As promised, attendees, I grabbed the entire transcript from the Chat window so I could make sure and answer all your questions, which I do so below to the first section. Some of these I already covered during the 30 minute Q&A — I’ll still reprise the answers here for the benefit of my blog readers.

Q: Would you say again how do you set up layout view as default?

A: Start up InCopy but don’t open any files. Choose Layout View from the View menu. It should now carry a checkmark (before, Story View had the checkmark). From now on, when you open files they’ll open in Layout view.

If you change the default font in galley/story, will it apply to all documents you open or just the one you’re working in?

It will apply to all documents, period, even after you quit InCopy and start it up again.

Can you format paint — copy formats from one bit of text to another?

No, unfortunately you can’t. There’s no Format Paint tool like in Word, nor an Eyedropper tool like in InDesign. Maybe next version! In the meantime, though,  remember your friend, Quick Apply (Command-Return or Control-Enter), which I demo’d in the webinar. Very fast way to apply formatting.

When you showed how to ”Arrange New Window”, how did you then go to a split screen so that both views were shown on same open file?

Choosing Window > Arrange > New Window adds the new “clone” of the first window so you can have 2 different views of the same document. To see both windows at the same time, in CS3 choose Window > Arrange > Tile Vertically (or Horizontally). In CS4 you can use the Arrange Documents widget in the Application bar across the top and choose a window arrangement.

Can you assign text on one layer but not another (e.g. localized versions with text on different layers)?

In InDesign, the user can assign a text frame to a specific layer. You can’t do that in InCopy, but in your Layers panel you’ll see the frames are on those layers, and you can Hide/Show the individual layers the designer added. So the designer can set up localized versions of text on different layers, and the editor can show/hide these at will.

In CS4, the new Conditional Text feature lets you hide/show text selections, instead of entire frames, a very powerful feature and ideal for many multilingual publications. The InDesign user can create the conditions in the panel, and the InCopy users can assign text selections to the conditions as well as hide/show the conditional text.  I demo’d this in the webinar.

We work across several sites where we have our own servers. Is there a way to get In Copy Assignments folder to redirect to be placed on server rather than individual hard drives?
[And]
Can you change where the icma file is stored so it’s on a network drive — not C:?

By default, InDesign creates the assignment folder inside the folder containing the layout. So if the designers have opened a layout on their individual hard drives, then InDesign defaults to saving the assignments in the subfolder it creates on that same hard drive. If you can get the designers to work off the server, then InDesign will save the assignments there too.

Sorry, but I don’t know of any way to force InDesign to automatically export the assignments to a location other than the default, though I suppose (like anything), it can be scripted. As I showed in the webinar, designers who want to work on the layout locally need to use the Change button in the New Assignment dialog box to choose a different location for the assignments folder, its assignments, and the content folder (and its exported stories) too.

Why are icma file dates not updated with each use and save of changes?

Not quite sure what you mean here. ICMA files (CS4 assignment files) and INCA files (CS3 assignments) aren’t updated every time you update the INDD file, that’s one of the advantages of using an Assignments-based workflow.  It’s only if the designer makes a change to the InCopy frames in an Assignment (such as changing their size, or adding new/deleting existing) that the little yellow ‘Update me!” icon appears next to that assignment’s name.

If the designer made a change to other elements on the spread, or to things not part of the assignment at all, then there’s no need to update the assignment. Thus the editor isn’t bothered by constant “Out of Date” messages for the layout as the designer saves changes to the InDesign file. However it does mean that the designer needs to pay attention to the status of their assignments in the Assignments panel as they work on the layout, and to keep updating assignments as necessary.

OR maybe you’re thinking that when the InCopy user saves changes, the assignment file should show a new modification date? A common misconception. Actually, there’s no possible way an InCopy user can change anything about the assignment file (or a layout file, if they’ve opened an INDD document). That’s why the command in InCopy is “Save Content” and not simply “Save” like every other program.

The InCopy user is actually saving changes to the external, linked InCopy stories (the INCX or ICML files) that the assignment or layout is giving them access to. So if you look in the project’s folder where the linked story files are contained, you will see the modification dates update as the InCopy user saves changes. But only the InDesign user can modify (and save changes to) the assignment and layout files themselves.

You can read Part 2 here.

