlene, who, in my opinion, makes the best cakes in the world. She's just as good as the best bakers on the Food Network. Yo u can find more of her amazing cake designs on her Facebook page.

How to Incorporate Chapter Thumbnail Images into an Auto-Generating Table of Contents

In May of this year, I attended the InDesign Secrets Print and ePublishing Conference. Once again, I decided to try my hand at speaking to several hundred people. (I'd like to note that public speaking is my geeky version of a roller coaster thrill ride.) So I mustered up all my courage and gave a 5-minute presentation to a room full of strangers. My topic this year was about how to "Make a TOC with Thumbnail images."

For the entire writeup about how it works, check out my article over at InDesign Secrets. They were nice enough to let me be a guest contributor. This article was something I'd been working on for a couple of years, and I wanted to make sure it got published somewhere very special, with plenty of InDesign users.

And here is a photo of me after completing my presentation. I got a 2-thumbs up from Anne-Marie! Plus, I got a special "Speaker Bag."

If you ever have the chance to do an Ignite presentation, go for it! It will rock your world. I did one last year as well, and I have to say, the second time around is much less scary. Of course, I was well prepared and has been practicing for months this time around. In case you're interested in my presentation from last year, here is the writeup.

How to Make Your Own Custom Business Cards for About $10

As a freelance designer, you need business cards, right? But what if you're on an extremely tight budget or need your cards within a day or two (as opposed to a week or more)? Let's explore a few options for the budget/time-conscious. First I'll discuss how I chose my final business design and printing method, which meets my budget requirements and still has a cool factor that makes other designers closely examine them with curiosity.

My current business cards are printed on snappy, sparkly, iridescent pink paper. They're girl-ish, but subtle. For a long time I didn't hand them out because I though people might think the paper was weird because it's a little thinner than normal cardstock. But recently, I handed a couple of them out and gotten very positive responses from both men and women alike. One person even asked me, "Did you have these done in San Diego?" To be truthful, I made them. In my home office. And they were free.

So, how does one go about making your own free/cheap business cards? Well, let's find out! But first, let's discuss a few different printing options that I explored before settling on the final paper choice and printing method.

Letterpress Printing
Since I first discovered letterpress printing, I've wanted to purchase my own letterpress business cards. However, seeing as I work from home, and hand out approximately 10 (ten) business cards per year, it seems a bit excessive to spend several hundred dollars on fancy letterpress business cards.

Online Business Card Websites
Online printers, such as VistaPrint.com, PrintingForLess.com, and Moo.com offer very affordable pricing because they will gang up your business cards with dozens of other orders, and print them all on the same paper stock, at the same time. While you will get 4-color offset printing, your paper choice is somewhat limited. These large-online print shops often offer gloss UV coating or a lamination. Adding a glossy UV-cured coating means that the business cards are dry immediately. That in turn means that the print shop can speed up production and pump out even more business cards, even faster (making them more affordable).

Some of the online printers, such as Moo.com, even let you choose different background images for each and every one of your business cards. Many of these online printers will even offer "free" business cards. All you have to pay for is shipping and handling. However, "free" typically means that their company logo or URL is somewhere on the card. If that's not a big deal to you, then these "Free" cards may be a good way to go.

Local Print Shop
Offset Printing
Local print shops will print offset and digital, which means you can get your custom Pantone colors and use whatever paper you like. However, since your job is custom, they'll have to print your job all by itself, and not gang-up any other projects with it. In turn, that means that your job has to be profitable for them all by itself. It's not uncommon for print shops to have a 1000 card minimum order for offset printing. 1000 business cards would last me approximately 200 years.

Digital Printing
Digital printing is often mistakenly referred to as "color copying" (which is not technically correct). There's no copying taking place. Each page is printed from the original digital file. With digital printing, there is no make-ready for the press. There are many other differences as well, but the most important one for the sake of this project is that you can print as few as one page and as many pages as you want. Digital printing offers the quantity that I'm looking for.

Local print shops (especially smaller copy shops) typically have a rack of paper stock in the back of the shop. They'll have a selection of something like Classic Crest Linen and Laid paper. The paper is already cut down to 8.5x11 and they use it to run business cards and stationary packages. This paper, though it is more interesting than the standard 80# white cardstock, is still pretty everyday-ish and doesn't really offer the wow factor that I'm looking for.

And while local print shops do have a decent selection of stationary paper, if you want something that they don't have in stock, they'll have to order it for you. Local print shops buy paper by the ream, and often in whole cartons. So if you want fancy paper from a print shop, you're going to have to buy a lot of it.

So we need to find a place that sells beautiful, unusual paper by the sheet.

Paper By The Sheet
I wondered for several years how to find cool paper by the sheet. There are a couple of places that I know of.

