End of story.īut, before we lose ourselves in ground-breaking layout features such as true transparency, frankly astounding typographic controls, awesome output options, and a million little touches, let’s tackle Adobe’s main problem with InDesign.
Simply put, InDesign 2.0 is the very best desktop publishing tool ever made. And everything ties together with such panache, it makes layout feel almost organic. It puts design back where it belongs – at the heart of DTP. It’s like a Kubrick movie – almost obsessive in its attention to detail, yet able to deliver new horizons on what’s possible. InDesign 2.0 is quite simply the state of the art in desktop publishing. One look at Adobe InDesign 2.0, and it feels like 1986 all over again, when PageMaker first burst onto the scene and anyone with an Apple Mac could become a magazine publisher.
Creativity has been left on the pasteboard. In fact, it seems more to do with shaving time off deadlines, making sure documents are correctly preflighted, and slashing repro costs by going straight to print. Sure, desktop page layout has seen the advent of PDF, XML, better colour management, hexachrome, digital printing, and faster output – but it’s all so much engineering, all infrastructure, and very little to do with pushing the boundaries of print-based creativity. Web design, multimedia, 3D games, digital video, and streaming media have captured the minds of content creators the world over, and DTP has been forced into the slow lane.
The world of DTP – once the vanguard of art and digital creativity – has often taken a back seat in recent years to the thrill of other desktop-driven pursuits. Here's our review first published on March 4, 2002. On InDesign's 20th anniversary, we look back at version 2.0 – the release that changed everything and brought excitement and innovation back to graphic design.
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