Download the InCopy CS4 Hands-On Guide (5 MB PDF file)
Download the Sample Files.zip (150 MB) from my Acrobat.com share

Although the introductory section gives newbies an overview of the InCopy/InDesign workflow itself, the main focus of the guide are the new features in InCopy CS4. You become familiar with each of these new features — like cross-references, conditional text, the new Links panel, and so on — by downloading the accompanying sample files and following along with the step-by-step exercises in the guide. Instructions for installing the sample files and setting up your preferences are in the beginning of the Hands-On Guide.

If you’d like a peek, here’s my “anatomy of the Assignments panel in InDesign” illustration, from the introductory section:

The sample files used in the hands-on exercises are the same ones that Adobe sales staff use in their own demos, so if you’ve attended any of these, you may already be familiar with the fictional Check magazine.

[I still insist that this guy who's profiled in the magazine's feature story (he's supposed to be the lead actor in an upcoming feature film) is a lost Baldwin brother! But Adobe says no, he's just an actor the design firm hired for the shoot. I don't know — you tell me:]

Well, yes and no. It’s called “InCopy CS3″ (or whatever version you have) because it’s designed to work with the same version of InDesign. But it’s not bundled with any of the Creative Suite packages, it’s always sold separately. (If you want them to include a copy, as I do, let Adobe know.)

Luckily, you’ve got me, and I’m here to give you the scoop. I want to start with the top three new features. I’ll write about additional new features in upcoming blog posts.

Table Editing in Story/Galley

There may be new feature that will have more long-range impact, but I believe this baby will be the most welcome to any editor or writer who works with tables in InCopy. You’ve always been able to edit table content in Layout view. In CS4, you can now see and edit the text content of tables — every cell, every row — in Story view and Galley view too.

Here’s a sample table in Layout view (note the overset cell, the one with the red dot):

And here are the first few rows from that same table in Story view:

The start of every row is indicated by a blue text label (Row 1, Row 2, etc.) and the contents of each cell in that row is marked off with a horizontal dashed line. (Seems strange at first, but you get used to it.)

Since table text is now accessible in Story/Galley, it means you can now track changes in tables, access overset cell text, and insert inline notes in cells — none of which was possible in InCopy CS3. Hallelujah!

Remember the evil red dot? Here’s the culprit — the overset cell text— in Galley view, completely accessible and editable without messing up the table formatting:

Alas, Adobe hasn’t figured out how to show the contents of anchored text frames in Story/Galley yet. Maybe in CS5?

Dynamic Cross-References

In CS4, InDesign and InCopy share a powerful new automatic cross-referencing feature, complete with its own panel (which it shares with the Hyperlinks panel, also new to InCopy), dialog boxes and menu commands.

To create a cross-reference in InCopy, you select some text in a story you’ve checked out, click the Insert New Cross-Reference button in the panel, and then use the New Cross-Reference dialog box to link it to other text in the current document or in any InDesign layout available to you.

Most of the cross-references you’ll likely create will be dynamic, meaning the software will take care of keeping it up to date. For example, the source text “See the Indiana Dunes Map on page 14″ will automatically update as the destination (the page number on which the map appears) changes. Woo-hoo!

The Cross-References panel shown above tracks all your cross-references and lets you know if and when destinations are missing or need to be updated.

Conditional Text

Instead of creating duplicate layouts or even duplicating text frames onto multiple layers, use the Conditional Text panel in InCopy CS4 to create multiple editions or versions of a single document meant for different audiences: Teacher/Student textbook editions, English/French/Spanish magazine versions, Windows/Mac help files, and so on.

Each of these editions or versions would be called a “condition,” and using the Conditional Text panel, you can hide and show conditions at will.

First, you create the conditions in the Conditional Text panel. (Probably the InDesign users will be doing this—like text styles, InCopy users can only apply conditions, not modify them, in a managed document). When you open a layout or assignment in InCopy, the conditions saved with the INDD file are available to you to apply to text.

Text that remains the same throughout each version is called “unconditional” and nothing special needs to be done to it (it’s the default, starting state for all text). Unconditional text is always visible in PDFs and printouts.

When you have some text that should only appear in a certain edition/version, you select it in a checked-out story and click the condition name in the panel. (In some cases, you can use Find/Change to apply conditions automatically; but that’s a topic for another post!)

