IntroductionWelcome| 00:00 | Hello and welcome to InCopy CS4 and
InDesign CS4 Workflow Essentials. I'm
| | 00:06 | Anne-Marie Concepcion and I'll be your
friendly guide to learning how to set up
| | 00:10 | and enjoy a smoothly running production
workflow using these two amazing programs.
| | 00:16 | As an Adobe Certified Trainer and
publishing consultant I have helped hundreds
| | 00:20 | of designers and editors learn how
to work in parallel using InDesign and
| | 00:24 | InCopy. And I never tire of hearing
them say, you know I can't believe we ever
| | 00:28 | put out an issue without this workflow.
| | 00:30 | This video is for anyone involved in
getting a publication put together and out
| | 00:34 | the door. Designers, editors,
production artists, writers, copyeditors, and
| | 00:40 | the managers and IT staff who support them.
| | 00:42 | If you are new to the InDesign and
InCopy workflow, let me tell you the reason
| | 00:46 | that people are excited about it is
that InCopy lets editors open InDesign
| | 00:50 | layouts while they are still in production.
| | 00:52 | And edit copy to fit, instead of
waiting for a paper proof to make its way to
| | 00:57 | their cubical for their markup. And
since multiple InCopy users can work on the
| | 01:01 | same publication concurrently, even
while the designer is developing the spreads
| | 01:05 | in InDesign, companies typically
see huge time savings in projects'
| | 01:09 | turnarounds. Editors enjoy much more
control over the content and the designers,
| | 01:14 | freed of editorial responsibilities,
have more time to spend designing.
| | 01:19 | Those of you familiar with the
workflow already and have come here to see
| | 01:22 | what's new in the CS4 workflow
won't be disappointed. From automatic
| | 01:27 | cross-references to built-in screen
sharing, or even just finally being able to
| | 01:31 | edit table text in Story view,
CS4 does not disappoint.
| | 01:35 | So sit back and enjoy the show,
and I'll see you in Chapter 1.
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| Using the exercise files| 00:00 | Exercise Files are available to
lynda.com premium subscribers and those who
| | 00:05 | have purchased the DVD. Otherwise,
feel free to follow along with your own
| | 00:09 | files or just sit back and watch the videos.
| | 00:12 | Now I cover both InDesign and InCopy in
this title and I'm running InDesign and
| | 00:17 | InCopy on the same machine. Though I'm
running InCopy on Windows installed on a Macintosh.
| | 00:23 | You don't have to install the same
kind of thing to follow along. I would say
| | 00:27 | that if you want to get an idea of how
both InDesign and InCopy work together
| | 00:31 | it's best if you have both programs
installed on your computer. And you can
| | 00:35 | download a free 30-day demo fully
enabled from Adobe's website of the one that
| | 00:40 | you don't have. If you just have one
program or the other you'll still get a
| | 00:43 | lot out of this title.
| | 00:45 | Now, because the links are so critical
in an InDesign and InCopy workflow what
| | 00:50 | I have tried to do is zip all of the
files together for each lesson. And so if
| | 00:56 | you just bopping in at a mid-point say,
just one of the videos in the middle of
| | 01:00 | a chapter, there is probably
going to be a zip file just for you.
| | 01:04 | If you have any problems where it says
there are missing links for the images,
| | 01:08 | for most of these exercise files the
InDesign layouts link to one central
| | 01:14 | folder called Links_all, which you'll
see at the bottom of your list of Exercise
| | 01:19 | Files, so just leave that folder there.
| | 01:21 | Also I often mention that I'm moving
files to the server. Of course you don't
| | 01:25 | have to move things to the server. You
can just follow along and make a folder
| | 01:29 | on your desktop and call it server if
you would like. However, if you are going
| | 01:32 | to move files from the exercise folder,
please move them in their zipped state.
| | 01:37 | Once you move them to the new location
then unzip them there. Because if you
| | 01:41 | start moving files around that are
unzipped and you move them to different
| | 01:45 | locations then sometimes
InDesign and InCopy get confused.
| | 01:48 | Many of these files were zipped on a
Macintosh and so if you are unzipping them
| | 01:52 | on a Windows machine you are going to
see those very pesky DS_Store files.
| | 01:57 | You can get rid of those, and also any
folder that begins with an underscore Mac OS
| | 02:01 | X or something like that. Those are
just junk coming from the Mac and I apologize.
| | 02:07 | And if you get any messages about
missing fonts, don't worry about it. You can
| | 02:10 | still work with these exercise files
even if you don't have the fonts. I tried
| | 02:14 | my best to make sure that the
fonts are the ones that get installed
| | 02:17 | automatically with InDesign and InCopy,
but you never know. You know how fonts are.
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|
|
1. Introduction to InCopyTitle overview| 00:00 | So the InCopy and InDesign CS4 workflow,
what is that exactly? It's a thing of
| | 00:06 | beauty. It lets editorial and
design work in parallel on the same exact
| | 00:11 | documents. And I'm going to take you
through exactly how it's done regardless
| | 00:14 | of the size of your company, or if you
have a local server, or if people have
| | 00:19 | ever used InDesign or InCopy before. By the
end of this course you are going to be a pro.
| | 00:24 | However, not everybody has to watch
every single video. There is some content
| | 00:28 | in this title that's specifically for
the designers and there is some content
| | 00:32 | that's specifically for the editorial
people, and some that everybody should
| | 00:36 | watch, including people who might not
actually be working in either InDesign or
| | 00:41 | InCopy, but are there to support them like
say the IT personnel or production manager.
| | 00:46 | So that's what I want to go through.
I want to go through what the chapter's
| | 00:49 | cover and who I think should
pay special attentions to them.
| | 00:53 | So this introductory chapter is, Why
InCopy? And this is one that everybody
| | 00:57 | should watch because I go through the
advantages and challenges involved in
| | 01:01 | the workflow and how it gets set up.
| | 01:04 | In Chapter 2, again I think everybody
should watch this one. I basically just
| | 01:08 | take a simple project from its
inception in InDesign to getting it ready for
| | 01:13 | InCopy, opening it in InCopy, editing
stories, updating each other, and then
| | 01:18 | the designer closing out the project.
So that you get a good overview of how
| | 01:22 | this thing actually works
with a real world project.
| | 01:25 | The Chapters 3-11 are specifically
for the editorial staff, anybody who is
| | 01:29 | working in InCopy. Though of course if
designers are interested to see what's
| | 01:33 | available, what their editors can do
and what they can't do, they should check
| | 01:37 | these out as well.
| | 01:38 | But if you are an editor or a writer
who is interested in bringing this into
| | 01:41 | your workplace, these are the chapters
you really want to focus on. We start
| | 01:44 | out with talking about the general
interface and how to use the panels and
| | 01:47 | the menus. We'll talk about editing
text and the general word processing
| | 01:52 | features and tools that you'll come to
expect such as spell checking and so on.
| | 01:56 | And I also cover advanced text
editing including creating cross-references,
| | 02:01 | using some built-in scripts, making
hyperlinks, we spent a lot of time on
| | 02:05 | working with the Track Changes feature,
because it's very important in this
| | 02:07 | workflow. And I also spent an entire
chapter on how the InCopy users can work
| | 02:12 | with images.
| | 02:13 | So if you are considering giving your
photo editors, for example, their own
| | 02:17 | copy of InCopy in order for them to
be able to manipulate images within the
| | 02:21 | layout or at least choose the ones that
should go in there, that chapter is for you.
| | 02:25 | InCopy can also be used as a stand-
alone word processor, though most often it's
| | 02:30 | used to write content ahead of the layout.
We'll be talking about that topic as well.
| | 02:34 | And then Chapter 11 is all about
printing and exporting to PDF directly from InCopy.
| | 02:40 | Then we turn our attention to the
designers. And Chapter 12 has a number of
| | 02:44 | videos that are mainly meant for the
person who has InDesign, because the
| | 02:49 | InDesign user is the one who starts
the workflow and the InDesign user is the
| | 02:52 | one who finishes the workflow.
| | 02:54 | So that sample project that I bring
you through in Chapter 2, the basic
| | 02:57 | workflow, the design side of that
is covered in detail in Chapter 12.
| | 03:02 | And then Chapters 13, 14, and 15 are
ways for you to integrate InDesign and
| | 03:07 | InCopy at your workplace. These
should be watched by everybody.
| | 03:11 | You need to decide what's the best
way depending on how you work now, your
| | 03:15 | hardware setup, your scheduling and the
types of publications you want to work on,
| | 03:19 | which workflow would be best for you?
| | 03:21 | I talk about the layout-based workflow,
and assignment-based workflow, and also
| | 03:25 | how to bring people who are
off-site into the workflow.
| | 03:28 | Each one of these chapters is filled
with lots of tips. Some hard won knowledge
| | 03:31 | that I have learned on my own helping
clients get up to speed with the workflow.
| | 03:36 | In the conclusion I'm going to show
you how to use the online help, which is
| | 03:40 | new. It's actually more of a
community help, as well as point you to some
| | 03:43 | websites, and forums, and blogs
where InCopy users congregate.
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| Understanding the parallel workflow| 00:00 | Here is the way that a lot of
publications are put together today, what we call
| | 00:04 | the traditional linear workflow. It
starts with the designer over here at the
| | 00:09 | upper left in the beautiful multi-
colored computer who has some sort of layout.
| | 00:13 | It's Version 1, proof number one of the
layout. Maybe it has some stories that
| | 00:18 | have already been placed and formatted.
There might be empty placeholder frames
| | 00:22 | for text accounts and images. Anyway,
she creates a printout and gives it to
| | 00:26 | editorial to look at and to markup.
| | 00:28 | So in my little diagram here we might
have multiple editors that it winds its
| | 00:33 | way through or maybe there's just
one editor. Depends on your particular
| | 00:36 | publication. But this printout is seen
and written on and things stapled to it
| | 00:42 | and email taped to it saying, "Please
paragraph B from that email that I got
| | 00:47 | yesterday, and insert and replace with
this caption" and so on. It gets marked
| | 00:51 | up quiet a bit.
| | 00:52 | And when there are multiple editorial
people, who are marking up the same first
| | 00:55 | proof or the same proof, then they
often have different colored inks. They have
| | 00:59 | different colored inks so that the
designer knows who to go back to with a
| | 01:03 | question. So this work of art makes it
way back to the designer at some point.
| | 01:07 | Where the designer needs to go and
translate the markup to the changes on
| | 01:13 | electronic file.
| | 01:14 | Then maybe the designer does a
more changes to the design like adding
| | 01:17 | additional pages, bringing in more
Word files, getting things to fit as best
| | 01:21 | you can, and then proof number two
gets printed out and sent around to the
| | 01:25 | same people, maybe different people.
Or again, if an article is too long or too
| | 01:29 | short, then the editor is making a
guess about what to cut and what to add to
| | 01:33 | give stuff to fit and so on.
| | 01:35 | This round of proofing can repeat
itself 3, 4, 10, 12 times sometimes.
| | 01:41 | That's what this little jagged line
means. I walked in client's offices where
| | 01:45 | they have an entire room larger than my
living room full of proof printouts from
| | 01:50 | their last major series project. But
at some point everything is perfect.
| | 01:55 | The document is good to go. So the
designer wraps that all up and packages it up
| | 02:00 | and makes a beautiful PDF and sends
it off to their high-tech 21st century
| | 02:04 | commercial printer over here.
That's the traditional workflow.
| | 02:07 | Even if this proofreader is ready to
do his work, he can't until gives him
| | 02:12 | the printout. So, people have to wait
until the domino before them falls down
| | 02:17 | before they can take their turn.
| | 02:19 | In the parallel workflow that is InCopy
and InDesign, the layout itself exists
| | 02:25 | on the network server and everybody
works off the server including the
| | 02:29 | designer. Now, you may already be
working off the server, designers, and so this
| | 02:33 | is not a big deal to you. I have
found that at about half of publications,
| | 02:37 | the designers are always working locally
and so this is a major stumbling block for
| | 02:41 | them. There is a solution with InCopy
and InDesign if you don't have access to a server.
| | 02:45 | However, there is absolutely no
problem with working off a server with
| | 02:48 | InDesign. In fact, that's the
recommended way to use this. The server has this
| | 02:54 | layout and all the editors as well as
the designer are opening up that layout
| | 03:01 | from their computer, from InCopy. So
InCopy can open up in InDesign layout, an
| | 03:06 | innd file.
| | 03:08 | Even if the designer has it open, you
can have multiple editors opening up the
| | 03:12 | same exact InDesign file. Only one
designer can have that file open at once.
| | 03:17 | And so these editors are able to work
on their stories in the document when
| | 03:22 | it's convenient to them,
when they have time to work on something.
| | 03:25 | They don't have to wait for
somebody else to give them the printout.
| | 03:27 | Now, a lot of editorial workers would
say, I could not edit on screen, that's
| | 03:31 | impossible. And I agree, very
difficult. If you prefer the markup a paper
| | 03:35 | printout, no problem! InCopy has a very
robust printing engine so you can make
| | 03:40 | little printouts like I show here. And
go ahead and bring them to lunch or bring
| | 03:44 | them home over the weekend and
mark them up to your heart's consent.
| | 03:47 | The main difference here though is
that you yourself as an editor will be
| | 03:50 | translating that markup that you made
to the electronic file that's sitting on
| | 03:55 | the server through InCopy. The
system alerts everybody when things have
| | 03:59 | changed. So as this editor saves
changes to a story they are editing, anybody
| | 04:04 | else who has that open is alerted
that that story has been modified and can
| | 04:08 | update it or they can ignore it if
they want. Whenever you open a file the
| | 04:11 | latest version always opens.
| | 04:13 | The designer too can make changes to
the InDesign layout while editors are
| | 04:17 | working on it. The editors are notified
that the design has changed and they can
| | 04:20 | update the design as they are
working on it without skipping a beat.
| | 04:24 | At some point all the editorial fits
and all the pages look beautiful, the
| | 04:28 | design is perfect. And again as in the
linear workflow the designer then wraps
| | 04:33 | it all up and packages it for their
high-end printer. What we are looking at
| | 04:37 | here is what we called a layout-based
workflow, where the layout sits on the server.
| | 04:41 | There is another workflow called an
assignment-based workflow. Adobe introduced
| | 04:45 | assignments back in CS2. They are
optional to use and offer a number of
| | 04:49 | advantages. I'll be talking in-depth
about how assignments work later on in
| | 04:53 | this tutorial.
| | 04:54 | In the assignment-based workflow the
layout can be local. And the designer can
| | 04:58 | work on the layout locally and export
assignments, which are like subsets of
| | 05:03 | the layout to the server. So, the
editors are still working off the server and
| | 05:07 | they are opening up assignments in
InCopy, which look like the layout, but the
| | 05:11 | designer does not have to work off the server.
| | 05:13 | However, as before, as editors are
making changes to the assignments they are
| | 05:17 | working on, those edits are being
communicated to the designer using InDesign
| | 05:22 | on their local computer who can
update them. And again, in the end when
| | 05:25 | everything is perfect, all the copy
fits and the publications looks great,
| | 05:28 | the designer packages the file or
exports it to PDF and sends it off to their
| | 05:32 | high-end commercial printer.
| | 05:34 | So now that you are little bit more
familiar with what I mean by a parallel
| | 05:37 | workflow, where many people are
working at once on the same publications, let
| | 05:42 | me talk about some of the advantages
and challenges that you'll encounter in
| | 05:46 | moving to this kind of a workflow.
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| Rewards and challenges in the new workflow| 00:00 | As with everything in life and
especially with computers, there are rewards
| | 00:05 | involved and there are challenges
involved. Let me go through the rewards first.
| | 00:09 | Moving to InDesign and InCopy first of
all is great, because it is much more
| | 00:14 | accurate. The main thing is that
because editors and writers are opening up
| | 00:19 | the layout, they can write to fit.
There is an end to stories that are too long
| | 00:23 | and being continued on additional pages,
or stories they are too short. They
| | 00:27 | can copyfit exactly. And also they
can apply the correct formatting so they
| | 00:32 | can get accurate line breaks. They can
proof line breaks right on-screen right
| | 00:36 | from the get-go.
| | 00:37 | It gives the editors more power and
access and control. It saves editors hours
| | 00:43 | of work and having to markup paper
printouts in a way that a designer will
| | 00:47 | understand that. If you have ever
made multiple corrections via markup to a
| | 00:52 | document you'll know that it almost
takes twice as long then just making the
| | 00:56 | change yourself. So, just that alone
is a great reason to move to InCopy.
| | 01:01 | Also, InCopy acts like an InDesign
reader. So if you have an archive of all of
| | 01:06 | your InDesign documents on the server
then the editors can go ahead and use
| | 01:10 | InCopy to open those directly, even if
they have no editable stories inside. And
| | 01:14 | it's a fantastic way for editors to
quickly look up an old issue to pull some
| | 01:19 | copy from, to check the spelling, grab
a caption from, instead of them always
| | 01:23 | having to go to the designers and say,
can you please open InDesign and you
| | 01:27 | know that issue we did last year on
page nine? Can you please put that out for
| | 01:30 | me, because I got to check something? No!
| | 01:31 | Now the entire library of all of
your InDesign assets are available and
| | 01:36 | accessible to the InCopy user. What
does that mean? That means the designers
| | 01:41 | are freed up to actually design.
They are not spending days and days
| | 01:45 | translating markup and going back to the
editors and saying what did you mean here
| | 01:48 | and what did you mean there? Instead
with their free time they are able to do
| | 01:52 | new projects or to actually
concentrate on the actual page layout and making
| | 01:56 | things look good and make sense to the reader.
| | 01:58 | Because of these two things how
designers are freed up and editors have more
| | 02:02 | control? In the end you gain far
faster turn around cycles for your
| | 02:06 | publications. I thought 100 of clients
how to move to InDesign and InCopy and I
| | 02:11 | frequently hear not just from a one or
two, but I frequently hear turnarounds
| | 02:14 | is cut by 50-80%, 80% essentially,
because the editors and writers are editing
| | 02:23 | the final version of the layout. They
are able to write to fit from the get-go.
| | 02:27 | So you'll have a living room full of
proof printouts. Instead everybody is
| | 02:31 | working on the first version is the
final version and so on. Instead everybody
| | 02:35 | is working on the first/final version
at the same time and getting it done in
| | 02:40 | record time. And one of my favorite
features of moving to InCopy with an
| | 02:44 | InDesign is that it's a very
flexible and forgiving program.
| | 02:49 | All you need to do is install InCopy on
the editorial workstations. It doesn't
| | 02:53 | have to be everybody. It could just be
a couple editors who want to see what
| | 02:57 | it's all about. And they can open up
the layouts and if the designers prep them
| | 03:01 | before them they can edit some of the
stories while everybody else is using
| | 03:04 | your traditional linear workflow, or
you could say in InCopy for a late stage
| | 03:08 | edits and then in the beginning
everybody continue with your Microsoft Word or
| | 03:12 | marking up printouts, a kind of
workflow and it's just at the very last week
| | 03:16 | that if their editorial changes that
need to be made then the editors can open
| | 03:20 | up the layout in InCopy.
| | 03:22 | If you change your mind you can move
InCopy over to somebody else computer or
| | 03:26 | is everybody is excited about it you
could go ahead and put it in place today.
| | 03:30 | So if unlike just about any other
content management system, CMS on the planet
| | 03:37 | giving InCopy installed is very easy
to do, very flexible to do and is unlike
| | 03:43 | any other content management system
on the planet. Installing InCopy is as
| | 03:47 | simple as installing of single piece
of software on an editor's computer.
| | 03:50 | Those are the rewards of these. Of
course there are some challenges involved.
| | 03:56 | In think that the main challenge
that I have encountered in working with
| | 03:59 | publications is that there is a
significant culture shift in your work place.
| | 04:04 | At a lot of companies, editors and
designers really don't mingle. They don't go
| | 04:08 | to each other's baby-showers. They are
not each other secret Santas, they often
| | 04:12 | work at different corners of the
building, they don't eat lunch together.
| | 04:15 | But in this workflow you are thrown
together for better, for worse. I mean the
| | 04:20 | designers have to create styling for
example, that an editor would understand
| | 04:24 | rather than some sort of weird internal
jargon that a lot of design departments have.
| | 04:28 | They have to know that there is going
to be somebody who is not a designer that
| | 04:31 | needs interact with that document.