Retail Paper Supply Store
The first is a paper supply store, like Xpedx (think "Dunder Mifflin" in a retail storefront). Paper vendors are the suppliers from which printers purchase their paper. If you can ever manage to take a trip down to one of the paper vendor retail storefronts, I highly recommend it. I was in the printing industry for about 8 years before I finally went to one. I wish I had visited there back when I was first starting out! It was awesome. They'll likely have the same types of paper that you'll find at a local printer, only a lot more of it. They might have 100 different types of invitation envelopes alone. Plus they'll have all the matching paper in cardstock and text weight...and you can buy all of it by the sheet, or by the box. They also have lots of other cool stuff like rulers, artist's tape, and raffle tickets. If you're a paper junkie, you'll have tons of fun there.

But as much paper as they have, they tend to only keep in stock the common papers (the type of paper that small print shops would use for stationary packages and general office use). So how do you go about finding really cool paper by the sheet?

Scrapbook Store
One evening, I was out walking my dogs in our small town, and I saw a new business that had just opened: it was a scrapbook store.

In case you've never been to a scrapbook store (men, this is for you), they sell all kinds of interesting stuff. Besides really cool paper and cardstock, they sell envelopes, scoring and folding tools, stickers, ribbons, tiny little rivets, embossing dies, stamps, different kinds of glue, shiny stuff, sparkly stuff, textured stuff... Visiting the scrapbook store is like sensory overload, but in a good way. Great scrapbookers are great designers. Only instead of software programs, they use stamps and glue and heat guns. Did you know that scrapbooking stores sell equipment and supplies that will let you make your own 1-off raised thermography designs? Neato!

So, if you've never been to a scrapbooking store, I encourage you to take a field trip to one. And hey, while you're there, pick up a few sheets of cool paper and follow along as we create the 8-up business  file in InDesign.

Okay, just kidding, I've already prepped the 8-up file. All you need to do is take your design and place it into the file I've made. But first you need to choose your template.

---

Using the Business Card Template
I keep several business card templates, for various designs and paper sizes.

• 8-up, on 8.5 x 11", for business cards with bleed.
• 10-up, on 8.5 x 11", for business cards without bleed.
• 15-up, on 12 x 12", with bleed
• 15-up on 12x12", without bleed

8-up, on 8.5x11", with bleed

10-up, on 8.5x11", without bleed

15-up, on 12x12", without bleed

15-up, on 12x12", with bleed

For you, my beloved readers, I have decided to make my templates available for download. Both the 8.5x11" templates are in one file, and the 12x12" templates are in a second file. I have CS3, CS4, and CS5 files, but for those you you who still have CS2, I've also provided a CS2 inx file. (And for those of you who haven't upgraded, did you know that by joining an InDesign User Group (which is free to join), you qualify for Adobe software discounts?)

Click here to download the business card templates.

Working With A Local Printer
If you've already got a good relationship with a local printer, you've already accomplished the most difficult aspect of this project. If you don't already have a relationship with a local printer, try to develop one. Different printers have different specialties, and you should choose your printer according to the size and specs of your print job.

Some printers specialize in high-quantity, offset press work. Others are geared more towards small business owners and digital printing. These smaller print shops are the type you'd find in a retail storefront. This business card project would be better suited for one of the independent print shops located in a retail storefront.

Hopefully, your local printer will already be familiar with using odd sized paper. Bring in a few extra sheets in case they have any problems with the paper. They shouldn't, since paper from scrapbooking stores is generally laser-compatible. But since this is a special, short-run job, go out your way to make the project easy for your printer. Bring extra sheets. Give them a few extra days. And I've found that bringing them high quality chocolate or homemade cookies never hurts, either.

Many small printers will charge a "digital download fee" for opening your file. This fee can range from $2 - 20. Generally, it's around $10. In my experience, if they charge this fee, they'll charge it whether you send them press-ready PDF, or natives file that will require them to unzip, install fonts, preflight and relink. So it may be a good idea to ask them if they charge a digital download fee.

Impose your 1-up design

I'm intentionally brief on this, because I'm assuming that you have already designed your business card, and you already know how to place images into InDesign. If not, check here. Then come back.

Trim your cards
For the business cards without bleed, I place the cards all next to each other in the template, to make for fewer cuts. Cutting isn't a big deal when you have a hydraulic chop-cutter, but when cutting at home using an X-acto knife, the fewer the cuts, the better.

But first, put in a new X-acto blade in your knife. You've got fancy paper and a beautiful design, so don't ruin it by using a dull blade.

Celebrate Being Frugal!
So you've bought paper, imposed your design, found a printer, got your cards printed, and trimmed them. And it's probably cost you about $10. So how did I get mine for free? Well, I was making some custom notecards for someone,  using the aforementioned sparkly paper, and there was extra room at the bottom of each sheet. So I filled it with my business cards.

Granted, this whole process did take a few hours of time, but when you're short on money and have a little time to spare, there is still a way to have really cool attention-grabbing business cards.

Author edit: 8-8-13: Check out another business card article I wrote over at InDesign Secrets: "Use Place and Link to Impose Documents in a Printing Workflow." That article shows you how to set up a business card template with crop marks, and then use Place and Link so that you can keep your 1-up design and your 10-up imposed layout in the same document and the cards will magically impose and auto-update.