The end result is that you can then use the Show/Hide icons (the eyeballs next to each condition) to show and hide text with that conditioned applied. Hide all the UK conditions, and the US version of the document is ready to be printed or PDF’d. To create the UK version of the document, hide the US condition(s). Coolness.

More to Come

There’s more to write about each of these new features, and of course the other ones as well. Stay tuned!

How long of a word did Adobe use to determine the number of words in selected text frames?

Here’s a straightforward answer for you: They didn’t. Each word, regardless of length, is counted as one word. (You can change this in InCopy, but not in InDesign—more on that below). And in case you were wondering, hyphenated words are counted as one word, but em- and en-dashes are properly treated as white space separating words.

InCopy reports both of these stories as four words long:

So does InDesign (to see a word count in InDesign, click inside the frame with the Type tool and open the Info panel):

But as I mentioned, you can make InCopy do what the production manager thought it was doing all along: Use a specific number of characters to define what a word is, for the purpose of word counts.

To set it up, choose Define Word Count from Copyfit Info’s fly-out menu:

And then choose the radio button for Count Every __ Characters. The default is five characters, but you can replace that with any number you like.

When InCopy is set up to calculate a word as every five characters, you get radically different results—but perhaps more useful for actual copyfitting:

Once you change the setting in InCopy, it stays that way until you change it back, even when you open a different document, even if you restart the program. So if Copyfit Info is reporting a strange word count (especially if it doesn’t agree with what InDesign is reporting for the same story), check the Define Word Count dialog box to see which method it’s using.

Here, in the little bit of Spanish text on the second line, InCopy thinks both “quiares” and “ir” are misspelled.

If I right-click on “Quiares,” InCopy’s spell-checker suggests corrections in English:

Not very useful!

The solution is to tell InCopy to use the right dictionary for foreign words — but how? Where are the other dictionaries?

Reveal the Extra Dictionaries

Inexplicably, the Character panel’s “Language” dropdown menu — the one that lists InCopy’s thirty-odd alternative language dictionaries — is hidden from users by default. (If one Character panel option must be hidden, Adobe, I hereby nominate the Vertical and Horizontal Scale fields instead.)

To reveal the hidden dropdown menu, open the Character panel’s fly-out menu and choose Customize. Then, in the Customize dialog box, turn on the checkbox for Language, and click OK:

Now you’ll see the Language dropdown menu appear at the bottom of the Character panel, just as it does (by default) in InDesign:

At this point, you might want to edit your custom workspaces, or create a new one (Window > Workspace) that has the Language option enabled. That way you don’t have to root around for it again. None of the default workspaces bundled with InCopy reveals the option in their Character panels.

Apply the Right Language to Foreign Text

To tell InCopy “this text is in Spanish” (or whatever language it’s in), select the text and choose the language dictionary to which it should be linked from the dropdown menu:

Associating a language dictionary to a text selection does not translate that text to that language — which would be neat, actually! No, all it does is tell InCopy which dictionary to use for spelling and hyphenation. (So translators: No worries.)

Notice how, in my example, InCopy is still flagging “Quiares” as misspelled, even though it knows it’s a Spanish word. That’s because it Quaries is misspelled — in Spanish! When I right-click on the flagged misspelling, I get a list of suggested Spanish corrections from which to choose:

I happen to know that “Quieres” is the correct spelling, so when I choose it, all the mean red squigglies go away, and I can be fairly certain that the phrase is spelled correctly:

However, some of the letter/diacritic pairs they needed to occasionally insert in their stories weren’t available in their body typeface. I showed them how they could enter the letter first, then the diacritic alone, then kern them in tightly so the cedilla or caron or macron was centered over/under the letter. They appreciated the workaround but it wasn’t ideal.

When I returned home I did some investigating, and found the perfect free script for them. “Compose.jsx” is a biplatform Javascript that works in both InDesign and InCopy. Developer Peter Kahrel created a clever little interface that allows the user to enter easily-remembered mnemonics for any letter/diacritic combination. If the glyph exists in the font, the script inserts it automatically (no need to hunt for it in the Glyphs panel). If it doesn’t exist, the script automatically does the kerning workaround, perfectly. It’s phenomenal!

I sent my client a link to the script, and wrote about the script itself (with screen shots) on my other blog, InDesignSecrets.com.