And the editors themselves, because in
| | 04:35 | InCopy you cannot make a frame
larger or add a page, remove a page. Very
| | 04:40 | quickly the editors will realize that
there are limits to what they can do with
| | 04:44 | the layout in InCopy. And I'll need
to ask the designer to please, make the
| | 04:48 | change and if they can ask the designer
to do it right away then the editor can
| | 04:52 | immediately update what they are looking
at in InCopy and go on with their work.
| | 04:55 | So you are constantly working together
and that is a shift in the way a lot of
| | 04:59 | publications work. But it's a shift
for the better, another challenge less of
| | 05:03 | the paper trail. This is a big one.
You don't have a room full of paper
| | 05:07 | printouts. You don't have a proof
number nine and proof number eight and
| | 05:12 | somebody is sitting there saying with
their changes requested in proof number
| | 05:15 | eight made in proof number nine. You
could possibly do that if you wanted to
| | 05:19 | but not really. In this workflow
when an editor opens up a layout or an
| | 05:24 | assignment and checks out the
story, there is no Save As command.
| | 05:28 | When they check out a story and they
are making changes, they are making
| | 05:30 | changes to the only version of that
story. Now there are manual solutions to
| | 05:34 | that. But in the end really that's
what you are doing; that's where all that
| | 05:38 | turnaround time is saved. I have talked
with many clients who could not imagine
| | 05:43 | ever working in a workflow where they
don't have all that documentation behind
| | 05:46 | them. I have asked them in months
later how it's going and how did you work
| | 05:50 | that out? And they often look at me
like; we don't know what you are talking
| | 05:53 | about. Oh! Was, Right! Right! That
was a concern. It became a non-issue.
| | 05:57 | So the designer or an editor can export
the document to PDF or you can printout
| | 06:02 | or track changes. There is different
ways of providing a record of were you are
| | 06:06 | going But it's definitely less of the
paper trail then in the normal linear workflow.
| | 06:10 | Here its double-edged sword, editor can
format type in InCopy, and there is no
| | 06:16 | way to technically stopped them. On the
other hand they cannot do layout and so
| | 06:22 | I put in good or bad here on the slide,
because let's look at the first part of this.
| | 06:25 | Editors can format type. Now I have
talked to some managing editors who say
| | 06:29 | that they don't want their writers
and editors to have to worry about
| | 06:32 | formatting. They just want them to
concentrate on the words, and that's
| | 06:34 | perfectly fine. They can go ahead and
do that and leave the formatting of text
| | 06:38 | up to the designers. But editors do
have the full Character panel and Paragraph
| | 06:43 | panel available to them that InDesign
does. And so designers you know, that
| | 06:47 | means of the editors if they wanted to
they can select a couple of sentences
| | 06:50 | that are making a story go a little
long and squeeze them in by tracking them
| | 06:54 | in by negative 100.
| | 06:55 | In the InDesign/InCopy workflow right
off-the-shelf there is no way to setup
| | 06:59 | privileges or user roles to say
certain writers can apply formats, certain
| | 07:04 | other one can't. Everybody gets the
same rights, which is to do everything. And
| | 07:08 | I now know that people work it out by
just coming to an agreement. They say,
| | 07:13 | editors, you can use the Character and
Paragraph panel to make something Italic
| | 07:17 | or Bold or to center a paragraph if
we didn't create a style for you before
| | 07:22 | hand but you cannot use the Tracking
command. Or you cannot use the Horizontal
| | 07:26 | Scale command or something like that.
And they work it out like adults. See
| | 07:29 | that goes back to that workplace
culture shift part where you actually come
| | 07:33 | up with an agreement. And
it actually works out fine.
| | 07:35 | On the other hand editors will find
that they can only apply the styles that
| | 07:39 | the designers included. But that
allows them to make a subhead look like an
| | 07:43 | actual subhead, a caption to look like
an actual caption and that's how they
| | 07:46 | can get accurate copy fitting. Now
that's other part can't do layout.
| | 07:51 | I'm only putting that in, because there
are some workflows where management or
| | 07:54 | the designers have given a copy of
InDesign or even QuarkXPress if you are
| | 07:59 | still using that, to-be editors as
copy editing workstation. So at some point
| | 08:04 | editors are able to take a look at the
publications and if the sentence is too
| | 08:08 | long they can make a frame with
different size. They can make a picture little
| | 08:11 | bit smaller; you cannot do that in InCopy.
| | 08:14 | So with InCopy all the editors can do
is edit the contents of the frames that
| | 08:20 | the designers said they could. If
designers are the one who decide which frames
| | 08:23 | are editable by the editors and the
editors don't even have a selection tool to
| | 08:28 | change sizes or remove thing things
around. They don't even have a pages panel
| | 08:31 | to add pages or remove pages. All
those things they need to ask that the
| | 08:34 | designers to do for them.
| | 08:36 | Now of course there might be managing
editors in charge of the whole process
| | 08:39 | who tell the designers which stories
to make editable. But this is only the
| | 08:43 | person using InDesign who can make a
story editable to an InCopy user. You'll
| | 08:47 | see that later on and all these videos.
But I want to give you an idea of these
| | 08:50 | are the things that some of my clients
have run up against that they have had
| | 08:53 | to work out. So the fact that editors
can format type but they cannot do layout.
| | 08:58 | So what if anyone one of these items
are an interminable problem, that means
| | 09:03 | you can't use InCopy, of course not.
Why you can throw money at the problem?
| | 09:06 | No, seriously there are full-blown
publications management systems that you may
| | 09:11 | have heard about, such as K4. That is
distributed by managing editor in North
| | 09:16 | America that's developed by SoftCare in
Europe. Or WoodWings, Smart Connection
| | 09:21 | Pro. These are server-based solutions
where it requires a dedicated server and
| | 09:27 | the publications are de-compiled
into pieces that exist in a database.
| | 09:32 | And by using this system and by
installing the plug-ins required for InDesign
| | 09:37 | and InCopy, users were able to use
InDesign and InCopy but with a database
| | 09:42 | management system. And it includes
these features like versioning, rollbacks,
| | 09:47 | editorial privileges, and
user levels and things like that.
| | 09:50 | So you can certainly move to that if
you would like to. You can start with
| | 09:54 | InDesign and InCopy off-the-shelf and
see how it works and if you decide that
| | 09:59 | there is no way that you can live
without the content management system, go
| | 10:02 | ahead. Of course they are very expensive,
and some publications the expense is worth it.
| | 10:07 | During this entire video tutorial
series I'm going to show you how to use
| | 10:10 | InDesign and InCopy without the
third party plug-ins, without the K4 or
| | 10:14 | WoodWing or there is a number of other
one like for newspapers publication. I
| | 10:18 | called up the going Commando workflow.
You are not working with any net; just
| | 10:23 | InCopy off-the-shelf for
$259 is all that's required.
| | 10:27 | And finally you are going to need a
new production flowchart, obviously. You
| | 10:32 | are not going to have to sit down. You
can't just install the software and say go.
| | 10:35 | You have to figure out when are
people going to use in InCopy. Are they
| | 10:40 | going to use it right from the get go
to write articles from scratch, because
| | 10:42 | you can use it like a word processor?
Are they going to waiting for late stage
| | 10:46 | edits? Are you going to buy a copy
of InCopy for your frequent freelance
| | 10:50 | contributors, that kind of thing? So
you do need to sit down and think about it
| | 10:54 | for a little while. But it is fluid,
remember one of those rewards is that it is a
| | 10:58 | very flexible solutions. So you can
try something, see how it works. If it
| | 11:02 | doesn't work right then
try a little differently.
| | 11:04 | So as I said, as with everything in
life, especially with software there are
| | 11:08 | rewards and challenges. And I can tell
you that out of all of the people that
| | 11:12 | I have worked with that use InDesign
and InCopy the rewards are far greater
| | 11:16 | than any challenges that came their
way and I think you'll find it too.
| | Collapse this transcript |
| Requirements and recommendations| 00:00 | There are just a few things you need
to do in order to get your team started
| | 00:04 | with InDesign and InCopy. First of all
you really need to have a shared file
| | 00:08 | server to us InCopy to its full
advantage. It doesn't have to be dedicated to
| | 00:13 | the InDesign/InCopy workflow.
You're just using it to store files and
| | 00:16 | folders. However, the designers and all
the InCopy users need to have read/write
| | 00:22 | access to the same folders on that server.
| | 00:25 | It doesn't make a difference what
platform the server is running on nor does it
| | 00:30 | make a difference if the designers are
on Macs and the editors are on PCs. They
| | 00:34 | all just need read/write access to the
same sections of the file server. And
| | 00:38 | if you don't have a file server, as I
said earlier there are some ways that you
| | 00:43 | can use InDesign and InCopy such
as with a remote workflow or if the
| | 00:48 | designer, if the Macs for examples,
this sometimes happens that the Macs can't get
| | 00:52 | to the server. Then the designers can
use in assignment-based workflow where
| | 00:56 | they work locally and then they
just save assignments to the server.
| | 01:00 | But in those cases with an assignment-
based workflow, the editors still have to
| | 01:04 | work directly off the server. Now,
because you are using the server, you are
| | 01:08 | working directly off the server, it's
really good to have a fast network. Now I
| | 01:12 | recommend a gigabit network. So that
means not just that the server itself is
| | 01:17 | capable of fast networking, but every
little piece in between. The switch needs
| | 01:21 | to be gigabit. The cables need to be
Cat-6. The computers, the PCs, and the
| | 01:26 | Macs need to be able to support gigabit
networking. It's possible to do it with
| | 01:31 | just a fast ethernet but it's much
better to do it with a gigabit network.
| | 01:35 | Not only as it with that you are
working off the server but also while you are
| | 01:40 | working your computer is constantly
pinging the server to see if files in that
| | 01:45 | project have been updated. So it's
something like at every second that it pings
| | 01:49 | the servers so it needs to be
able to support lot of traffic.
| | 01:53 | The editors themselves by the way are
not opening up the actual layout. It's
| | 01:56 | more like a snapshot of the layout. So
it's not like the editors needs to open
| | 02:00 | up a 50 megabyte InDesign file, ten of
them at the same time. It's much smaller
| | 02:04 | than that. But still it
does make a hit on the network.
| | 02:08 | The InDesign users should be
experienced with Adobe InDesign. I really
| | 02:12 | recommended that you don't move from a
QuarkXpress and Word workflow directly
| | 02:16 | to InDesign and InCopy, because there
are too many variables and it's too new.
| | 02:20 | There is too much to learn at once.
It's much better if the designers move to
| | 02:25 | InDesign first. They get a few
projects under their belt. They understand how
| | 02:29 | Adobe InDesign works; how the frames work
and so on and then you add InCopy to the mix.
| | 02:35 | So of course your publications need
to be in InDesign format. You can't use
| | 02:39 | InCopy with QuarkXPress or with
publisher's files. It only works with Adobe in
| | 02:43 | InDesign. For the InCopy users, they
may need hardware upgrades. You can find
| | 02:49 | on Adobe's website, what are the basic
system requirements. And nothing special
| | 02:54 | about them except that you have to
remember that InCopy users will be opening
| | 02:58 | up multiple page to page spread
InDesign documents or snapshots of those layouts.
| | 03:03 | I have often found that at a publishing
company very often the editors get the
| | 03:08 | short stick as far as hardware is
concerned. They get the slow old computers,
| | 03:13 | they get the beige one that have
burgeoned screens, they get tiny little dusty
| | 03:17 | keyboards and now they are going to
be working with large documents so they
| | 03:20 | often need larger monitors like at
least 17 or 19". They might need more RAM; I
| | 03:25 | recommend 1 Gig of RAM at least in
their computers. I think the Adobe
| | 03:30 | recommendation is 512 or something like
that. But that's ridiculous if you are
| | 03:33 | running Vista or Leopard all right. So
they really need to list the Gig of RAM.
| | 03:37 | They also need the fonts installed.
So InCopy users can open up InDesign
| | 03:43 | layouts or assignments that were
created on a Mac and they are on the PC or in
| | 03:47 | the same platform but they need the
fonts installed that the designers used to
| | 03:53 | layout that file.
| | 03:54 | Now the InCopy users don't need every
single font in the art department. They
| | 03:57 | just need the typefaces that are used
in stories that they will be editing and
| | 04:02 | of course you have to install InCopy.
| | 04:04 | Only the editors need InCopy installed.
They could ask once in a while the
| | 04:08 | InDesign users also need InCopy
installed, no, they don't. Since InDesign CS3
| | 04:12 | and of course in InDesign CS4 the plug-
ins for InCopy workflow are installed
| | 04:17 | with a default installation. So they
are good to go only the editor's need InCopy.
| | 04:21 | It might be useful for one or two
designers to have a copy of InCopy so they
| | 04:25 | can see what something looks like
when it opening in InCopy but it's not required.
| | 04:29 | You should give them training and
support and of course I'm a big believer and
| | 04:34 | pulling yourself up by your own
bootstraps and empowering the end user. But I
| | 04:38 | think with the move to a
completely new workflow for producing your
| | 04:41 | publications. It generates a lot of
nervousness and anxiety with staff. And it
| | 04:48 | really helps to say, we are going
to bring in an expert to train you or
| | 04:51 | somebody's is going to be there to
answer your questions. Somebody who has seen
| | 04:55 | this work at other publications and
can tell you how other people are dealing
| | 04:58 | with this. That really helps.
| | 04:59 | So if you can find that InCopy and
InDesign workflow trainer, there are many
| | 05:03 | out there. Just hire them and bring
them on even for a day and give your staff
| | 05:07 | that extra help that they need in
order to make a successful transition. And
| | 05:11 | finally, take it slowly, don't
just jump into and say, next month the
| | 05:16 | publications is going to produced
with InCopy, learned it or get out of the
| | 05:19 | building. I mean bring it in, add it
to a couple of machines that's you are
| | 05:24 | more adventurous, editors are using
people who are very accustomed to working
| | 05:29 | with new software and see how they like it.
| | 05:31 | Try it out with the publication that is
not so critical to your business like the
| | 05:35 | company newsletter or something like
that. Just get your feet wet with it
| | 05:38 | first and work it out. You'll find
that maybe you don't need to have every
| | 05:42 | single font. You'll find maybe you
don't need to upgrade people's computers,
| | 05:46 | that actually it is working
pretty well. Just take it slowly.
| | 05:49 | So the requirements are moving to in
InCopy/InDesign workflow are not too
| | 05:54 | onerous at all. Basically you just
have a server, have InCopy installed, get
| | 05:59 | the fonts available to
them and you are good to go.
| | Collapse this transcript |
| What's new in InCopy CS4| 00:00 | If you already have some experience
with the InDesign and InCopy workflow in
| | 00:04 | CS3, you might be wondering, is there
anything new in CS4? And yes there is.
| | 00:10 | I think the first thing that you will
notice is that there are new file formats
| | 00:14 | for the files involved in the workflow.
For example, the native InCopy format
| | 00:18 | is now ICML, that's the one that used
to be INCX, and also assignment files are
| | 00:25 | ICMA instead of INCA.
| | 00:28 | And the reason that the file formats
are new is actually a good one. Adobe
| | 00:32 | re-wrote the file formats from the
ground up so that they can be edited by
| | 00:37 | third-party developers and more
automated solutions can be created. They have a
| | 00:42 | lot to do with XML as well. Now the
one good thing is that InDesign CS4 can
| | 00:48 | export both the old INCX and INCA
formats, as well as the new ICML and ICMA.
| | 00:55 | If the designers have moved to
InDesign CS4 and the editors have not quite
| | 00:59 | moved up or upgraded their CS3 files,
you could still continue with the
| | 01:02 | workflow. InDesign CS4 files
themselves are still INDD, but InDesign CS4 has
| | 01:09 | new export format called IDML, that I
talk about at length and demonstrate in
| | 01:14 | my video tutorial on InDesign CS4 New Features.
| | 01:18 | In fact, just about all of the new
features in InCopy CS4 are there because
| | 01:23 | they are supporting the new features
that have been added to InDesign CS4 and
| | 01:27 | when you are working in a managed
workflow, when you are opening up layouts or
| | 01:30 | assignments in InCopy, you have a
limited ability to use those new features,
| | 01:34 | similar to how editors can work with
styles. They can apply styles, but they
| | 01:39 | can't create styles, they can't edit
styles unless they are working with a
| | 01:43 | standalone document.
| | 01:44 | And then as I go through the new
features and point to you where I discuss them
| | 01:48 | in the chapters in this tutorial
series, you should know that they are
| | 01:51 | discussed at length in the InDesign CS4
New Features title. The first thing you
| | 01:55 | will notice when you boot up InCopy
CS4 is that the interface is different.
| | 01:59 | Adobe as usual redid the interface
for the created sweet applications.
| | 02:04 | The main thing that you'll notice is
the application bar and a new way to
| | 02:07 | navigate called Power Zoom, I covered
that in Chapter 3. The Links panel has
| | 02:11 | been completely re-written from the
ground up in both, InDesign and InCopy and
| | 02:16 | the coolest thing about it is that you
can now get a ton of information about
| | 02:20 | the linked InCopy stories, like how
many notes they have and if track changes
| | 02:25 | it's turned on or off. Their status, if
they are part of an assignment, what's
| | 02:29 | the name of the assignments, along with
lots of other information about all the
| | 02:32 | regular links, like all the images.
| | 02:34 | So I talk about using the customizable
Links panel before InCopy in Chapter 6.
| | 02:39 | And for the InDesign user as part of
the workflow in Chapter 12. Now another
| | 02:44 | really cool new feature is Share My
Screen that I talk about in Chapter 6. This
| | 02:49 | is a command right underneath the
File menu called the Share My Screen that
| | 02:53 | lets you immediately share what's on
your screen in InCopy or InDesign with
| | 02:57 | anybody who has a browser
and an Internet connection.
| | 03:00 | If you need somebody next to you to
look over your shoulder and look at what
| | 03:03 | the layout looks like or you need an
author to review, how you have written
| | 03:08 | something in InCopy, you can just give
them a ring, send them an E-mail, tell
| | 03:12 | them to go to that URL and share your
screen. So I'll show how that works in
| | 03:16 | Chapter 6 and I talk about advanced
text editing in Chapter 7 because there is
| | 03:22 | a bunch of new features that I wanted
to include than have a direct impact on
| | 03:26 | InCopy users.
| | 03:27 | For example, we cannot do cross-
references. So that's a big new feature in
| | 03:31 | InDesign, but you can imagine editors
will love having this as well and you
| | 03:35 | can't create new cross-references in
cross-reference to different documents and
| | 03:39 | so on. I'll talk about hyperlinks. We
have a new panel in InCopy, a Hyper Link
| | 03:43 | panel. So now if you are writing out a
URL, you can turn it into a hyperlink,
| | 03:48 | instead of, as in previous version
having to embed an inline note, asking the
| | 03:52 | designer to please do that.
| | 03:54 | More than that, you can even test out
your hyperlinks directly in InCopy and
| | 03:58 | then we have conditional text that I
talk about. Conditional text allows you to
| | 04:02 | do multi-channel publishing from a
single source. So for example, you could
| | 04:06 | create multiple language editions of
the same publication from the same source.
| | 04:11 | It's a new panel, conditional text and
conditional text is a really exciting
| | 04:15 | new feature and I can't
wait to show that to you.
| | 04:18 | Finally, we can edit table text in
story and galley view. And I talk about that
| | 04:23 | in Chapter 7 as well or I talk about
tables in general and the fact that that's
| | 04:27 | so exciting is because that means we
can now track changes in tables and add
| | 04:32 | notes to tables. So tables take a
little getting used to when you are viewing
| | 04:35 | them in story and galley. So to make
sure and check out Chapter 7, if you want
| | 04:39 | to see how that works.
| | 04:40 | And in my conclusion, I talk about the
new way that Adobe is handling online
| | 04:44 | help. In that new Application bar
that I mentioned earlier there is a field
| | 04:48 | where you can search for help topics.
But it doesn't just search your local
| | 04:51 | hard drive, the manual that comes with
the reinstallation of an Adobe piece of
| | 04:55 | software. It also searches the
Internet and Adobe has compiled a list of
| | 04:59 | websites that have really good
information or tutorials that might deal with
| | 05:03 | the topic that you are searching about.
So your results will be not only from
| | 05:06 | the Adobe Manual but also from the web.
| | 05:09 | If you want to see how that works, be
sure to check out that community help
| | 05:12 | video and then in that video, I'll
also show you some of my other favorite
| | 05:16 | online resources for getting together
with your colleagues who are also using
| | 05:20 | an InDesign and InCopy workflow. Many
of the topics that I talk about in InCopy
| | 05:24 | CS4, I have a chance to cover in much
more depth in my other title that I just
| | 05:28 | did for lynda.com, called
InDesign CS4 New Features.
| | 05:32 | For example, the hyperlinks and
conditional text and cross-references in this
| | 05:36 | title just got one video each. In my
InDesign CS4 New Features, because I was
| | 05:41 | able to concentrate on just those new
features, each one of those topics is an
| | 05:45 | entire chapter. So if you want to learn
more about some of these features, plus
| | 05:49 | if you are an InDesign user you want
to learn, of course, about all the other
| | 05:52 | new features in InDesign in addition
to the ones it shares of InCopy, be sure
| | 05:56 | to check out that title.
| | Collapse this transcript |
|
|
2. The Basic WorkflowSetting up projects and users| 00:00 | Before you can begin working with
InDesign and InCopy as a workflow, you need a
| | 00:04 | little bit of set up. As I mentioned
in an earlier video, the best way to set
| | 00:09 | this up is to put the layout on a
network server, a shared file server. It
| | 00:13 | doesn't have to be a dedicated file
server and then everybody work directly
| | 00:17 | off the server including the
designer and all the editors using InCopy.
| | 00:21 | Even if you are using an assignment-
based workflow as opposed to a layout-based
| | 00:25 | workflow, the assignment themselves
need to be on the file servers so that all
| | 00:30 | the editors can access that. With an
assignment-based workflow, the designer
| | 00:35 | can keep the layout on their local
computer but when they export stories and
| | 00:40 | they export assignment they
export them to the server.
| | 00:42 | In both of those workflows all the
InCopy users have to work off the server.
| | 00:47 | There is also a third remote workflow
where editors can be working off the
| | 00:52 | server and I'll cover that in
the later chapter. I also cover an
| | 00:55 | assignment-based workflow in a later
chapter. For most of these videos, I'm
| | 01:00 | going to be using a layout-based
workflow, because it's the simplest to get
| | 01:03 | your head around, I think.
| | 01:05 | It's only one file that everybody is
opening. So let's take a look at how this
| | 01:09 | project should be set up on the server.
I'm looking at my desktop and if you
| | 01:14 | are following along, you will see that
I have a folder full of exercise files.
| | 01:18 | If you have got me exercise files as
well, you should put them on your desktop.
| | 01:22 | And then I also have a shortcut to the
server and on the server I have dragged
| | 01:27 | over the contents of the Chapter 2,
exercise files, the Bliss Sell Sheet right
| | 01:34 | to the server and so on the server I
have the Sell Sheet, the InDesign file
| | 01:39 | itself, INDD.
| | 01:41 | I have a folder of Links, these are the
images they could place into the layout
| | 01:45 | file and then I also have a folder that
I call incoming with stories or images
| | 01:51 | that need to be placed into the layout
and whether or not your files are called
| | 01:55 | this really makes no difference. The
main thing is that everything that is
| | 01:59 | required to create that layout needs
to be on the server and to keep things
| | 02:02 | organized, you should probably keep
everything within a single project folder.
| | 02:07 | So I'll be calling this the project
folder and you very likely are already
| | 02:11 | doing that, so that's great. Now that
the project is set up, we just need one
| | 02:15 | small additional step for both
InDesign and InCopy users. We need to assign
| | 02:19 | ourselves a user name. So I'll
start it out in InDesign by switching to
| | 02:23 | InDesign. So in InDesign with no documents
open, go to the File menu and choose User.
| | 02:33 | This is specifically for people who
are using an InDesign/InCopy workflow and
| | 02:38 | your user name identifies stories that
you are currently working on and it's a
| | 02:42 | wonderful feature that let's you hover
over any shared managed stories and see,
| | 02:47 | who is currently working on it or if
it's available to be worked on. Also your
| | 02:51 | name is associated with any inline
notes that you may add and any track changes
| | 02:56 | that you are doing in InCopy.
| | 02:58 | So, I'm going to call myself Sarah
and I'm going to add designer after that
| | 03:05 | just to keep things straight during
these video tutorials, so you know which
| | 03:08 | program I'm currently in and then you
can also assign yourself a user color.
| | 03:12 | Gold is the default, but I'm going to
assign something else. I'll try mustard.
| | 03:18 | Your color is applied to any track
changes that you do, also your notes, the
| | 03:23 | icons for your notes are in your user color.
| | 03:26 | This user name that you are adding is
not secured at all. It has nothing to do
| | 03:30 | with your login name for your
computer or your server. There is no password
| | 03:34 | involved and you can change it on
the fly. As long as you don't have any
| | 03:38 | checked out stories, in other words,
like no documents opened, then you can go
| | 03:42 | ahead and change your user name.
| | 03:44 | You probably do not want to have
duplicate user names, because things can get
| | 03:48 | very confusing and we don't like
confusion. So at the outset of instituting
| | 03:53 | this at your work place, you should
just come up with some kind of scheme for
| | 03:56 | the people's user names. So I have
given myself a user name in InDesign and now
| | 04:01 | I'll switch to InCopy and do the same.
| | 04:03 | In InCopy, which I'm running here on
Windows, go to the File menu and again
| | 04:09 | just like in InDesign, choose File
User and give yourself a user name here. I
| | 04:14 | think, I'll be Joe and I'll add editor
after that and Joe will probably use a
| | 04:23 | different color. Joe can be, oh!
I don't know let's make Joe Iris.
| | 04:29 | You don't want to choose, by the way,
one of these gunmetal or a light color,
| | 04:33 | because sometimes that just makes
your notes and track changes disappear or
| | 04:37 | look like it was rejected. So
I'll choose a color in the middle.
| | 04:39 | So now that we have set up our
project folder on the server and we have
| | 04:43 | assigned user names and colors to both
the designers and the editors, it's time
| | 04:47 | to get started.
| | Collapse this transcript |
| Understanding stories and frames| 00:00 | In this video you don't need to open any files.
I'm just going to show you something.
| | 00:04 | So sit back and relax. This is
mainly meant for editors there who
| | 00:08 | have never really worked in a layout
program. Because I found it's a source of
| | 00:13 | confusion in understanding what
is a story and what is a frame.
| | 00:18 | In Microsoft Word when you start
writing a document, basically that's one
| | 00:22 | story, right? That whole document is
the story. But it's not how it works in a
| | 00:25 | layout program. In a layout program, I
can't just select the Type tool and just
| | 00:29 | start typing in InDesign. I actually
have to put everything that I want to
| | 00:33 | enter into a box which we call a frame.
So I drag out a placeholder frame for
| | 00:40 | my type and then I can start entering
text. As I reach the right of the text
| | 00:47 | frame, then the text wraps around.
| | 00:49 | If I want to move the text around on
the page, I use the Selection tool and
| | 00:53 | then I can drag the frame around on
the page. All right, so this blue frame
| | 00:58 | that you see here does not print and
if I click off of it, it deselects a
| | 01:03 | little bit. If I switch to Preview mode,
you see, it doesn't actually show at
| | 01:08 | all. But when I click on it, then it
does select. If I want to change the width
| | 01:12 | of the column, I just drag
the handles of the frame.
| | 01:16 | If I want to add more text lower right,
then I need to create another text
| | 01:20 | frame lower right and enter text
there as well. Let's switch back to Normal
| | 01:27 | mode, so that you can see what's
happening here. All right, everything
| | 01:31 | contained in one of these text frames
is a story. Now notice that it doesn't
| | 01:34 | select this text over here. What gets
shared between InDesign and InCopy are
| | 01:40 | the stories contained the inside frames.
| | 01:43 | So if I wanted an editor to be able to
edit this InDesign layout in InCopy, I
| | 01:48 | would have to make sure that this frame
was exported to InCopy format and then
| | 01:52 | this frame was exported to InCopy
format. There will be two stories in this
| | 01:57 | document. Now editors, sometimes you
will see the frame appear in a different
| | 02:01 | color in your documents and that is
only because the frame color is an
| | 02:07 | indicator of which layer it's on.
| | 02:09 | There is a Layers panel in InCopy,
which can be useful to temporarily hide all
| | 02:14 | the graphics or certain elements in a
layout. But if you do happen to see a
| | 02:19 | frame that has a red color. That just
means that it's on a different layer as
| | 02:23 | this. So you don't need to switch
layers to select them, everything is
| | 02:27 | immediately selectable. A couple of
other little permutations of how frameworks
| | 02:32 | that you will encounter in your layouts
as you are working with them is this instance.
| | 02:36 | Let's say that I have a frame on a
page, I'm going to fill it just some
| | 02:41 | Placeholder text and then make the
frame a little too small. This is called an
| | 02:46 | overset marker and that just means
that there is more text in this frame than
| | 02:51 | the frame can show.
| | 02:52 | If I'm working in InDesign, as I am,
what I could do is just enlarge the frame
| | 02:56 | to show it all. Now you won't be able
to do that in InCopy, you cannot change
| | 03:00 | frame sizes because you don't have
this little tool over here, the Selection tool.
| | 03:04 | However, you will be able to edit the
text to fit. You will be able to see the
| | 03:08 | additional text in a view similar to
InDesign's story editor. Now designers you
| | 03:14 | too can see this text in Story Editor.
I found a lot of designers don't even
| | 03:18 | realize this command is here. I just
went to the Edit menu and chose Edit in
| | 03:22 | Story Editor.
| | 03:23 | So the overset text appears with this
red line to the left and I could edit to
| | 03:27 | fit, if I wanted to right here, just by
selecting text and pressing the delete
| | 03:31 | key and then the text fits in the frame.
| | 03:34 | So overset text, is one item that you
should keep an eye out for editors. And
| | 03:39 | another one is that sometimes a story
can continue in more than one frame. So
| | 03:43 | for example, I'm going to quickly set
up what are called threaded frames and
| | 03:49 | then I'm going to fill it with some
Placeholder text and turn on from the View
| | 03:54 | menu > Show Text Threads that you
could see the little non printing connector
| | 03:58 | that connects these two frames.
| | 04:00 | So as I edit text in this frame, text
in the other frame changes as we work and
| | 04:08 | you will very often encounter this.
You know magazine articles that jump from
| | 04:11 | page 1 to page 2 or books, of course,
are often one long series of threaded
| | 04:16 | frames, one frame per page. Newspapers
often have threaded frames, and a way to
| | 04:21 | tell where is the text for this
particular story is just to click in any frame
| | 04:26 | and choose that Command, Select All.
And it will always select all the text
| | 04:31 | belonging to that particular story,
even if, it continues in two or more frames
| | 04:35 | and even if the frames are in separate pages.
| | 04:37 | Now that you have seen me create these
frame stories, let's look at how they
| | 04:43 | actually apply to the Chapter 2, Sell
Sheet that we are going to be working
| | 04:47 | with in this chapter. This is an
InDesign document that has multiple text
| | 04:52 | frames and you can see that if I click
on them, I can select the text and if I
| | 04:56 | choose Edit > Select All, then it only
selects all the text in this frame and
| | 05:01 | not in this frame.
| | 05:03 | Editors, now I think that it's a
little easier for you to identify how may
| | 05:07 | stories an InDesign layout could
possibly have. So here we have one single page
| | 05:12 | with one, two, three stories and in
fact there is even more. Down here, we have
| | 05:18 | multiple text frames as well. All
right, so there is another story, another
| | 05:21 | story and another story.
| | 05:23 | I'm just zooming in and out to show
you how the different frames work in the
| | 05:27 | layout and as you see these frames have
a different color and you know why now
| | 05:33 | right? Go open up the Layers panel
and you will see that they have been
| | 05:35 | assigned to the text layer and that
just happens to be the color of that layer.
| | 05:40 | As you work with the InDesign and
InCopy workflow and you start checking
| | 05:43 | stories out and checking them in and
updating stories, now I think you will
| | 05:48 | have a grasp of what that actually
means when you are working with a layout.
| | Collapse this transcript |
| Making stories editable for InCopy from InDesign| 00:00 | Making stories in an InDesign layout
editable for the InCopy user is a job that
| | 00:05 | only the InDesign user, the designer
can do. Editors or InCopy users cannot
| | 00:11 | force a story in a layout to be
editable. So designers if you would like to
| | 00:14 | follow along, open up the Sell_Sheet in
your Chapter 2 Exercise folder or just
| | 00:19 | open up any InDesign document.
| | 00:21 | So here I have an InDesign layout
that's just a normal layout. In order for the
| | 00:26 | editors to be able to edit the text
inside the stories, I need to export the
| | 00:31 | frames to InCopy format. Now there
are multiple ways to export a story to
| | 00:36 | InCopy format. I'll start with the
simplest way and then I'll move to ways that
| | 00:40 | might be faster for you.
| | 00:42 | So the simplest way is to select a
frame with the Selection tool and then go to
| | 00:46 | the Edit menu and choose InCopy >
Export > Selection. Now I skipped pass all
| | 00:53 | these with assignment in the name,
because these are only used in an
| | 00:56 | assignment-based workflow and I cover
assignment-based workflow in depth in a
| | 01:00 | later chapter.
| | 01:02 | Right now we are using just a plain
layout-based workflow. So I choose Export >
| | 01:07 | Selection and it's going to export the
story to ICML or InCopy format. You want
| | 01:14 | to save this story to the Project
folder and if you remember the project folder
| | 01:18 | is on our server. So here is the
project folder and here is the InDesign
| | 01:23 | document with the Incoming folder and
the Links folder containing images and so
| | 01:27 | on. If you are working with the
exercise files and not on a server just
| | 01:31 | save these stories into
that same Chapter 2 folder.
| | 01:35 | Now a couple of other things before
we go ahead and click the Save button.
| | 01:38 | First, notice the name of the file. By
default InDesign puts in the name of the
| | 01:43 | layouts as the name of the story and
if you are exporting more than one story
| | 01:48 | at once, because you can export a
multiple selection of frames, it will go
| | 01:52 | ahead and add characters to this base
file name to distinguish them, so they
| | 01:56 | don't all get the same file name.
| | 01:58 | But just to keep things simple, I'm
going to change this to Front because this
| | 02:02 | is the front of the two page Sell_Sheet.
The other thing is you want to save
| | 02:08 | these stories to their own folder
because ICML is the native InCopy format,
| | 02:13 | which means they are completely
openable and editable by the InCopy user, and
| | 02:18 | especially when you get started
InCopy users are often not familiar with it
| | 02:22 | enough to know.
| | 02:23 | They are not supposed to open these
files. They can, but they really shouldn't.
| | 02:26 | They should be opening up the
InDesign layout file or if you are using
| | 02:29 | assignments, the assignment file and
so I always recommend that you segregate
| | 02:34 | these native InCopy files to their own folder.
| | 02:37 | I'm going to make a new folder in my
project folder and call it's stories. And
| | 02:42 | then with that selected, I'm going to
save this story into the stories folder.
| | 02:48 | You will always get this dialog box
whenever you export something to InCopy
| | 02:52 | format, reminding you to save the
InDesign document. If you click OK or you'll
| | 02:57 | hit Return or Enter, you will notice
that it will save it for you. So that's
| | 03:01 | very nice of you, thank you very much InDesign.
| | 03:03 | So this story has been exported to the
InCopy format and notice now the tooltip
| | 03:08 | tells me what is the status of this
InCopy Story and we see a little icon at
| | 03:13 | the very top of it, indicating that
this story is available for anybody to work
| | 03:17 | on. Let's take a look at the Server
and you will see that inside -- in your
| | 03:24 | project folder, inside the stories
folder, there is the ICML file itself.
| | 03:28 | So in other words, the contents of
this frame is linked to this external ICML
| | 03:34 | file, kind of like how this picture
of a beautiful cup of hot chocolate is
| | 03:39 | linked to one of the
original PSD images right here.
| | 03:46 | Back in InDesign you can see that the
link to that external file appears within
| | 03:51 | the Links panel as front.icml and it
also appears in the Assignments panel. Now
| | 03:58 | the Assignments panel is not part of
any of the default workspaces in InDesign.
| | 04:02 | So if you are going to be using this
workflow, you probably want to add it on
| | 04:06 | your own, but for now I'm just going to
open it separately from the Window menu
| | 04:10 | with the Assignments panel.
| | 04:12 | Now the Assignments panel is kind of
like the workflow hub and it lists all of
| | 04:18 | the stories in the active document that
are currently editable by InCopy users,
| | 04:23 | because we are using a layout based
workflow, we don't have any actual
| | 04:26 | assignments. All of our exported
content appears in this category called
| | 04:31 | Unassigned InCopy Content and there is
the name of the file that we exported
| | 04:36 | and an icon indicating that it's
available and a little T indicating that it's
| | 04:39 | a text frame because you could also
export image frames, which I talk about in
| | 04:43 | a later chapter.
| | 04:44 | The user name that we gave ourselves in
an earlier video appears at the bottom
| | 04:48 | of the Assignments panel. I'm Sarah
the designer. Now here is another way to
| | 04:53 | export a story. You can just drag it
from the layout with the Selection tool.
| | 04:57 | Let me grab the real Selection tool.