Rather than reprise the whole article, let me just urge you to read it for yourself. A link to download the InDesign or InCopy version of the script appears at the end of the story:

Easy Diacritics and Other Tough Glyphs

But, since the hidden characters are always the same color as the text (with a slightly lighter shade), long stories sometimes appear as huge blobs of undifferentiated text. Having more control over how much paragraph formatting Story/Galley can show is in my top five feature requests for the next version of InCopy.

Take paragraph indents, for example. I think it’d be easier to identify paragraphs in a long article in Galley/Story if the first line of every paragraph had the same indent as they have in Layout view. (Or if they don’t have a first-line indent, then Galley/Story would show the space above/below the paragraph.)

In the meantime, though, there’s a little-known feature in CS2 and CS3 that helps to visually indent the first line of every paragraph in Galley/Story. It doesn’t affect formatting — the lines aren’t actually indented in Layout view — it’s just for visual navigation.

Go to the View menu and choose Show Paragraph Break Marks. Nothing changes in Layout view, but in Galley/Story, you’ll see a new special character indenting the first line of every paragraph, even if the paragraph has no actual first-line indent. The special character looks like a double-right chevron and pushes the first line in approximately 2 em’s worth of space.

The next time you’re in InCopy, give it a try. I think you might like it.

(Listen to Scotty’s “Hello, computer!”)

You can get close to that functionality, actually, if your publication’s styles use two advanced InDesign features, Nested Styles and Next Styles. They work exactly the same in both InDesign and InCopy, but again, can only be added to a publication’s styles from within InDesign because the controls appear in the Paragraph Style Options dialog box. (On the other hand, If you’re working with a standalone InCopy document, you have full access to this dialog box and can create them yourself.)

Nested Styles

A nested style is a pre-defined character style that is “embedded” into a paragraph style’s definition. The program automatically applies the nested character style to some of the text in a paragraph whenever the so-configured paragraph style is applied to it. One or more nested styles can be included in a given paragraph style, saving at least two or three steps every time you apply the paragraph style.

Let’s say you have a paragraph style called Body-First that gets applied to the first paragraph in a story. This paragraph has no first-line indent; instead, the first three words should be bold and all caps. Normally, you apply the Body-First style to the paragraph, then select the first three words, open the Character Styles panel, and click BoldCaps-LeadIn to format them.

Instead, in Body-First’s style options, you can specify that the first three words should be formatted with the BoldCaps-LeadIn style. From then on, applying the Body-First style to a paragraph automatically applies not just the paragraph style, but also the specified character style to the lead-in phrase without you having to select the words or click on the character style. Magic!

Because they can be chained and looped, nested styles can do all sorts of automatic formatting for you. If you find yourself having to apply the same character style over and over, consult with your designers and the online help documents to see if you can use them for your publication.

Next Style

By default, “Same Style” is set up as the Next Style for every new paragraph style. You know this intuitively already — when you hit Return/Enter to start a new paragraph, the new text has the same paragraph style as the previous paragraph. But in the Style Options dialog box for Body-First, for example, the designer could specify that the Next Style should be (the plain) Body instead of the same Body-First style. That way the paragraph style will automatically switch to the correct one as soon as you start a new paragraph.

Similarly, specifying Body as the next style for Subhead, or Answer as the next style for Question (and vice versa) allows InCopy to automatically switch to the correct paragraph style as you start new paragraphs in the story you’re writing.

What if the story’s already written, but unformatted? Clicking inside the first paragraph and choosing Body-First from the Paragraph Styles panel applies that style to the paragraph, but won’t automatically apply Body-First’s Next Style to the subsequent paragraphs.

To use the Next Styles feature on existing text, you have to employ a slightly different technique. Make a text selection that starts with at least some of the text in the first paragraph (the one you want to apply the “starting” style to — Body-First in our example) and includes additional, subsequent paragraphs that should be formatted with the Next Style feature. Then right-click on the starting style’s name in the Paragraph Style panel and choose the command “Apply Body-First then Next Style.”

The “Apply [this style] then Next Style” command only appears in the context menu when you’ve made a text selection that includes text from two or more paragraphs, so be sure and do that first.

While the Nested Styles and Next Styles features are unrelated, they can of course work together. Imagine being able to select all the text in a story, choosing Apply Body-First and then Next Style, and then, “Hello, computer!” all the text is formatted with the correct paragraph styles and character styles. Sweet … and definitely possible.