You can just drag this and drop it right
| | 05:02 | on the Unassigned InCopy Content
category and now we will also export the story
| | 05:07 | and I'm going to call this front2
and say yes, please save my document.
| | 05:16 | You can export more than one story at
a time. I could export this one and the
| | 05:24 | entire group here, just drag and drop
them to Unassigned InCopy Content and
| | 05:29 | I'll call this frontmore and you see
that I had actually grabbed the whole
| | 05:36 | bunch of text frames and then exported
them all and it used the name that I was
| | 05:40 | giving it as a prefix and then added
the first few words or characters from
| | 05:45 | that text frame to the story.
| | 05:49 | There are many faster ways to export
stories to the workflow. If you look under
| | 05:53 | the Edit menu under InCopy > Export,
you could put stories on layers, you could
| | 05:58 | say just export every story. In a later
chapter where I talk about managing the
| | 06:03 | workflow from InDesign I go into this
in depth. But at least now you can see
| | 06:07 | how simple it is to prepare
a file for InCopy editors.
| | Collapse this transcript |
| Editing workflow stories in InCopy| 00:00 | So I'm Joe, the editor at this publication,
and Sarah, the designer, has told me
| | 00:05 | that she has propped at the sell sheet
for me to edit text in. So what I need
| | 00:09 | to is start InCopy and then use
InCopy's File > Open menu to open up that file
| | 00:14 | from the server.
| | 00:16 | Before you do so, in InCopy's
Application bar, this bar going across the top,
| | 00:22 | choose the Advanced workspace from
the list of dropdown workspaces. This is
| | 00:26 | called the workspace switcher. And
I'll be talking more about the features in
| | 00:30 | this new Application bar in an
upcoming video. So that you have these panels
| | 00:35 | open on the right.
| | 00:36 | Then go to the File > Open command
and navigate to the Chapter 2 exercise
| | 00:44 | folder. In my case, I have moved the
files over to the server because that's
| | 00:51 | normally how you work with InDesign
and InCopy is that everybody opens up the
| | 00:54 | files directly from the server.
And there is the 02_sell sheet.
| | 00:58 | Now this is what I want to open in
InCopy. I want to open up the actual
| | 01:01 | InDesign layout, not the exported
stories that the designer created, but the
| | 01:07 | actual layout. InCopy opens up the
INDD file as you can see here from the
| | 01:14 | Document tab and show it to me Story
view which is the default, which I really
| | 01:19 | hate and I'll show you how to change that later.
| | 01:21 | For now, click on this little tab here
that says Layout so that bit looks more
| | 01:25 | like how it did in InDesign. And now
you see, we can open up the actual layout
| | 01:31 | within InCopy and you can scroll to
the document using the scroll bar at the
| | 01:35 | right to see how many pages are
available. And lets see say that we want to
| | 01:42 | edit one of these stories. Which
stories can we edit? Any story that is in a
| | 01:47 | frame that has this little icon.
| | 01:49 | If you click inside one of these
stories, and then open up the Assignments
| | 01:54 | panel at the right, the Assignments
panel if you recall is the hub of the
| | 01:59 | InDesign and InCopy workflow. It
exists in both InDesign and InCopy. The
| | 02:04 | Assignments panel lists all of the
editable stories in this document. And when
| | 02:08 | you click in a story in any of the
views but you are using Layout view; that
| | 02:13 | story becomes highlighted in the
Assignments panel. And if we scroll down here,
| | 02:18 | you can see that you can also click on
some stories that are not part of the
| | 02:21 | workflow. So these stories are
available but they are Read Only. I like to do
| | 02:25 | would be to select text and perhaps,
you know, copy the text and paste it elsewhere.
| | 02:30 | So the only stories that we can edit
are the ones that the designer exported to
| | 02:34 | InCopy format. I'm going to select some
text in this view to show you that you
| | 02:40 | can work in anyone of these three
views Layout, Story or Gallery. I selected
| | 02:45 | text just to help orient you
to where we are in the document.
| | 02:49 | In Story and Gallery view, all of the
editable stories appear sequentially. You
| | 02:54 | don't see any of the layout. And also
you don't see a lot of the formatting. So
| | 02:58 | you are not distracted by colors or
typefaces. It's essentially similar to
| | 03:03 | Microsoft Word's normal view. Now we
are talking about each one of these three
| | 03:06 | views in detail in the upcoming video.
| | 03:09 | Gallery looks almost exactly like
story except that the line endings are the
| | 03:13 | same as they are on Layout view. But
before you can do any editing, you need to
| | 03:19 | check out story to your self. I'm
going to check out the story the easy way,
| | 03:23 | probably the clearest way for beginners,
which is to click inside of any story
| | 03:28 | in the layout that carries this icon
on its frame. Look in the Assignments
| | 03:32 | panel and you will see that that story
is highlighted in the Assignments panel.
| | 03:35 | And at very bottom of the Assignment
panel, there are series of buttons.
| | 03:39 | This little guy is Check Out Selection.
It's a toggle. It lets you check it out
| | 03:43 | or check it in. So by checking it out,
the icon changes to a pencil here in the
| | 03:49 | Frame and here in the Assignments
panel and also in either Gallery or Story
| | 03:55 | view, it says Editing, as a pose to
Available or In Use By, if somebody else is
| | 04:02 | working on it.
| | 04:05 | I'm going to zoom in. I'll be talking
about this in detail coming up. Let's
| | 04:10 | call this Strong instead of Powerful.
Let's do it Strong and Powerful Emotion.
| | 04:17 | Reminiscent of far away places. That
sounds good. Now this is a little over set
| | 04:22 | and you will see that it tells me that
I'm over by one line. Let's see if we
| | 04:27 | delete a multi-faceted world, perfect!
And it fits perfectly, and those are the
| | 04:33 | changes that I would like to make to
this story and so I'll save my changes.
| | 04:38 | If you ever do try to edit a story
that you didn't check out first, lets say
| | 04:42 | that I click inside this story and then
I just start typing, I'm just going to
| | 04:45 | hit any key on my keyboard, you will
get an alert that tells you that you have
| | 04:48 | check out the contents of the frame
in order to make changes. And then it
| | 04:52 | offers to check it out for you so you
can just hit Enter or Return which is the
| | 04:56 | same as clicking the Yes button, and
then that story is also checked out to you as well.
| | 05:01 | This is the simple check-in and check-
out system that is part of the workflow
| | 05:05 | that prevents more than one user from
editing the same story at the same time.
| | 05:09 | Because remember, the InDesign user
could have this exact same InDesign layout
| | 05:13 | opened in InDesign be working on it.
And multiple editors could also have
| | 05:17 | opened up this layout from their own
workstations. But the system prevents more
| | 05:22 | than one person from editing the same
story at once with the simple use of
| | 05:26 | check-in and check-out and stare those icons.
| | 05:29 | So as I'm working, I can switch among
the three different views and edit in
| | 05:33 | whichever view makes the most sense
for me or the one that I like the best. I
| | 05:37 | have plenty of useful menu commands and
tools and panels and very powerful Word
| | 05:43 | processing features. To look on this
document, I can print to see what it looks
| | 05:48 | like in a printout and so on.
| | 05:50 | In other words, I have a lot of control
as an editor over what's happening with
| | 05:53 | the content in this layout. So I'm
done with stories that I have checked out
| | 05:57 | and now I'm going to save my changes.
Just go to the File menu and choose Save
| | 06:01 | Content, that's Ctrl+S or Command+S
on a Mac. If I have more than one story
| | 06:05 | checked out, I can save all content by
adding Alt+Shift to that. And now, my
| | 06:13 | changes are saved.
| | 06:14 | At this point, I could continue working
or I could close the document. I don't
| | 06:19 | have to check the stories back in,
meaning make them available for other
| | 06:22 | people. Even though InCopy will prompt
to me, do I want to check them in? I'm
| | 06:27 | going to ahead and close this document
from the Document tab, click on the X
| | 06:31 | and you will see it says, "You have
one or more items that have not been
| | 06:35 | checked in. Check in all content now?"
And so it will offer to check them in
| | 06:39 | again, and that's usually good manners
to check them in. But what if you are
| | 06:42 | just away for lunch and you don't want
anybody to mess around with the stories
| | 06:46 | that you are in the middle of working
on. You could say, No. And the document
| | 06:49 | would close and it still be checked out to you.
| | 06:51 | But for now, go ahead and check in all
the contents and just click Yes.
| | 06:55 | So we have closed the document and now we
can go do what we would like. We can open it up
| | 07:01 | again later to continue working on it
or we can just let the designer know that
| | 07:04 | we are done working on this layout
and Sarah can go ahead and update the
| | 07:08 | changes in InDesign.
| | Collapse this transcript |
| Checking stories in and out| 00:00 | Let's talk about this whole concept
of checking stories in and out. If you
| | 00:04 | don't have the Bliss sell sheet open
from the last lesson, go ahead and open it
| | 00:08 | now from your Chapter 2 folder or just
open up any InDesign document that has
| | 00:13 | stories exported to InCopy format.
| | 00:15 | So the story that you have exported
to InCopy format from within InDesign
| | 00:19 | appear in both InCopy and InDesign
with little icons on their frames. And by
| | 00:25 | the way, if you are accustomed to
working with frame edges hiding, I go to the
| | 00:31 | View menu and choose Hide Frames Edges,
you won't see those icons. You need to
| | 00:35 | go and make sure that they are
visible. They are on by default in both
| | 00:39 | InDesign and InCopy. But I know a
lot of designers like to hide them.
| | 00:42 | So I'm turning on Show Frame Edges and
so any stories that have that icon on
| | 00:48 | their frames mean that they are part
of the workflow. If I scroll down to the
| | 00:52 | second page of this sell sheet, you see
this side none of the stories have been
| | 00:56 | exported yet. You can still click on
them in InCopy and you can select the text
| | 01:01 | within there and copy it into some
other document like a story that you have
| | 01:06 | checked out or a Word file just by
going to the Edit menu and choosing Copy.
| | 01:11 | But you can't really edit the story
at all and that is also why they are
| | 01:14 | screened back. It's a little visual cue
that this story is not editable. Stories
| | 01:20 | that are editable appear at 100%.
| | 01:22 | So the point about checking other
story is to prevent more than one user from
| | 01:26 | editing the same story at the same time.
And whether you are working in InCopy
| | 01:31 | or InDesign, when you are working with
a layout that has workflow stories, you
| | 01:36 | will have to check them out in order
to edit the content. So for example, in
| | 01:40 | InCopy I'm going to go ahead and check
out Title. Just by clicking inside the
| | 01:44 | frame and from the Assignments panel,
I'll click the little icon at the bottom
| | 01:48 | that is Checkout Selection, and let's
see what that looks like on the server.
| | 01:54 | So I jumped over to view of the files
on the server. You can see that we are on
| | 02:00 | the server looking inside the Bliss
Sell Sheet Project folder inside the
| | 02:04 | Stories folder. And I checked out that
headline story in InCopy and you can see
| | 02:10 | that this IDLK file has been added.
It's an InDesign lock file and its presence
| | 02:16 | prevents other people who have this
layouts open from checking out that same
| | 02:20 | story. As soon as you check the story
back in, when you make it available for
| | 02:24 | other people to edit, then the system
automatically deletes the IDLK or the lock file.
| | 02:30 | So let's see what this layout looks
like in InDesign. It's the exact same
| | 02:34 | layout. Leave it open in InCopy. You
can see that this story has been checked
| | 02:41 | out to Joe the editor. That's what the
tooltip tells you. And you will see a
| | 02:45 | little pencil icon with a slash to it,
meaning somebody else is editing it. You
| | 02:49 | can also see that up here in the
Assignments panel, which tells you the status
| | 02:54 | of every story.
| | 02:55 | So I cannot edit this story while Joe
is editing it, which is a good thing.
| | 02:59 | We don't want versionitis in this
scenario. Let's say that I want to edit
| | 03:03 | this story in InDesign. I can select
some text and press Delete or I can just
| | 03:09 | typing. But as soon as do so, you will
see that I get the same warning that I
| | 03:13 | would have got in InCopy, that I have
to check out the contents of this frame
| | 03:17 | in order to make changes.
| | 03:18 | So both the InDesign user and the
InCopy user will need to do this during the
| | 03:22 | workflow. And then I'll just say yes.
Go ahead and check that out. So now this
| | 03:26 | story has a pencil because I'm editing
the story and you will see it as well
| | 03:30 | over here. And let's switch back to InCopy.
| | 03:34 | In InCopy, very quickly InCopy
pinged to the server. Found that there was
| | 03:39 | another IDLK file and locked it out to
me. So this story I cannot edit within
| | 03:45 | InCopy because as you can see from
the tooltip, Sarah, the designer is
| | 03:49 | currently editing the story. Let's look
at the view of the files on the server
| | 03:53 | one more time. I'm going to refresh
the view of this folder so we can the new
| | 04:01 | log file here. So we can tell that none
of these stories have been checked out,
| | 04:06 | but these two stories have because they
begin with the same characters as their file name.
| | 04:11 | If I move up a level, you can see
that the InDesign file itself gets a lock
| | 04:18 | file when it is opened in InDesign.
But when the InCopy users open up the
| | 04:23 | InDesign file, they are not actually
opening up the full InDesign file. It's
| | 04:26 | more like a snap shot of it.
| | 04:28 | So the InDesign file itself has a
lock file, which prevents more than
| | 04:32 | InDesign user from opening it at once.
However, one or two or ten InCopy users
| | 04:39 | can open up the same InDesign
layout file at once because they are not
| | 04:41 | technically opening up the layout. They
are actually opening up something more
| | 04:45 | like a snapshot of the layout.
| | 04:46 | Let's go back to InCopy. When you are
done editing a story, you need to check
| | 04:51 | it back in. So I have clicked
inside the story which highlights in the
| | 04:55 | assignments panel, and I could just
click the check in icon at the bottom or I
| | 05:00 | could right-click on the story
and choose check in or I could press
| | 05:04 | Shift+Ctrl+F9 or Shift+Command+F9 on
the Mac, or I could even just close this
| | 05:09 | document and InCopy will offer to
check in the stories for me. I'm just going
| | 05:13 | to go ahead and click the little man
icon. And it is something that you can't
| | 05:17 | undo. InCopy has multiple levels of Undo,
but when you run into something that
| | 05:21 | it won't be able to Undo
then you get that warning.
| | 05:25 | And now the icon reverts to a little
globe and piece of paper meaning it's
| | 05:28 | available for anybody to look at. If
we take a quick look at the Stories
| | 05:32 | folder, you will see that the lock file
has gone away. So when you check in the
| | 05:38 | Story, the lock files go away. When you
check them out to yourself to edit, the
| | 05:42 | lock files appear. And that's really
what's happening behind the scenes in an
| | 05:46 | InDesign and InCopy workflow when
you are checking stories in and out.
| | 05:49 | So it's a nice little safety net.
| | Collapse this transcript |
| Completing a project in InDesign| 00:00 | So I'm back in the designer seat
working in InDesign. I'm Sarah and I'm looking
| | 00:05 | at the almost final layout of the
Bliss Hot Chocolate Sell Sheet. We will
| | 00:10 | assume it all the InCopy users the
editors, proofreaders, fact checkers and so
| | 00:14 | on have gone through their stories,
made their edits, signed off on the final
| | 00:17 | content. I just have a
couple of stories to update.
| | 00:21 | For these two stories that have out-of-date
icon in the Assignments panel and
| | 00:25 | in the layouts I need to update them to
get the latest versions of the editor's
| | 00:31 | changes. By the way in both programs
you can also see the out-of-date icons
| | 00:36 | appear in the Links panel just like
any out-of-date artwork that have been placed.
| | 00:41 | To update the stories you can update
them in Links just as you would update an
| | 00:45 | image or you can use the Assignments
panel. Select one of the out-of-date
| | 00:49 | stories and at the bottom of these
Assignments panel click the Update Content
| | 00:54 | button. You can also Shift-click,
which I'll do by Shift-clicking each one of
| | 00:58 | these stories, and then
clicking the Update Content icon.
| | 01:03 | Let's move this out of the way for a
minute, so that you can see that this
| | 01:07 | story here has been updated with the
editor's final changes as well as any
| | 01:15 | other changes that the editors made to
any of the stories. All right so at this
| | 01:20 | point we are getting ready to close out
this project. Though it's not required,
| | 01:25 | I strongly recommend that as the last
step from the Assignment panels that you
| | 01:30 | unlink all the stories. Because
remember this layout is still sitting on the
| | 01:34 | server and even though you maybe in
the middle of collecting all the files or
| | 01:38 | making your final PDF to turn over to
the commercial printer, an editor has no
| | 01:42 | idea that you are doing that and they
may think that still have time to make some edits.
| | 01:46 | So instead you are going to turn it
into a regular read-only InDesign layout
| | 01:50 | file by Shift-clicking all of these
stories here and then from the Assignments
| | 01:54 | panel menu choosing Unlink Content.
This is not delete the stories; it just
| | 02:00 | breaks the link from the story to the
external ICML file. Those files in the
| | 02:05 | Stories folder on the server. Kind of like
embedding a placed image. So, now there are
| | 02:10 | normal InDesign text frames and you can
see that there are no stories at all in
| | 02:16 | this layout that are
editable for the InCopy user.
| | 02:19 | So from this point on we can save our
changes. If you want and then you can go
| | 02:24 | ahead and go File > Package or perhaps
you want to run a preflight or use some
| | 02:29 | other neat new features in InDesign CS4
that I covered in detail in my InDesign
| | 02:33 | CS4 New Features video or you want to
export it to a press-ready PDF. That's
| | 02:37 | what you can do from here on it. So
that's how you close out a project is that
| | 02:41 | you bring everything up to date in the
Assignment panel and then you unlink all
| | 02:46 | of the workflow stories.
| | Collapse this transcript |
|
|
3. The InCopy InterfaceThree main views of a file| 00:00 | When you are in InCopy as I am now
and you open up an InDesign layout or an
| | 00:04 | InCopy assignment by default opens it
in the Story view that you see here.
| | 00:10 | The Story view is one of three views
available to you whenever you open up a file
| | 00:15 | that has editable stories in it.
| | 00:17 | Now I personally find this very
confusing especially if you are a new user and
| | 00:21 | you open up a file with multiple
stories. You are wondering what the heck I'm
| | 00:25 | looking at? All right, so let me give
a little tip. If you look at the Layout
| | 00:30 | view-- If you click on the Layout
tab, you see okay this is much more
| | 00:34 | understandable. Okay, this is what InCopy
was all about. I can just click in one
| | 00:38 | of these stories and start editing.
| | 00:39 | It would be great if the Layout view was
the default view and there is way that
| | 00:42 | you can do that. So starting with no
documents open, I'm just closing that one.
| | 00:48 | Go to the View menu and you will see
that there is a check mark next to the
| | 00:51 | Story view, that indicates it's the
default view as an application default.
| | 00:57 | Choose Layout view and then go back to
the View menu just to double check that a
| | 01:02 | check mark now appears next to Layout view.
| | 01:04 | So you have changed the application
default. Now let's go ahead and open up the
| | 01:08 | InDesign layout that's in the Chapter
3 folder. From InCopy's File > Open menu
| | 01:14 | navigate to your Exercise Files and in
03_Sell_Sheet. Select the 03_Sell_Sheet
| | 01:21 | INDD file and click Open. Now it
opens by default in Layout view, which I
| | 01:27 | think is much easier to work with.
| | 01:28 | Layout view gives you an idea of what
everything looks like in the layout and
| | 01:33 | in fact this is 100% true to the
InDesign file. Though things may look a little
| | 01:38 | screened back, like for example this
picture of the hot chocolate and on the
| | 01:43 | next page and this text kind of
looks weird and also in this frame,
| | 01:49 | that's because when something is not editable
to you in the InCopy. Layout view will
| | 01:54 | screen it back a bit. If you want to
see what the entire thing looks like in
| | 02:00 | full 100% color then go to the View menu.
Go down to the Screen Mode and choose
| | 02:06 | Preview. So this is actually what the
layout looks like and this is what it
| | 02:10 | would look like in Adobe InDesign.
| | 02:12 | You can still work in this view.
I could still click in here and select text.
| | 02:17 | Now remember this is not an editable
story. So I wouldn't be able to check it
| | 02:20 | out. But these are editable stories.
The problem with the Preview mode in
| | 02:25 | Layout view is that you lose the
frames, the non-printing frames, and when you
| | 02:30 | lose the frame that means that you
also lose the little icon that tells you
| | 02:34 | the status of the story. Still you can
always open up the Assignment panel from
| | 02:38 | the panel dock on the right. Right now
I switch to Advanced workspace. I think
| | 02:42 | the default is the Essentials workspace.
| | 02:44 | I would like to work in the Advanced
workspace only because it has more panels
| | 02:48 | that I use quite frequently. But
regardless of which workspace you have,
| | 02:53 | Assignment should be available. When
you click on the Assignment panel you will
| | 02:57 | see that it opens up and shows you a
list I'm going to drag this little grow
| | 03:01 | box to make it larger.
| | 03:02 | Out of all the stories that are
editable in here, when you click inside of a
| | 03:07 | story in Layout view. If that story is
editable then you will see it highlight
| | 03:12 | over here in the Assignments panel. So
there is a way to work in Preview mode
| | 03:16 | if you would like. Notice that when I
scroll down to page two and I click in
| | 03:20 | this stories then nothing is
highlighted at all in the Assignments panel. But
| | 03:24 | actually most people work in Normal
Mode when they are looking in Layouts view.
| | 03:29 | So all we are going to go back to the
View menu down to the screen mode and
| | 03:33 | choose normal and I'm going to close
the Assignment panel by clicking on that
| | 03:37 | double headed arrows over here on the
right are we talking more about working
| | 03:41 | with panels and toolbars in the next video.
| | 03:44 | So we want to check out a story in
order to edit it. I'm going click right
| | 03:48 | inside this one story here and to
check it out, I'm just going to right-click
| | 03:52 | and choose Check Out. And now as I type,
I'll just add some random words. They
| | 04:05 | appear in the format that is actually
going to print and they wrap according to
| | 04:11 | these size of the text frame. If I
type too much then it goes into over set
| | 04:16 | mode here and you can also see it down here.
| | 04:18 | Now let's compare this view the Layout
view with another view. A tip that I use
| | 04:26 | a lot is before you switch views we
are going to remove from Layouts to Story
| | 04:30 | next to make a text selection that
way when you switch views that same text
| | 04:36 | will be selected in the new view and
it's easier to orient yourself to where
| | 04:40 | you are in the document.
| | 04:41 | So I'm going to click on the Story
tab and you will see the same text is
| | 04:45 | selected in this view and let's take a
close look at the Story view. As I said
| | 04:51 | every story that the designer
exported to the InCopy format appears here in
| | 04:56 | Story and in Gallery each story is
separated by this gray horizontal story bar
| | 05:03 | and inside the story bar it tells you
the name of the file. The exported InCopy
| | 05:07 | file which really isn't that important
but its more important is its status is
| | 05:12 | it available or are you currently
editing it or if somebody is checked out the
| | 05:16 | story it would say A New Spy and then
give you their workflow user your name.
| | 05:21 | So we don't see the little icon is
here in storing Gallery view instead you
| | 05:24 | have to read what it says in the story
bar. The story bars can be collapsed or
| | 05:28 | expanded just by clicking on the little
triangle there are also Commands in the
| | 05:32 | View menu to Collapse the Current
Story, Collapse All Stories Expand All
| | 05:36 | Stories along with keyboard shortcut
and that's mainly to help you concentrate
| | 05:40 | on the story that you are editing
| | 05:51 | So that only the text from this one is
available and here is a neat tip if you
| | 05:56 | hold down the Alt or the Option key on
Mac and then click on that triangle then
| | 06:02 | it will collapse all the stories except
for the one that you clicked on. Which
| | 06:05 | think makes a little easier to
concentrate on just that one story? I want to
| | 06:09 | expand all the stories again. So I'm
going to go to the View menu and choose
| | 06:12 | Expand All Stories.
| | 06:14 | Also in Stories view we see the names
of these styles that had been applied to
| | 06:18 | each paragraph and we see the Column
Depth Marker on the left on whatever is
| | 06:25 | your current measuring unit. That
something that you set in Preferences. Now
| | 06:29 | let's look at Gallery view. I'm going
to again select some text and switch over
| | 06:36 | and in that same text is selected in
Gallery view. I just click down the tab
| | 06:39 | for Gallery. Gallery at first glance
looks exactly to the same as story except
| | 06:45 | what's different about Gallery view is
that the line ending may actually the
| | 06:49 | layouts line exactly.
| | 06:52 | So the line breaks are through the
layouts. That's why we also have a line
| | 06:56 | count on the left. Its like feel it
over here at this text powerful emotions
| | 07:02 | I'll just add some random words and I
select some of this text. Notice that the
| | 07:06 | words ending the lines are I'll, random,
of, where, and if we go to the Layouts
| | 07:11 | view. You will see that's exactly
where the lines end in Layouts view.
| | 07:15 | You will see that's exactly where the
lines end in layout If we look at that
| | 07:17 | same selections in Story view the text
continues to the edge of the window and
| | 07:21 | then wraps around to the next line
almost a new paragraph to start it. In fact
| | 07:26 | I'll just go ahead and turn on in my
little toolbar up here. Turn on Show
| | 07:30 | Hidden Characters. So that we can see
the non-printing character turn to the
| | 07:33 | end of every line but in Gallery view
you do see the correct line endings you
| | 07:38 | will also see columns breaks and page
breaks little lines kind of like this
| | 07:42 | Copyfit break line.
| | 07:43 | So the beauty of working in Gallery or
Story is that you are not distracted by
| | 07:48 | the formatting or the color of the type
as you are in Layout. It's kind of like
| | 07:52 | Microsoft Word's normal view but if you
are at that stage of editing where you
| | 07:57 | are checking bad hyphenation or orphans
and widows or weird columns breaks. You
| | 08:02 | don't have to do that in Layouts view
you can do that Gallery view because
| | 08:06 | Gallery will give you the true breaks.
| | 08:08 | Switch back to the Layouts view and you
will see that because we turned on the
| | 08:12 | Non-Printing characters like we Return,
you see them here as well in Layouts
| | 08:16 | view. So really it's up to you which
view you would like to work in. In the
| | 08:20 | real world most the InCopy users jump
back and forth to one viewer to the other
| | 08:25 | just according to their needs. I know
some editors like to stay in Layout view
| | 08:29 | the whole time because they feel most
comfortable in writing and editing to fit
| | 08:32 | as they work and the only time they
never go to the Story in Gallery or when
| | 08:36 | they have over set text because you
can't get to the over set text in the
| | 08:40 | Layout view. You have to go to either
Story or Gallery where you will see the
| | 08:44 | overset text appear after a copyfit break mark.
| | 08:47 | So you can see it also over here in
Gallery view that its two lines over. So
| | 08:53 | here they would be able to swipe in
at least some text and get it to fit
| | 08:59 | perfectly of course and that paying
very close attention to what and now that I
| | 09:03 | have deleted a bunch of words and I
switch back to Layouts view you will see it
| | 09:07 | fits in fact we have some extra
space about one lines worth below here.
| | 09:11 | On the other hand there are many
editors that I would like to just do most of
| | 09:14 | their work in story view because its
most reminiscent of Microsoft Word and
| | 09:18 | they don't want to be distracted by the
pretty picture that are hanging around
| | 09:22 | the word. They just want to work on
the story and the spelling and the proof
| | 09:25 | reading and I'll once in a while
check back and Layouts view to see what it
| | 09:28 | looks like. It completely up to you
make it work how you feel most comfortable.
| | Collapse this transcript |
| Default panels and toolbars| 00:00 | A lot of what you see in Adobe InCopy
CS4 comes straight from InDesign CS4,
| | 00:05 | because they share much of the same DNA,
much of the same code. So, if you are
| | 00:09 | at all familiar with the InDesign
panels and toolbar, then what you see in
| | 00:14 | InCopy appears quite familiar.
| | 00:17 | However, Adobe tweaked the interface
in InCopy to make it a little bit more
| | 00:21 | like Microsoft Word with some toolbars
that InDesign doesn't have. Let me go
| | 00:25 | through some of this default set up in
InCopy and also show you some of the new
| | 00:29 | features in the interface in CS4 and
an important difference between the
| | 00:34 | Windows version of InCopy
and a Mac version of InCopy.
| | 00:38 | Right now, I'm in Windows InCopy and I
have opened up the Sell Sheet from the
| | 00:42 | chapter03 Exercise folder. I have
turned on Show Hidden Characters by clicking
| | 00:47 | the little pilcrow mark. That's the
name of this mark up here. So we can see
| | 00:50 | the non-printing carriage returns and
so on. I switched to Layout view by
| | 00:55 | clicking on the Layout tab on the top.
| | 00:57 | So, let's start from the upper right
hand corner. We see an arrangement of
| | 01:02 | panels in the panel dock, and the
panels are in this arrangement because I have
| | 01:06 | chosen the Advanced workspace from the
workspace switcher up here. This is new
| | 01:12 | in CS4 having easy access to all of the
built-in workspaces and the ability to
| | 01:18 | create your own custom workspace, which
I'll be covering in a different video.
| | 01:22 | You can still choose workspaces
from the Window menu by going to Window
| | 01:25 | workspace, by the way. The panel dock
is a place where you can stash frequently
| | 01:33 | accessed panels. For example, one panel
that you access all the time in InCopy
| | 01:37 | is the Assignments panel. So, just
click on the panel dock or press its
| | 01:41 | keyboard shortcut to open the panel,
access what it is that you need and then
| | 01:46 | click again to close it.
| | 01:48 | When a panel is open, you will see that
there are two little icons at the upper
| | 01:52 | right. One of them closes the panel,
that's the double-headed arrow and one of
| | 01:57 | them, which looks irritatingly
remarkably like that other one, is the panel
| | 02:01 | menu. So if you click on it you will
see a menu of commands that relate to what
| | 02:06 | that panel is about.
| | 02:07 | That's important to know in InCopy as
in InDesign that there are many commands
| | 02:12 | available only in the panel menu and
nowhere else in the program. So, if you
| | 02:16 | are wondering with something else, like
for example, let's take a look at this
| | 02:19 | Character panel, which is similar to
Word's Formats Character dialog box.
| | 02:24 | You are looking at the panel, and
you're like, "Okay, well, I guess, I can
| | 02:27 | choose a type phase and a size, but
how do I make something, let's say,
| | 02:32 | underline?" So, you might notice, oh!
There is a Type menu up here and I'm not
| | 02:37 | seeing Underline anywhere here. So,
then you remember oh yeah! Anne-Marie said
| | 02:44 | look in the Character panel menu if
you can't find it anywhere. Aha! Look at
| | 02:48 | all these great commands that
are stashed here in the panel menu.
| | 02:51 | So don't forget to check out the panel
menu when you need to. One aggravating
| | 02:57 | thing to me about the panel dock on the
right is that when you click on a panel
| | 03:02 | to open it, every other one closes;
you can't have two open at the same time.
| | 03:07 | So, say, for example, that you are
looking at formatting text and you would
| | 03:11 | like to see both Character Styles and
Paragraph Styles at the same time, you
| | 03:15 | really can't.
| | 03:16 | So, in that instance there are a
couple options, one of them is to expand the
| | 03:22 | panel dock. This icon in the dark
gray bar at the very top expands all the
| | 03:27 | panels, so that you could see two
panels and actually more than two at once.
| | 03:32 | Clicking that collapses them again.
| | 03:34 | In fact, if you don't like to use the
panels a lot you can even resize the
| | 03:38 | panels, see where my cursor is, drag
it to the right and then you just have
| | 03:41 | icons. You can still access the panels.
After a while you may start to memorize
| | 03:46 | them, like the A with the little boxes
next to it and the pilcrow mark with the
| | 03:50 | little boxes next to it are both
styles, whereas when they don't have boxes
| | 03:54 | then they are just the Format panels.
| | 03:57 | Or if you are not really good at
memorizing 10,000 different icons, then drag
| | 04:01 | it back out so that you also see the
name of the panel. In either view clicking
| | 04:06 | this icon toggles them, collapse and expand it.
| | 04:10 | On the bottom of the window, we have
two toolbars that are side by side. The
| | 04:15 | first toolbar is called Galley and
Story appearance, and if you are not in
| | 04:21 | Galley or Story, then it is a sort of
grayed out. So, if you click in either
| | 04:25 | Galley or Story, just by clicking on
the tab at the top, you will see that you
| | 04:29 | have some controls here over how
Galley and Story appear, and we will be
| | 04:32 | looking at this in depth in a different video.
| | 04:35 | To the right of that we have one of the
coolest toolbars, which is the Copyfit
| | 04:40 | Info and Copyfit Progress toolbar. When
you click inside of the Story, you will
| | 04:45 | see that the Copyfit Story Info section
tells you a line count, a word count, a
| | 04:50 | character count and column depth count
as you work. Then over here it tells you
| | 04:54 | if you are under or over or perfectly
copyfit within the frame. Again, we will
| | 04:59 | be talking about this in
depth also in a later video.
| | 05:02 | On the left we have the tools, a very
foreshortened number of tools as compared
| | 05:07 | to InDesign. The tool that you are
going to remain in 99% of the time is the
| | 05:11 | Type tool. We also have the Position
tool for working with images that I'll be
| | 05:15 | talking about in a later chapter. The
Note tools for inserting notes, which you
| | 05:20 | could also do by choosing new note from
the Notes menu and we have a chapter on
| | 05:25 | notes. The Hand tool and the
Magnifying Glass tool, these are both to sort of
| | 05:29 | move the image around in Layout view
and to zoom in and zoom out, and again we
| | 05:34 | will be talking about that in a different video.
| | 05:36 | I just want to show you that these are
the tools themselves and the Tool panel,
| | 05:40 | if you click in that little gray
area at the top, you can switch it to
| | 05:43 | two-column switches, not that useful
since you really only have five tools to
| | 05:47 | worry about. But one thing you might
want to do is, turn it into a row, which
| | 05:50 | you can do by going to Preferences.
If you go to Edit > Preferences >
| | 05:57 | Interface, you will have some
commands here to customize how the interface
| | 06:01 | works. The Floating Tools panel can be
converted to a single row by choosing it from here.
| | 06:07 | So, now with the single row that floats
on the top -- and you just have to sort
| | 06:14 | of nudge it out of the way. I'm going
to put it back by dragging it from this
| | 06:19 | gray area right to the left, and did
you see that? Well, let me do it again.
| | 06:23 | I'm going to bring this out and then
bring it to the left again, watch the blue
| | 06:27 | vertical line appear. This lets you
know that you hit the target area and you
| | 06:30 | will see this appear all the time
within InCopy when you are moving panels
| | 06:35 | around. I'm going to click that
one more time to get a single column.
| | 06:38 | This toolbar is going across its
opposite. Again actually two toolbars, the
| | 06:42 | first one is called the Command Bar and
it has shortcuts to things in the menu
| | 06:46 | similar to Word's generic toolbar,
things like you shortcut to create a new
| | 06:51 | document, save it. I love this icon of
a Floppy Disk to save. It's so retro!
| | 06:58 | Then a shortcut to print and I think
that's a Dot Matrix printer, if I'm not
| | 07:01 | mistaken. Binoculars, Check Spelling,
Show/Hide Hidden Characters, all these
| | 07:07 | commands are available from here. They are
the just the most common ones that you choose.
| | 07:10 | Now I know what are you thinking,
there's no way to modify this. It would be
| | 07:14 | great in a wonderful feature request
for the next version of InCopy to be able
| | 07:17 | to customize what's up here in this
little Command Bar, but this is what you
| | 07:21 | are stuck with.
| | 07:22 | There is, if you have noticed, if you
have got sharp eyes a panel menu that
| | 07:26 | allows you to customize this, but
basically all it lets you do is turn off some
| | 07:30 | of the things that are already on. So
I'm just going to cancel out of that.
| | 07:35 | Over here we have the Change Bar
toolbar and it's for track changes. Everything
| | 07:40 | that you see here, all these little
icons, are exactly the same as the commands
| | 07:44 | under the Changes menu. So, this is
just up to you if you want to, use the menu
| | 07:50 | or use little icons.
| | 07:53 | There are many more panels by the way.