He would drag over a paragraph’s worth of text to select it … mouse over to the far right edge of his monitor to reveal the Paragraph Styles panel … scroll through the list of styles and click on the one he wanted … one paragraph done. Move back to the text. Drag-select another paragraph. Go back to the panel …

After a minute or so my teeth were ground down to nubs and I couldn’t take it anymore. I gently inquired if I could show him a few alternative ways to apply styles that would be faster and put less of a strain on his poor mousing arm.

“Well, okay, if you in–” he was saying as I shoved him over and scooted my chair up to his computer.

Fast Styling

First, let’s see what you’ve got to work with. Look inside your Paragraph Styles and Character Styles panels. You may or may not have any character styles available — it depends on how the designer constructed the file — but you will almost always have a few paragraph styles in addiiton to the default Basic Paragraph. If you need more, you’ll have to ask the design team — remember, InCopy users can’t add or modify styles in a layout or assignment. I covered this in “Dueling Styles.”

If the designer included character styles (such as Bold Lead-in or Price), always apply the appropriate paragraph style first, then go back and apply character styles to the instances of text that needs it. Why? Because often, a character style doesn’t contain complete formatting instructions, it just changes one or two attributes — it turns text red and makes it bold, for example, but doesn’t change the typeface. By applying a character style to text already formatted with a paragraph style, you should see the final formatting you expect.

You do not have to select an entire paragraph to apply a paragraph style or formatting choice from the Paragraph panel; your blinking cursor inside the paragraph is sufficient for the program to know which one to format. (With character styles and local character formatting, though, you do have to select the text first.) If you want to apply the same paragraph style to more than one contiguous paragraph, drag-select some text in all the paragraphs first, then choose a style in the panel. One click, multiple paragraphs formatted.

When faced with the task of formatting a long, text-only story that needs a mix of styles applied, begin by selecting all the text (Edit > Select All, or Control/Command-A) and then applying the paragraph style that’s used by most of the story’s paragraphs, perhaps “Body”. This is the smartest way to work even if the story will eventually require five or ten different styles, because all you need to do now is click in the paragraphs that shouldn’t have that style and apply the right one. (The day I learned that the fastest way to format a Q&A article was to select all the text, apply the “Question” style; then go back and apply the “Answer” style to every other paragraph was a happy day.)

If you’re going to be doing a lot of text formatting, relocate the relevant panels where they’re convenient to reach. Detach the Paragraph Styles panel, for example, from its docked position by dragging its title bar or tab name to the middle of your screen, next to the column of text you’re working on, and release the mouse. Ta-da, a floating panel that requires a flick of the wrist to reach, as opposed to moving the mouse a half a foot each time.

Faster Styling

Did you know it’s possible to use custom keyboard shortcuts to apply paragraph and character styles? That way, as you’re editing text, you can quickly tap the keyboard shortcut for Body or Subhead or whatever, and bam, the paragraph is styled. The problem is that only the InDesign user can add keyboard shortcuts to styles, since the field is inside the Style Options dialog box .

So if you’re in InCopy and you’re not seeing keyboard shortcuts next to the style names in the panels, ask the design team if they can add some. If you ask nicely and bring them donuts, the next time you open the assignment or layout (or choose File > Update Design) you should see the shortcuts appear in your Paragraph Styles and Character Styles panels.

By the way, keyboard shortcuts for styles are cross-platform. If the designers assign Option-Num5 to the Body style on their Macs, it appears in Windows InCopy as Alt-Num5.

Many local formatting commands have built-in keyboard shortcuts, like Command/Control-Shift-B to make text bold and Option/Alt-Left/Right Arrow to track type in or out. You can find a list of these in the Help file (Help > InCopy Help). Select the entry “Keyboard Shortcuts” toward the bottom of the Help Contents and click the subcategory links for Keys for Working with Type and Keys for Working with Text to see them.
Fastest Styling

Alas, there is no Format Painter tool in InCopy as there is in Microsoft Word. But we do have something that comes close, and is actually much more flexible: Quick Apply. It’s available in CS2 and CS3, and requires just one keyboard shortcut to invoke: Control-Enter (Command-Return on a Mac).