All of them appear under the Window
| | 07:57 | menu. The panels all are in
alphabetical order and there are some that have
| | 08:01 | flyout menus, like down here under
Type & Tables. You will also see all the
| | 08:05 | toolbars appear here as well. At the
bottom of the Window menu is a list of all
| | 08:09 | of your open documents.
| | 08:12 | Going across the top, this is something
new in CS4; it's called the Application
| | 08:17 | bar. The Application bar is the bar
that's always on in Windows and can be
| | 08:22 | turned off on the Macintosh, which
I'll jump to in a second. But it contains
| | 08:26 | little widgets is where Adobe is
calling them, of the frequently accessed
| | 08:30 | commands. InCopy never had a Control
panel like InDesign did before, so this
| | 08:35 | can be extremely useful for InCopy
users. Going across the top we have a
| | 08:39 | reminder of which program you're in, a
hotlink to Bridge, which gets installed
| | 08:44 | with InCopy CS4.
| | 08:47 | A dropdown menu of the Zoom Level and
the Zoom Level is only available when you
| | 08:51 | are in Layout view, so if I want to
zoom in to 200%, I can pull it from there.
| | 08:58 | So we don't have the zoom percentage
at the bottom of the window anymore like
| | 09:02 | we used to. I'm going to put it back to
100%. Then to the right of that we have
| | 09:08 | View Options, and this is extremely
handy because these are commands that
| | 09:11 | people are constantly turning on and
off and it's always difficult to remember
| | 09:15 | which menu they are in and most of them
are in the View menu but, some of them
| | 09:19 | like View Notes and View Changes are elsewhere.
| | 09:22 | See you could quickly hide the Frame
Edges if you want to see what the document
| | 09:26 | is going to look like a little closer
to Preview mode. I'm going to turn Frame
| | 09:32 | Edges back on. If you are tracking
changes, which I'll be talking about in
| | 09:35 | later video, and you don't want to see
the changes mark up, well, it is still
| | 09:38 | tracking changes, you can hide changes,
you can hide notes, you can show and
| | 09:42 | hide hidden characters
and other useful commands.
| | 09:45 | Again, all these are still available
from the View menu. So here we can hide
| | 09:50 | Frame Edges, for example, right here,
and a lot of the commands have keyboard
| | 09:53 | shortcuts. You won't see the
keyboard shortcuts in the widgets in the
| | 09:56 | Application bar. To the right of that,
a very handy little switcher to jump
| | 10:02 | from Normal to Preview, which is
extremely useful in InCopy since it lacks a
| | 10:07 | little similar pop-out menu in
its toolbar like how InDesign has.
| | 10:13 | Then we have this guy, which is called
the N-up widget, and it allows you to
| | 10:18 | arrange multiple windows. So, let's
open a few more documents to see how that
| | 10:22 | works. Go to the File menu, choose
Open and you will see that inside your
| | 10:27 | chapter03 Exercise folder, I have
added some ICML files. These are standalone
| | 10:32 | InCopy documents and I'm Shift-
clicking all three of them and then clicking
| | 10:36 | Open, so they all open.
| | 10:37 | Now, by default, they open up in tabbed
window. So this is also new, you click
| | 10:44 | on a tab to make that document appear
in the front. As before, the Title bar is
| | 10:50 | this little tab, it tells you the
current view scale that you are looking at it
| | 10:53 | when you are in Layout view. The close
box for each document is this little X
| | 10:58 | right inside the tab.
| | 11:01 | It's difficult here to select
something and then drag and drop it to another
| | 11:05 | window or to compare two windows at
once. Right now they are kind of acting
| | 11:09 | like those panels from the dock. As
soon as one is active, all the other ones
| | 11:13 | are hidden, but you can use the N-up
view to arrange all of your open windows.
| | 11:17 | For example, if you want to see the
contents of all four of these documents at
| | 11:22 | once, choose one of these N-up
views, like the 4-Up, and the windows
| | 11:27 | immediately rearrange into groups of
four. You can see that you can sort of
| | 11:31 | customize how they are divided, and of
course, within each window as soon as
| | 11:36 | you click in it, it becomes active,
you can switch to a different view.
| | 11:44 | Now the commands for arranging
windows are also available from the Window >
| | 11:50 | Arrange submenu, but you don't have
all your choices of arrangements of
| | 11:54 | multiple windows. The command
Consolidate All Windows, which you also find
| | 12:00 | here, the very first icon, means bring
all the windows into the Normal tabbed
| | 12:05 | arrangements.
| | 12:06 | So I choose Consolidate All and they
all come 1, 2, 3, 4 right next to each
| | 12:11 | other. Close those additional ICML
files by just clicking on their close box so
| | 12:16 | that you are only left with the Sell
Sheet open. Here is another use for that.
| | 12:20 | Let's say that you want to look at Layout
and Story at the same time, normally you can't.
| | 12:24 | Well, here what we will do is, go up to
that N-up widget and choose New Window,
| | 12:30 | and then go back up and choose a side
by side arrangements and then put one
| | 12:35 | view in Story and the other window
in Layout view. Then as I edit text in
| | 12:40 | either view, but let's say I'm
editing text in Story view. I'll say really
| | 12:45 | strong. I immediately see
the results in Layout view.
| | 12:50 | You could have done this in CS3 in
earlier versions by choosing New Window,
| | 12:54 | which creates like a spawn of the
existing document. It doesn't actually
| | 12:58 | duplicate it; it's just another view
of the same document. Then manually
| | 13:02 | resizing the window so that you could
see one in Story view and the other one
| | 13:06 | in Layout view. But CS4
makes it a lot easier to do that.
| | 13:10 | If you don't like the tabbed windows,
you can also just drag the tab and
| | 13:16 | release it anywhere below that little
tab dock. Then it turns into a floating
| | 13:21 | window alas CS3. If you notice, you
also have a command called Float All in
| | 13:28 | Windows, which makes them all
floating. Oops! Except that time, when I
| | 13:34 | accidentally dragged into the dock,
there we go, now they're all floating.
| | 13:37 | You will see that command under the
Window > Arrange flyout menu as well. Float
| | 13:41 | All in Windows. Float in Window means
the current document that's currently
| | 13:46 | tabbed, make that one float if you are
too lazy to drag it yourself. But if you
| | 13:50 | choose Consolidate All Windows,
they snap back into the tabbed area.
| | 13:56 | Finally, under right hand side of the
Application bar, we have the workspace
| | 14:00 | switcher that I mentioned before and
I'll be talking about creating your own
| | 14:02 | workspaces in an upcoming video. Then
this is Community Help, where you can
| | 14:08 | search the online help as well as help
offered by websites and blogs that Adobe
| | 14:13 | has reviewed and vetted. I'll be
talking about this in the later chapter.
| | 14:17 | Let me jump over to the Macintosh
version of InCopy to show you something that
| | 14:21 | is new for Mac users and that is
slightly different from what we have seen
| | 14:26 | here. This is the same document opened
up on a Mac OS 10 in InCopy CS4. There
| | 14:33 | are a number of editors who use InCopy
on Macintosh. So on the Macintosh you
| | 14:38 | can see that the Application bar is
here as well. It appears under the main
| | 14:42 | menu, but the same icons as I just
showed you on Windows are also available
| | 14:47 | here on the Mac. Everything else
works the same as I have been explaining.
| | 14:50 | One thing that is different is, up
here under the Window menu is that you can
| | 14:56 | turn off the Application bar. This is
not possible to do in Windows. So, if I
| | 15:02 | turn off the Application bar, then I
just have, let me hide others so we don't
| | 15:08 | get confused here, then I just have
the normal toolbars going across the top,
| | 15:12 | followed by the Window, and
then the toolbars at the bottom.
| | 15:15 | Additionally, under the Window menu, I
can turn on the Application Frame, which
| | 15:22 | is turned on, by default. In fact, it's
the only way it works in Windows. If I
| | 15:28 | turn on the Application Frame, I'm
going to resize the Application Frame by
| | 15:34 | dragging on the lower right hand corner.
| | 15:37 | Even if I close all the open
documents in InCopy, everything else is grayed
| | 15:41 | out, and this is something that Adobe
has done for all the CS4 applications
| | 15:45 | including InDesign, is that they
have added the Application bar and the
| | 15:50 | Application Frame as an option for Mac
users. It's not turned down, by default,
| | 15:55 | and it's something that you probably
will want to fool around with, to see if
| | 15:59 | you like it or not.
| | 15:59 | It is very useful to be able to close
all documents and not get distracted by
| | 16:03 | many other windows or the desktop
showing behind you. However, on the Macintosh
| | 16:07 | we still have tabbed windows so that if
I open up one window, and I'm checking
| | 16:15 | my Window setting Application bar and
then I open up another document. I'll
| | 16:21 | open up Emma Chapter 1. The second
document immediately goes into the tabbed mode.
| | 16:26 | So, tabbed documents are also new in
the Mac version of InCopy. If you don't
| | 16:33 | like how tabbed documents work, and
this is something you can do on both the
| | 16:36 | Mac and Windows is go to Preferences,
which is under the InCopy menu on a Mac
| | 16:43 | and under the Edit menu on Windows, go
to Interface and turn off this option,
| | 16:48 | Open Documents as Tabs. That way new
documents will open as regular floating
| | 16:54 | windows, if you are not a big fan of the tabs.
| | 16:57 | Notice, you can also turn this off,
Enable Floating Document Window Docking.
| | 17:02 | What that's referring to is this behavior.
If I drag a window off so that it's
| | 17:07 | just floating and then I drag the Title
bar back, do you see that blue line up
| | 17:10 | here? If I had turned off that
Preference we wouldn't see that blue line, but
| | 17:14 | because the Preference is on, and I see
that blue line when I release the mouse,
| | 17:19 | that's how you convert a floating
window back into a tabbed window.
| | 17:22 | So, by default, all the toolbars and
panels that are open in InCopy give you
| | 17:27 | ready access to the commands that you
will need most. Whether you are on Mac or
| | 17:30 | Windows, I think you will also
appreciate the new features in CS4.
| | Collapse this transcript |
| Managing panels | 00:00 |
So when you first open up a document
in InCopy, what you are seeing is the
| | 00:04 |
default set of toolbars and panels.
But there are many ways to customize how
| | 00:08 |
they work and to save those
customizations. For example, you could expand this
| | 00:15 |
panel dock on the right by clicking the
two little arrows, and that way you can
| | 00:20 |
easily see many panels at once. You
could also remove a panel, whether or not
| | 00:26 |
it's expanded or collapsed, just by
dragging it outside of the panel dock and
| | 00:32 |
dropping it. Then click the close box, and
now Hyperlinks is no longer part of this.
| | 00:39 |
I'm using the Advanced workspace, by
the way, that I chose from the workspace
| | 00:44 |
switcher up here in the Application bar,
because that gives us access to most
| | 00:48 |
of the panels that I'll be using in
these video tutorials. I believe, by
| | 00:52 |
default, it opens up to Essentials,
which is just that. It's the essential
| | 00:56 |
panel, but I prefer the Advanced.
| | 00:59 |
Now, another one that you might like
is the Writing workspace and you choose
| | 01:03 |
the Writing workspace then the panels
in the toolbars switch not only which
| | 01:08 |
ones are open but also where they're
positioned. They all have to do with tasks
| | 01:12 |
involved in actually writing text, as
opposed to say copyfitting or formatting.
| | 01:18 |
So notice that the panels here change.
Assignments should always be part of
| | 01:23 |
whichever panel arrangement you have,
because you use that all the time.
| | 01:26 |
It lists all of the editable stories in
the current document. But here we have the
| | 01:31 |
Hyperlinks panel and Text Macros; all
these I'll be talking about in future videos.
| | 01:36 |
Going across the top, take a look at
this. This is the Character panel that's
| | 01:41 |
been converted into a toolbar. And then
to the right of that we have some parts
| | 01:45 |
of the Paragraph panel, where if I had
a higher res monitor, we could see more
| | 01:51 |
of the Paragraph panel
commands going to the right.
| | 01:53 |
So, how is that done? Let me show you.
Let's switch back to the Advanced
| | 01:58 |
workspace. The toolbars can be detached
from their positions just as the panels
| | 02:04 |
can be detached from their positions.
Look for this little textured vertical
| | 02:08 |
bar here to the left of the toolbars
and then drag on that and drop it anywhere
| | 02:13 |
on the window.
| | 02:14 |
That's how you remove a toolbar from
the toolbar dock. So I could remove both
| | 02:19 |
of these toolbars. Then to close them,
go to the Window menu and choose the
| | 02:25 |
name of the toolbar. So, if I don't
want the Command Bar, just select it and
| | 02:29 |
now it's completely gone. Let's say
that I don't want to use the Change Bar
| | 02:33 |
either, because I would like to use the
Changes menu instead and I think that's
| | 02:36 |
superfluous. Again, go up to the
Window menu, go down to the Track Changes
| | 02:41 |
toolbar, turn that off. Now, let's
say instead I would rather have the
| | 02:45 |
Paragraph Styles appear here because
I frequently access Paragraph Styles.
| | 02:50 |
First you need to detach it from the
panel dock, just clicking it will open it,
| | 02:56 |
and then drag the Paragraph Styles
panel to anywhere in the toolbar area at the
| | 03:02 |
top or at the bottom. I'm going to put
it on the top and now we have a dropdown
| | 03:10 |
list of all of the styles used in
this document, which I think is lot more
| | 03:14 |
convenient to choose from them when
it's hidden over here on the right. I'll do
| | 03:18 |
the same thing with Character Styles.
| | 03:19 |
First bring it out, then drop it over
here in the toolbar and then you can go
| | 03:25 |
the other way as well. So, for example,
down here this Copyfit Info bar, if I
| | 03:29 |
drag it away from the toolbar, again
by dragging on that vertical bar, that
| | 03:33 |
textured area, it turns into a
floating panel. So, see some of these toolbars
| | 03:38 |
actually do convert into a panel as
opposed to just a floating toolbar as you
| | 03:42 |
saw earlier.
| | 03:43 |
So, now that it's a panel, I can drag
and drop it over on the right to become
| | 03:48 |
part of the panel dock. Now I can
always just click it to see the current
| | 03:52 |
copyfitting statistics for whichever
story I have active with my Type tool.
| | 03:58 |
Once you have customized the panels and
toolbars to how you like to work, then
| | 04:02 |
save them by going to the Window menu
or to the workspace switcher dropdown
| | 04:07 |
menu and choosing new workspace. When
you choose new workspace, InCopy is going
| | 04:13 |
to look at your current arrangement of
toolbars and panels and save that, and
| | 04:18 |
then you can give it a name. So, I'll
call this Anne-Marie's favorite workspace.
| | 04:27 |
You will see a dropdown list of any
other custom workspace that you have
| | 04:31 |
created; this is my first one so
nothing is here. It's going to capture both
| | 04:35 |
panel Locations and menu
Customization as well. Now, we didn't do any menu
| | 04:40 |
customizing, I'll show you what that's
about. In a second, it's not really that
| | 04:43 |
useful I don't think though for InCopy
users. I'll click OK and now it says,
| | 04:49 |
ANNE-MARIE'S FAVORITE WORKSPACE in all caps.
| | 04:52 |
If I'm working on a document and I
happened to mess this up, like for example,
| | 04:56 |
I open up some panels and then maybe
I'll open up some more from up here. Let
| | 05:00 |
me see the Notes panel and I have
accidentally docked this Notes panel to the
| | 05:08 |
Character panel alone. I didn't mean to
do that, but that's a feature. I should
| | 05:11 |
probably mention that if you bring one
panel up close to the other one, then
| | 05:15 |
they are like married, they travel as
one. You just double-click in the gray
| | 05:20 |
bar at the top to expand them and
then double-click again to collapse them.
| | 05:26 |
But now, what often happens when you
are working in InCopy and as any Creative
| | 05:30 |
Suite user can tell you no matter
which program you are using, you will run
| | 05:33 |
into panelitis. Where you are trying
to work on something and the panels
| | 05:38 |
are in your way. Well, one is
obscuring the other and you can't see it.
| | 05:43 |
So, don't bother tediously trying to
put these back the way they were. Instead,
| | 05:49 |
just go up to your workspace and
choose Reset down here, Reset Anne-Marie's
| | 05:56 |
favorite workspace, and it will
revert the workspace back to how it was.
| | 06:00 |
Now that menu Customization is
referring to this command here under the Edit
| | 06:05 |
menu. You can go to Edit > menus and
choose whether not a certain command is
| | 06:11 |
visible or not in the menu. So, for
example, if I never choose Transpose and
| | 06:18 |
it's just bugging me, that it's
in the menu, I could hide that.
| | 06:22 |
Or if there's always a command that I
go to a lot and I would like it to be a
| | 06:25 |
little easier to locate, like for
example, Paste without Formatting I can
| | 06:29 |
choose to give it a color. So, I'll say
OK. Now it's going to save them in the
| | 06:35 |
default set, which is usually not a
good idea, so I'm going to choose Save As
| | 06:39 |
and give it a name, AMs menu
mods, and now I'll click OK.
| | 06:46 |
So, then if I click an insertion
point or actually I think I'll select
| | 06:50 |
something and then copy it to the
clipboard, so that I have something to paste,
| | 06:55 |
and then go back to the Edit menu,
you will see that, that command that I
| | 06:59 |
colored orange is now orange
here, Paste without Formatting.
| | 07:02 |
So, it's quite easy to locate. You will
also notice that the Transpose command
| | 07:07 |
is missing from here and one way that
you can tell that there is a menu item
| | 07:11 |
missing, because somebody customized
it with, will be because InCopy will
| | 07:14 |
always show, Show All menu
Items at the bottom of the menu.
| | 07:18 |
If you see that, select it, and then
menu will immediately refresh, you don't
| | 07:22 |
have to go back up and click Edit
again. It will show you all of the menu
| | 07:25 |
commands. Or you could also go the
Window > Workspace and choose Show Full
| | 07:32 |
menus, which regardless of which
workspace you are in, will show all menu items
| | 07:37 |
regardless of what kind of
customizations happened. You can find that also up
| | 07:41 |
here in the workspace switcher, Show Full menus.
| | 07:45 |
So, for example, look at the Writing
set. This is a pre-built task-based
| | 07:49 |
workspace that comes with InCopy, that
we looked at the very beginning in this
| | 07:54 |
video and this workspace does have
menu Customization in it. So, if I look
| | 07:58 |
under the Edit menu, for example,
Find/Change and Spelling have been
| | 08:02 |
highlighted and there is the Show All
menu command at the bottom. As you go
| | 08:06 |
through the different menus, you will
see that some menu items will be colored
| | 08:09 |
specially, so that you could easily find them.
| | 08:13 |
When you save a workspace that gets
saved as an actual XML file on your hard
| | 08:18 |
drive, you can actually copy that XML
file and send it to somebody else or put
| | 08:24 |
it on a different computer, that
depending on the platform that you are on, you
| | 08:27 |
will find that in different places.
Right now I'm running under Vista and I
| | 08:32 |
have already prepped it here, and you
can see there is Anne-Marie's current
| | 08:35 |
workspace and Anne-Marie's favorite
workspace, the one that I just saved.
| | 08:40 |
Here is the whole path to it. On Vista,
look inside your local disk in the
| | 08:45 |
Users folder, Anne-Marie folder, and
then AppData Roaming, Adobe, InCopy. So
| | 08:52 |
this is where InDesign and InCopy stash
a lot of their user customizations. So,
| | 08:57 |
I could actually take this XML file
and place it into the same location in
| | 09:03 |
another computer or another account, and
then that workspace would be available.
| | 09:06 |
I don't why they don't make it easier
to load and save workspaces, but you will
| | 09:10 |
find that that's true of both InDesign
and InCopy and other interesting things
| | 09:14 |
that you can save, like for example,
Autocorrect sets or Scripts. Sometimes you
| | 09:22 |
really have to dig in there to find them,
but it is possible to do. People ask
| | 09:25 |
me that all the time.
| | 09:27 |
So, once you get used to the default
set of panels and toolbars, then you
| | 09:32 |
should take five or ten minutes to
customize it according to how you like to work.
| | 09:36 |
You will find that it makes working in
InCopy a whole lot easier and a lot more fun.
| | 09:41 |
| | Collapse this transcript |
| Navigating stories and views| 00:00 | There are lots of different ways to
navigate around a document when you are
| | 00:03 | working in InCopy and the ways that you
use depends in which view that you are in.
| | 00:07 | So, we will start out in Layout
view and I have opened up the
| | 00:11 | 03_Sell_Sheet.indd document directly in
InCopy from the Chapter 3 Exercise File
| | 00:17 | and checked out a story.
| | 00:19 | To check out a story, you can just
right-click on the story and choose Check
| | 00:23 | Out. Well, right now, it says Check In
because I have already checked it out,
| | 00:27 | which is one way. There are lots of
different ways and I'll be talking about
| | 00:29 | that later. But right now in Layout
view, we are looking at the document so
| | 00:34 | that it completely fits in the window
and to see the entire document, you can
| | 00:39 | use the scroll bar to drag down and
see all of the pages. This document only
| | 00:43 | has two pages. You can also just use
the scroll wheel, of course, and to switch
| | 00:49 | pages, you can use the pop-up menu at
the lower left of the window that lists
| | 00:54 | all the document pages, so you
can just choose one from there.
| | 00:57 | These pages underneath the separator
line are the master pages for the InDesign
| | 01:01 | document, which is something that the
designers use, and on those pages they
| | 01:05 | place items that will appear on
every document page. Normally, it's not
| | 01:10 | something that editors need to worry
about but if you want to take a look at it,
| | 01:13 | just choose either one of these
pages. You will see this is the master for
| | 01:17 | the A-Cover Page and these items would
appear on every document page that was
| | 01:21 | based on this master.
| | 01:23 | The dotted frames indicate that
these are master page items and there is
| | 01:28 | nothing on this page that has been
made editable, which is a good thing.
| | 01:32 | If there was anything that you changed
on this page would be mirrored on every
| | 01:36 | document page based on it, which
could lead to heartache. So, let's not do
| | 01:41 | that. I'm just telling you this
because I want you to be careful that you are
| | 01:44 | not on the master page when you are
working in InCopy. Keep an eye down here
| | 01:49 | and make sure that it shows a number for a page.
| | 01:52 | Now, a lot of times when you are
working in Layout view, the type will be too
| | 01:56 | small to edit effectively, so you want
to zoom in. You can use the commands in
| | 02:01 | the View menu to zoom in and out and as
soon as I open up the View menu, I'm
| | 02:06 | noticing that I have a workspace here
that I really don't want. So, I'm going
| | 02:10 | to go back to the workspace switcher
at the top and switch down to Advanced
| | 02:14 | workspace, which is a good work-a-day
workspace to use. I'm going to go
| | 02:19 | back to the View menu and now this is
the full list of all the different views
| | 02:23 | that we can work with.
| | 02:24 | So, right now, we are at Fit Page in
Window. So, if we resize the window, the
| | 02:28 | page would shrink or enlarge to all
this fit. If you are looking at a two-page
| | 02:32 | spread, you could choose Fit Spread
in Window and in the real world, most
| | 02:38 | people actually never go to the View
menu to choose these; you will quickly
| | 02:42 | memorize the keyboard shortcuts, that's
Ctrl+0 to fit page in window, not an O
| | 02:47 | and Alt+Ctrl+0 to fit spread in window.
Of course, you use the Command+0 on a
| | 02:51 | Mac or Option+Command+0 for the fit
spread in window. Actual size is Command+1
| | 02:57 | or Ctrl+1 and then the entire
pasteboard is basically leaned on the lower left
| | 03:01 | corner of your keyboard and then press
the 0. So, let's try that; click inside
| | 03:06 | any text frame on your pasteboard and
press Ctrl+Plus or Command+Plus if you
| | 03:12 | are on a Mac and the Plus key is the
one to the left of the Backspace or Delete
| | 03:16 | key, not the Plus key on your keypad.
So, Ctrl+Plus zooms in and you can just
| | 03:23 | keep holding down the Ctrl key or the
Command key while you tap on the Plus and
| | 03:26 | it will keep zooming in.
| | 03:28 | Now, as you zoom in, watch in the tab,
the title tab of that document and it
| | 03:34 | will tell you what is your current view
scale percentage. You will also see it
| | 03:38 | in the Application bar, in the Zoom
Level dropdown menu. Just keep on pressing
| | 03:43 | Ctrl+Plus or Command+Plus until it
won't zoom in anymore and you will see that
| | 03:47 | you can zoom in to 4000% in Layout
view which is about, I think, 3700% more
| | 03:54 | than you can in Microsoft Word. Though
you probably won't need to ever zoom in
| | 03:57 | this closely, it actually comes in very
handy when you are trying to do things
| | 04:01 | like footnote numbering or adding
special characters like em dashes and things
| | 04:06 | like that and you really want a close-up look.
| | 04:08 | I just pressed Command+Minus or Ctrl+
Minus a few times, that's the hyphen key
| | 04:13 | actually, to the left of the Plus
key on the keyboard to zoom out. So,
| | 04:16 | Ctrl+Minus or Command+Minus and what
we call minus, zooms out and then Ctrl+0
| | 04:22 | or Command+0 fits the page in the
window. There are also keyboard shortcuts
| | 04:26 | that you can press to quickly jump
to a particular view, like Ctrl+1 or
| | 04:29 | Command+1 is 100% view and Ctrl+2 or
Command+2 is 200%, Ctrl+4 or Command+4 is
| | 04:37 | 400% and Ctrl+5 or Command+5 is not 500
%, caught you, got you! No, it's 50%.
| | 04:41 | There you go.
| | 04:45 | Press Ctrl+Minus a whole bunch of
times until it won't zoom out anymore. This
| | 04:49 | is as far out as you can zoom, not
really that useful unless you are looking at
| | 04:54 | a document that is hundreds of pages
long; this is a fast way to scroll through
| | 04:57 | them. You will never see them arranged
left or right; they will always be one
| | 05:01 | spread after the other and each
page or spread will be bounded by that
| | 05:06 | pasteboard area that I talked about in
an earlier video. This view, by the way,
| | 05:10 | is completely editable. So, if you can
see what you are doing, you can click
| | 05:14 | inside a frame and start typing. If
somebody is watching you over your
| | 05:17 | shoulder, while their jaw's dropped,
you can ask them, is this the correct way
| | 05:21 | to spell a sentence? I can never
remember. And they will really be impressed.
| | 05:26 | Anyway, I'm going to press Ctrl+0 or
Command+0 if I'm on Mac to fit back in the
| | 05:30 | window. You might have noticed the
little magnifying glass over here on the
| | 05:34 | left; you can use that as well. So,
just selecting that tool and then going
| | 05:38 | back over your Layout, click once to
zoom in and keep on clicking and it zooms
| | 05:44 | in, in different increments; the
higher the zoom level, the larger the
| | 05:48 | increment it jumps, so 600%, 800%, 1200
% and so on. Hold down the Alt or the
| | 05:53 | Option key with that Zoom tool
selected to zoom out. I hardly ever switch to
| | 05:59 | this tool though because it is such a
pain, I usually like to stay on a Type
| | 06:02 | tool. You can use a keyboard shortcut
while you have the Type tool selected to
| | 06:06 | give yourself a temporary Zoom tool
and that is Ctrl+Spacebar on a PC or
| | 06:14 | Command+Spacebar on a Mac. It's
important press the Ctrl or Command key down a
| | 06:19 | little bit before the space bar;
otherwise you might end up putting in a run of
| | 06:22 | spaces in some text if
your Type tool is in there.
| | 06:25 | So, with these keys held on, I have a
temporary Zoom tool and now I can click
| | 06:29 | if I would like to. I never actually
used this tool to zoom in and out though
| | 06:33 | just by clicking. Instead, this is a
great tool for zooming in on a particular
| | 06:37 | area of the layout. For example, let's
say that I want to work closely with the
| | 06:41 | text in this little box here, I can
use this tool to just drag a selection
| | 06:45 | rectangle around that area and then
release it and InCopy zooms in to fit that
| | 06:51 | little area that was surrounded in my
selection rectangle into the window. I'm
| | 06:55 | going to switch back to the Type
tool and press Ctrl+0 to fit in window.
| | 06:59 | Another tool that you will find useful
is the Hand tool. The Hand tool lets you
| | 07:04 | pan the page around within the window
just by dragging. All right, in fact, I
| | 07:10 | very seldom use the scroll bars unless
I just need to quickly get to the left
| | 07:14 | page of a document or something.
Normally, I have the Type tool and I'm zoomed
| | 07:18 | in, so I'm switching to the Type tool,
clicking in an Insertion point; pressing
| | 07:22 | Ctrl+Plus a few times to zoom in. Let
me fix this one here. Enhanced, there we
| | 07:28 | go. Let's say that I want to look at
something at the bottom of this page, I
| | 07:32 | can use the Hand tool to drag to the
bottom of the page and then switch back to
| | 07:37 | the Type tool.
| | 07:38 | Now, you don't actually have to switch
tools to get to the Hand tool. Let's say
| | 07:42 | that I have the Type tool and now I
want to go back up to the top of the page.
| | 07:46 | Just stay with the Type tool, hold
down the Alt key and that gives you a
| | 07:50 | temporary Hand tool. So, keep the Alt
key held on as you drag the page around
| | 07:55 | in the window and then when you have
arrived at the place that you want to work
| | 08:00 | with, then you can release the Alt or
Option key and you still have the Type
| | 08:03 | tool to work with.
| | 08:04 | Too many times, I have seen editors
working with InCopy in the Default view
| | 08:09 | which is Fit in Window and they never
change the view when I see them squinting
| | 08:12 | at the page. Please, don't forget
that you can always press Command+Plus or
| | 08:17 | Ctrl+Plus to zoom in or Minus to zoom
out. Nobody expects people to be able to
| | 08:22 | edit text when it's this small in the window.
| | 08:25 | Now, switch to Galley or Story, I'm
going to switch to Story view and notice
| | 08:29 | that these tools are grayed out,
both the Zoom tool and the Hand tool and
| | 08:33 | Effect the Position tool, which is
used for images. Now, obviously, the
| | 08:36 | Position tool is grayed out because
you can't work with images in Galley or
| | 08:40 | Story; they are just for editable text
stories. But why can't we zoom in? What
| | 08:44 | if this type is too small? Well, you
are not supposed to use that, instead you
| | 08:48 | are supposed to change the size of
the Type in this view. That is what this
| | 08:53 | little toolbar is at the lower left,
Galley and Story Appearance. So, the
| | 08:58 | default font is Letter Gothic, which
I personally don't like; look at the
| | 09:02 | little lower case Ls (l),
they look like 1s to me.
| | 09:05 | You can choose a different type
phase from any that are installed on your
| | 09:08 | computer and choosing a different type
phase only changes how the type looks in
| | 09:13 | Galley and Story; it does not actually
do any kind of formatting at all to the
| | 09:17 | actual layout. So, you want to choose
a type phase that has Bold, Italic, and
| | 09:21 | Bold-Italic installed in it, otherwise
you get in a little alert and I'll show
| | 09:25 | you why in a minute. I'm going to
choose Times New Roman, which I think is a
| | 09:30 | lot easier to read on screen than
Letter Gothic was and notice now, I can see a
| | 09:35 | difference between text that
is plain and text that is bold.
| | 09:39 | Galley and Story did not show you the
actual formatting used in layout, except
| | 09:44 | when the text has been changed to Bold,
Italic, or Bold-Italic and then as long
| | 09:49 | as Galley and Story is using a type
phase that has those styles installed, you
| | 09:53 | could detect the difference. You can
also change the type size down here in the
| | 09:58 | Galley and Story Appearance toolbar.
Text Preview Size, 24 and you can change
| | 10:03 | the spacing from Singlespace to, let's
say, Doublespace. I'm not quite sure why
| | 10:09 | I'd want to do that, I mean, normally
change something to double space, so you
| | 10:12 | can write proofreading marks in
between the lines but you are not going to
| | 10:15 | enter it right on the monitor or at
least, I hope you are not going to, but
| | 10:18 | maybe for some people, this
makes it easier for them to see.
| | 10:21 | You can also go to the Edit menu and
choose Preferences; on a Mac, this is
| | 10:26 | under the InCopy menu and you will see
an entry under Preferences for Galley
| | 10:29 | and Story Display which gives you
more ways to customize a Galley and Story
| | 10:35 | work on your computer. For example,
instead of the normal cursor down here, I
| | 10:40 | would like to use the Barbell because
I think it's a lot easier to see that
| | 10:43 | blinking Barbell when it's within text.
In text in Galley and Story, sometimes
| | 10:49 | turns into a massive gray because all
the type phases basically are the same.
| | 10:52 | So, it's a lot easier to spot where
your cursor is with the Barbell. You can
| | 10:56 | also change the color of the text and
the background and you will see a little
| | 11:00 | preview of what that looks like. This
is actually a pangram, it uses every
| | 11:06 | letter of the alphabet within here,
which I think is interesting, and on our
| | 11:09 | blog on indesignsecrets.com, we sell a T-shirt
with this written on it, just by the way.
| | 11:14 | I have encountered many editors who
would like to change the background color
| | 11:18 | to something, a little less bright.
For example, well, let's just try Canary,
| | 11:25 | something like that. There is also some
built-in themes, so if you want Classic
| | 11:28 | System with gold text on a blue
background, you could switch to that. The
| | 11:33 | default is Ink on Paper. Let's go
ahead and change that color to Canary and
| | 11:39 | click OK. So, you might find this a
little easier to work with an editing view.
| | 11:44 | Now, if you are wondering, what's
happening in Layout view, I'm going to make a
| | 11:47 | selection and switch over to Layout
and you will see that it has no effect
| | 11:51 | whatsoever in Layout view, on your
formatting or background. It's just a way to
| | 11:55 | edit text easier in Galley and Story.
I'm going to switch back to a smaller
| | 12:00 | type size and turn off.
I'll go to 150%. There you go.
| | 12:08 | One last way to navigate around the
different views, there's something new in
| | 12:11 | CS4 that I want to tell you about. It's
also available in InDesign CS4. It only
| | 12:15 | works in Layout view and it might
happen to you by accident, so that's why I
| | 12:19 | wanted to bring it to your attention.
Switch to the Hand tool and then press
| | 12:24 | and hold anywhere on the page in
Layout view. Wow! What is happening there?
| | 12:30 | This is actually a new feature called
Power Zoom and it kicks in a few seconds
| | 12:35 | after you are pressing and holding
with the Hand tool. If you just press and
| | 12:38 | hold to start dragging the page around,
it will pan around within the window as
| | 12:42 | normal but if you wait a few seconds,
you will go into Power Zoom mode.
| | 12:46 | Power Zoom mode lets you quickly zoom
in on particular areas of the page by
| | 12:51 | pressing and holding and then you can
use the scroll bar on your mouse; if you
| | 12:55 | are very dexterous, you have to keep
the mouse button held on while another
| | 12:58 | finger is dragging your scroll wheel
or you might find it easier just to use
| | 13:03 | the Up and Down arrow keys with your
other hand. But here is the idea; I would
| | 13:06 | say that I want to zoom in on this
little section right here on Page 1, once
| | 13:10 | you resize that little red rectangle to
encompass the area and then you release
| | 13:14 | the mouse and it zooms into that area.
| | 13:17 | Now, if I press and hold again with
the Hand tool, the red rectangle is right
| | 13:23 | there and now I can drag that
rectangle to another page in the same document
| | 13:27 | and release the mouse and now, I
have zoomed in there at the exact same
| | 13:30 | percentage. So, you can quickly, if you
need to spot check a bunch of different
| | 13:36 | areas in your document or you are
just zooming by checking margin notes or
| | 13:40 | footnotes on page by page by page,
you might find this very useful.
| | 13:43 | Now remember, to make it go into
effect, you have to have the Hand tool and
| | 13:47 | then press and hold for a minute and
then when you see these little arrows up
| | 13:50 | here on the little Hand icon, that
mean that you are in Power Zoom mode and
| | 13:53 | then you can move around and you just
use the Up and Down arrow keys or the
| | 13:57 | scroll wheel on your mouse to change
the size of this. I'm going to press
| | 14:02 | Ctrl+0 to fit in window. So, between
all these tools and keyboard shortcuts,
| | 14:07 | InCopy offers many options to navigate
between the different views and get a
| | 14:13 | close look at exactly what you want to see.
| | Collapse this transcript |
|
|
4. InCopy Editing EssentialsWorking with the Assignments panel| 00:00 | When you open up an assignment or a
layout in InCopy, the Assignments panel,
| | 00:05 | which is part of the default workspace
on the right, lists all of the editable
| | 00:11 | stories in that document. If you
don't see the Assignments panel, for some
| | 00:15 | reason you closed it, go to the Window
menu and choose Assignments to open it up.
| | 00:19 | We are using a layout-based workflow,
as I mentioned you in the beginning of
| | 00:23 | this title, to make things simple. So,
at the top of the Assignments panel,
| | 00:28 | we see the name of the document that I
have opened, which is Bliss_Magazine.indd
| | 00:33 | from your Chapter 4 Exercise Files.