Pressing that shortcut (or choosing Edit > Quick Apply) opens up the little-known Quick Apply window, which lists all styles available in the document. No need to mouse over to the window, just enter a few characters from the style’s name that you want to apply, and Quick Apply immediately filters the list of styles down to the ones that have those characters. As soon as you enter enough characters (or a unique string, like “h1″ if you want “Header – Level 1″) to distinguish that style from the others, it will be the only one in the Quick Apply list.

Too much work to filter it down? Just enter enough characters so the list filters down to a handful of matches, then use your arrow keys to highlight the one style you want.

Now press the Enter/Return key. The Quick Apply window goes away and the style you chose in its window is immediately applied to the paragraph or selection. Once you’ve applied a style from Quick Apply, it’s easy to apply that same style again elsewhere in the story. Move your Type cursor to the next bit of text you want to format, press Control-Enter to open Quick Apply, and press Enter again to close it. (That’s Command-Return, Return on a Mac). You don’t need to see what’s inside the Quick Apply window — it remembers the last style selected and applies it to the new text.

In CS3, Quick Apply includes not just styles, but all menu commands and scripts, which can be quite handy. However, if you’re mainly concerned with styles, you might want to turn those off so the list of matches isn’t overwhelming. You can do that by opening Quick Apply, revealing its categories pop-up menu (a little triangle to the left of the search field in the Quick Apply window) and unchecking the “Include:” categories you don’t want Quick Apply to worry its pretty little head about.

“We’re using fonts that don’t have their own built-in bold, italic, bold-ital. We’re using Franklin Gothic Demi for boldface. In Story view, this font doesn’t display as bold – which is very annoying to writers. Any ideas on how this problem could be solved?”

I certainly do. As the ME found out, the editing typeface you choose from the Galley and Story Appearance toolbar (at the lower left of the window) is limited to showing Plain (aka Regular, or Book), Bold, Italic and Bold Italic variations of any and all typefaces that text is actually formatted with in the document, as seen in Layout View.

So if the text is formatted with a Demi (equivalent to a “Medium” or “Semibold”) font style, InCopy has to make a decision: Should it show up in Galley/Story as Plain or as Bold? It always opts for Plain. It has to make similar mapping decisions for styles like Condensed, Heavy and Black.

Clever InCopy users will think, “A-ha! I’ll just choose the same font used for the text as my Galley/Story view display face!” But alas, it’s fruitless. For some reason, InCopy refuses to display any style in a Galley/Story Display font other than the usual regular, B, I and BI of the one you chose. Franklin Gothic Regular and Demi look the same: Regular. Only text formatted with Franklin Gothic Heavy will show up as Bold. You have to switch to Layout view to see that Demi is bolder than Regular, and Heavy bolder than Demi.

It’s a real pain when you’re using a non-standard style like Demi for, say, bold lead-ins to plain body text. You can’t tell in Galley/Story view where the bold lead-in ends, or even if it’s there in the first place, at least not by eyeballing it. (You can always select text and get an accurate readout of its formatting by looking in the Character or Character Styles panels.)

The Fix

InCopy users, the solution lies in a secret “extra” typeface you can specify for Galley/Story:

1. Make sure that your Galley/Story Display font — the one you choose from the toolbar — is set to a different typeface than the one you’re trying to see the different weights of. In other words, leave it at the default Letter Gothic typeface or whichever you prefer. Of course, the one you choose here should come with the usual Bold, Italic and Bold Italic style variations — if you choose one that doesn’t, InCopy alerts you.
2. Open the InCopy Preferences dialog box (from the Edit menu on Windows or the InCopy menu on Macs) and go to the “Galley and Story Display” section.
3. Click the checkbox next to “Override Preview Font” to turn it on, and from the dropdown menu of installed fonts choose the typeface that has all the variations you need to see. (In the ME’s situation, he should choose ITC Franklin Gothic from this menu. If your story is set in Myriad Pro, choose that one, if it’s using different weights of Futura, choose that, and so on.)
4. Click OK in Preferences and look at the text in Galley/Story. Hallelujah! Demi looks darker than Regular and lighter than Heavy!

It turns out that in addition to your single chosen display font, you can have InCopy show one other font in Galley/Story. It will only display that font if text is actually formatted with it; and if so, it displays ALL the style variations as needed.

You can change the “extra” font on the fly — perhaps another story in your document uses a different chock full ‘o styles typeface — just by going back to Preferences: Galley and Story Display and selecting a different font.

Woo-hoo!