I have switched to Layout view, if you
| | 00:38 | haven't done that already. So, at the
top we see the name of the magazine and
| | 00:42 | because we are not using an assignment-
based workflow, we don't have any actual
| | 00:46 | assignment names here. I'll be
covering that in more detail in Chapter 15 in
| | 00:51 | Assignment-Based Workflow. Instead,
we have exported all the InCopy stories
| | 00:55 | directly from the layout and they
are sitting in a folder in our Project
| | 00:58 | folder on the server and so
InDesign put them into this category called
| | 01:02 | Unassigned InCopy Content.
| | 01:04 | So, each story appears as its InCopy
file name, the one that InDesign assigned
| | 01:11 | when it was exported from the layout,
and then it also is followed by its
| | 01:15 | status, if the story is available to
be checked out, if somebody else has
| | 01:19 | checked it out or if you are currently
editing the story and then also we see a
| | 01:24 | little icon to the far right of that;
the T means that it's a text frame and
| | 01:28 | the square with an X in it means it is
an image frame, because in this layout,
| | 01:32 | the designer exported some images to
the workflow as well. You see the same
| | 01:37 | icons on frames within the layout and
if you click inside of a frame, that
| | 01:43 | story gets highlighted in the Assignments panel.
| | 01:46 | The only reason to concern yourself
with that is if you would like to use any
| | 01:51 | of the Assignment panel buttons at
the bottom or the Assignment panel menu
| | 01:56 | commands by clicking on its panel menu
icon because the Assignments panel wants
| | 02:02 | to know which story are you talking
about when you choose a button or a menu
| | 02:05 | command. However, because the names
that InDesign automatically assigns to the
| | 02:12 | InCopy stories are often
incomprehensible then the usual way to isolate a
| | 02:17 | certain story in the Assignments panel
is to find it in layout first and then
| | 02:22 | click inside that story, so that it
gets highlighted in the Assignments panel
| | 02:28 | and then you can go on and choose your command.
| | 02:30 | Now, here in Layout view, we are
looking at the default view, which InCopy and
| | 02:34 | InDesign use these gray bars called
text greeking and if you are coming from
| | 02:39 | Word, this might look very strange.
It's because we are zoomed out at a low
| | 02:44 | percentage, InCopy assumes there is no
possible way this person is trying to
| | 02:48 | edit this text. Therefore, to save a
little processing time, I'll just put gray
| | 02:52 | bars and the line endings do roughly
match the actual line endings. If you
| | 02:56 | zoomed in by pressing Command+Plus or
Ctrl+Plus once or twice, then you would
| | 03:00 | certainly see the letters because now
it's large enough. That drives me crazy
| | 03:04 | though, so I'm going to just change my
Preferences by going to the Edit menu
| | 03:08 | and choosing Preferences; if you are on
a Mac, choose it under the InCopy menu
| | 03:11 | and go down to Display Performance.
| | 03:16 | Display Performance changes how things
look like in layout and what we want to
| | 03:21 | change is this field right here, Greek
Type Below. What it's saying is that at
| | 03:25 | seven points or less, then it's going
to show those gray bars; I would like to
| | 03:29 | say, at two points or less. While I'm
here, I would like the Default view to be
| | 03:34 | high quality so all the pictures look
at high res rather than a low res. If you
| | 03:40 | are on the slow network or you have a
slow computer or one without a lot of
| | 03:43 | RAM, you should stay with Typical or
change to fast, which actually replaces
| | 03:48 | images with just a gray
fill and then I'm clicking OK.
| | 03:55 | So now, even if I press Ctrl+0 to
fit in window or I press Ctrl+Minus or
| | 04:00 | Command+Minus a few times to zoom out,
we still see the type, it's not until we
| | 04:06 | get really far zoomed out that we
see the gray bars and I like that a lot
| | 04:10 | better. Now, if you double-click one of
these stories in the Assignments panel,
| | 04:16 | InCopy will jump to that page and
select that story. So, I double-clicked on
| | 04:21 | one that's an image, see the X in it
and it jumped to that page which is Page
| | 04:25 | 5, as you can see down here and select
the image, which is editable because the
| | 04:31 | designer exported it.
| | 04:32 | Let's click on a text one. So, I'm
going to just double-click on this one and
| | 04:36 | it jumps to that text frame. Again, if
I just click inside of a story, then it
| | 04:40 | selects it there. The Assignments panel
works in all views by the way. So, if I
| | 04:45 | switch to Story view and I click
inside of a story, you will see that the
| | 04:49 | Assignments panel also highlight that
story and if I double-click on a text
| | 04:53 | story, remember, Story and Galley view
do not show images, only text. So, say
| | 04:58 | this one, Our Beans here are, then it
jumps my cursor to that story. If my view
| | 05:05 | of Story and Galley looks slightly
different than yours, it's because I like
| | 05:08 | this view, I have modified it in
Galley and Story Appearance, I have changed
| | 05:13 | the font to Times New Roman and
enlarged the type size and line spacing. If you
| | 05:18 | are not familiar with what I have done,
it's covered in the InCopy Interface chapter.
| | 05:22 | Once you have checked out a story,
let's come back over here and I'm going to
| | 05:26 | press Ctrl+0, let's try this story
here and I'm going to check it out by just
| | 05:34 | clicking on the little Check Out
Selection icon, so that there is a pencil that
| | 05:39 | appears letting me know
that I have checked it out.
| | 05:40 | You can rename the story in the
Assignments panel if you would like. Just click
| | 05:45 | once in the Checked Out story name
in the Assignments panel and give it a
| | 05:49 | different title, like I could call this,
pastille feature story. This will be
| | 05:56 | how the story will appear in the
Assignments panel for any editor or designer
| | 06:01 | who opens up this layout. Your edits
that you make to assignment names do not
| | 06:06 | affect at all the actual linked
external InCopy file that's inside that Stories
| | 06:12 | folder; it's just for a show only and
it's trapped in a little extra file, an
| | 06:16 | XML file that travels inside the Project folder.
| | 06:19 | Now, you maybe thinking, okay, if I
open up a layout that has a ton of exported
| | 06:23 | stories, what a pain to have to
select the story, click the guy, select the
| | 06:26 | story, click the guy. You really
never need to do that; here is a fast way.
| | 06:30 | Just select the entire category and
then select the icon. Bang! All the stories
| | 06:37 | are checked out. If you want to check
them back in, again, select the name of
| | 06:41 | the category up here, which is
Unassigned InCopy Content, and check it back in.
| | 06:46 | We will always get this warning
whenever you check in a story that you can't
| | 06:50 | undo it, just say, yeah, that's fine,
check it in and it checks in all the
| | 06:54 | stories meaning they are now editable
for other people to check out. One final
| | 06:58 | thing that the Assignments panel is
very useful for is, if you are working in
| | 07:02 | Layout view but you don't want see the
frames, for example, you might come up
| | 07:07 | to the View options and turn off
Frame Edges, then you'll lose your little
| | 07:12 | icons here and if you are not sure
somebody else is working on the story or
| | 07:16 | even if it is an editable story, you
can quickly open the Assignments panel and
| | 07:20 | you will see the Status icon. On the
other hand, let me scroll down to this
| | 07:24 | spread here, if you click inside of a
story and nothing gets highlighted in the
| | 07:29 | Assignments panel, that means it is not
a workflow story, which you can confirm
| | 07:33 | by showing the Frame Edges again and
you will see no icons here. And of course,
| | 07:40 | as a feature, InCopy screens back
content that is not editable to you when you
| | 07:46 | are looking at it in Normal view.
| | 07:48 | If you switch to Preview view though,
you can see everything in its full-color
| | 07:53 | glory. So, the Assignments panel is
quite useful. It tells you everything that
| | 07:57 | has been exported to InCopy format from
within this layout letting you know how
| | 08:02 | many stories you have to deal with
and in case you forget your user name,
| | 08:07 | ha! Notice at the very bottom it reminds
you who you are, which can happen when
| | 08:10 | you are under deadline.
Hey! It has happened to me.
| | Collapse this transcript |
| Editing in Layout view| 00:00 | Let's talk about editing text in Layout
view and a lot of what I will be
| | 00:04 | talking about is specific to Layout
view or we will be spending all of our time
| | 00:08 | here. A lot of the things that I
mentioned will also be possible in Galley and
| | 00:12 | Story. Before we begin, let me
just orient you. I have opened up
| | 00:17 | 04_Bliss_Magazine.indd in InCopy.
| | 00:20 | I'm in Layout view by clicking on
the Layout tab. I'm using the Advanced
| | 00:25 | workspace and if you have been
messing around with the workspace, you can
| | 00:29 | switch to Advanced. You might need to
choose Reset Advanced, which will remove
| | 00:34 | any customizations you have done to
Advanced. And before you start to edit in
| | 00:38 | Layout view, it's always a good
idea to turn on Hidden Characters.
| | 00:42 | You can do that from the Type menu >
Show Hidden Characters, or use this
| | 00:46 | keyboard shortcut. You can also do it
from the Application bar, View Options
| | 00:51 | widget, just choose Hidden Characters
to show it. Or you can click the little
| | 00:56 | paragraph symbol, the
pilcrow up here in the Command bar.
| | 00:59 | In the way, you can tell where
paragraphs end and what's causing white space.
| | 01:05 | Is it a tab mark, is it a run of spaces?
Before you can actually edit, of course
| | 01:10 | you have to check out the stories and
in previous videos, I showed various ways
| | 01:15 | to check out stories.
| | 01:16 | One of the fastest ways is just to open
the Assignments panel, select the name
| | 01:21 | of the category, Unassigned InCopy
Content, and click the little guide to check
| | 01:26 | out the selection. And it knows that
you mean to check out all the stories in
| | 01:29 | this category, which are all the
stories that are editable in this Layout.
| | 01:35 | One thing that bugs me whenever I'm
working in Layout view is how these
| | 01:39 | tooltips always appear that remind me
that I'm editing all these stories. So,
| | 01:43 | let's turn that of by going to the
Edit > Preferences flyout menu. On a Mac
| | 01:49 | they would be under the InCopy menu.
Choose Preferences, go to Interface and in
| | 01:55 | Cursor Options Tool Tips, change it
from Normal to None and then click OK. And
| | 02:03 | now we don't have those appearing all the time.
| | 02:05 | Let's zoom in to some text. I have
scrolled to the second spread in this Bliss
| | 02:11 | Magazine Layout. Click inside of this
story and I'll press Command or Ctrl+Plus
| | 02:18 | a few times to zoom in. And now we can
see the little dots indicating spaces.
| | 02:23 | So if you click in between a couple of
words and hit the Spacebar a few times,
| | 02:27 | you can see the spaces appear.
| | 02:28 | Go ahead and press a Tab, so you can
see the invisible character that marks
| | 02:33 | what is a Tab, and we can tell what
is the Return key, right there the
| | 02:40 | character return, the pilcrow.
Whenever InDesign or InCopy adds an automatic
| | 02:46 | hyphen because hyphenation has been
turned on, it adds this little tilde mark
| | 02:51 | above the hyphen so that you know it's
not something somebody actually typed in;
| | 02:54 | i'ts one that was put there.
| | 02:55 | If we delete the words before it, then
you will see it disappears. I'm going to
| | 03:00 | undo with Ctrl+Z. Double-click a word
and it selects the word. If you press
| | 03:06 | Backspace or Delete or you cut it to
the clip-art, lets go ahead and cut it,
| | 03:10 | Edit > Cut, or Command or Ctrl+X.
Notice that it also deleted the trailing
| | 03:16 | space, so it's a smart cut and we
select for that one word, right. Let's go
| | 03:21 | ahead and click in front of another
word, just directly in front of another
| | 03:23 | word and choose Paste or Command Ctrl+
V, you will see it adds the trailing
| | 03:29 | space right away. So it's a smart cut and paste.
| | 03:32 | Now double-clicking selects a word,
triple clicking selects the entire line and
| | 03:38 | quadruple clicking selects the entire
paragraph including the end of paragraph
| | 03:44 | returned, which is very useful.
Because if you had the hidden characters
| | 03:48 | hidden- I'm going to click on the
little Pilcrow icon- and you wanted to delete
| | 03:52 | this paragraph and all you did was
drag over the entire paragraph from first
| | 03:57 | character to last character and then
pressed Backspace or Delete, you will see
| | 04:01 | that we actually end up with a rough
empty character turn, which we don't want.
| | 04:06 | We can turn that back on and see it.
Let me press Ctrl+Z to get back to this,
| | 04:12 | if instead, we turn of the symbols and
then quadruple click, it always selects
| | 04:19 | that final paragraph symbol. Now if
we choose Backspace again, you see it
| | 04:23 | didn't leave that hanging there.
| | 04:24 | So it's a much better way to select
that entire paragraph of text is to
| | 04:27 | quadruple click and again these
selection methods also work in Galley and
| | 04:31 | Story. Let's undo with Ctrl or Command+
Z and turn our hidden characters back
| | 04:39 | on. When you double-click a word, if
you start dragging and then it selects one
| | 04:43 | word at a time. If you triple click a
line and keep your mouse button down on
| | 04:48 | the third click, then as you drag it
selects one line at a time and did it for
| | 04:53 | one paragraph at a time, if
you select to entire paragraph.
| | 04:56 | Lets zoom out again with Command or
Ctrl+0 to fit in window, and in Layout
| | 05:02 | view, you may find some of the images
distracting. If you open up your Layers
| | 05:06 | panel, if it's not part of your
docked panels on the right, just go to the
| | 05:12 | Window menu and choose Layers.
Sometimes the designers will have set up the
| | 05:18 | layout in Layers so that you can click
on the eyeball next to a certain layer
| | 05:23 | to hide those elements.
| | 05:25 | So apparently in this spread, there is
nothing on this artwork layer but if we
| | 05:29 | click on the eyeball next to text, all
the text disappears. If we click on the
| | 05:34 | eyeball next to Background, then that
image disappears. It only works as well
| | 05:39 | as your artist has created it. For
example, if we scroll down to the third
| | 05:47 | spread, you will see that this frame
around this circle of candy, which looks
| | 05:52 | delicious, is red, which is a clue
that this is on a different layer. See the
| | 05:58 | artwork color is red, then the text.
| | 06:02 | The frame is colored green. So if we
click on the eyeball next to artwork, we
| | 06:07 | hide the artwork. It still works, the
text is still wrapping around that image
| | 06:12 | but now we are not distracted by the
image as we are editing in the text. So
| | 06:17 | you can use that to your advantage,
especially if you are encountering
| | 06:21 | something in Layout where you have
elements that are lying directly on top of
| | 06:25 | each other. Sometimes it's hard to
get to text if an artwork completely
| | 06:28 | obscures something else.
| | 06:30 | All you need to do is hide that the
layer when it's on and if you are not
| | 06:33 | finding layers, then contact the
designer ask assign them to layers because you
| | 06:37 | cant do that yourself in InCopy and
that refresh your design which I'll be
| | 06:42 | showing you later on. Which actually
brings me to a good point, you cannot
| | 06:47 | assign items to layers and the reason
is because you don't have the right tool.
| | 06:51 | InCopy users do not have access to a
Selection tool. So they can't select an
| | 06:56 | actual frame, all they can
select is the contents of a frame.
| | 07:01 | You cannot add pages, remove pages,
move frames around, resize frames or add
| | 07:07 | frames themselves, like if I wanted a
different picture over here, I couldn't
| | 07:11 | do it. If I wanted to move this picture
to the right, I couldn't do it. However
| | 07:15 | because this picture has been exported
to the workflow, as you can see with the
| | 07:20 | Pencil icon, when I click on it, I
can drag the picture around within the
| | 07:24 | existing frame. But that's about it.
I can't move the actual frame around anywhere.
| | 07:32 | Let's look at another issue that you
encounter very often in Layout view and
| | 07:35 | that's dealing with over set text. In
this third spread, which is page 5, you
| | 07:39 | can see it says page 4 here where
they were first to the first page on the
| | 07:43 | spread. So over here on page 5, lower
right, click inside that little frame
| | 07:48 | that start with Vanilla Beans, and
press Ctrl+Plus a bunch of times to zoom in.
| | 07:53 | What I like is that when you press Ctrl+
Plus, InCopy keeps the cursor centered
| | 07:58 | on the screen.
| | 07:59 | This is an instance of over set text,
so the text that was written in here
| | 08:02 | doesn't fit to the frame and you can
see the over set mark here and also the
| | 08:06 | over set indicator here InCopy fit
progress and it tells you approximately how
| | 08:11 | many lines its over. To access over
set text, you have to switch to either
| | 08:14 | Galley or Story view. You can't really
access it in Layout view. You can choose
| | 08:20 | the keyboard shortcut Ctrl+A or Command
+A on a Mac, which is Select All from
| | 08:26 | the Edit menu, which does select all
the text in this story whether or not it's visible.
| | 08:33 | If I pressed Backspace to delete, then
suddenly all the text is gone, even the
| | 08:37 | over set text and that not normally
something you want to do. So I'm going to
| | 08:41 | press Ctrl+Z or Command+Z on the Mac
to get it back and instead what you want
| | 08:45 | to do, is you want to switch to Galley
or Story view to access that over set
| | 08:48 | text. So I'm going to select some text
here, which is my usual tip for before
| | 08:53 | switching views.
| | 08:54 | So let's go to Galley view which is
little easier to see and you could see it's
| | 08:58 | just one word that is causing the over
set. So here is the story in Galley view
| | 09:04 | with the correct line endings as shown
in Layout. Here is the copy fit break
| | 09:08 | mark and the red line next to it saying
this one word is making it too long. So
| | 09:12 | to do copy fitting you have to switch
to Galley and Story and so we could just
| | 09:17 | say Vanilla Beans. I'll just delete
this whole line here, 'provide the balance
| | 09:22 | between bitter and sweet' and now it
fits. And we will go back to layout view
| | 09:28 | and you can see now it fits.
| | 09:30 | So Layout view is great for being able
to edit text within the context of the
| | 09:34 | design and there are fast ways to
select text and to move around the text
| | 09:39 | frames and pages in your document.
| | Collapse this transcript |
| Editing in Story or Galley view| 00:00 | Working in Layout view in InCopy is
very cool but sometimes you really don't
| | 00:05 | care about the formatting of text,
you really don't care about what images
| | 00:08 | there are. You just want to write the
story, you just want to concentrate on
| | 00:11 | the words and InCopy is there for you.
| | 00:15 | So I have opened up the 04_Bliss_
Magazine.indd file from the chapter04 exercise
| | 00:20 | folder and I'm going to check out all
the stories by selecting the Unassigned
| | 00:27 | InCopy content category, clicking the
Check Out icon at the bottom. A fast way
| | 00:32 | to check out all the stories so
can edit them all while we're playing.
| | 00:34 | So when you are in Layout and you want
to switch to another view, a good idea is
| | 00:39 | to select some text and then click in
that other view. Let's click in Story
| | 00:43 | view and the reason you select text is
so that you can orient yourself to where
| | 00:48 | you are because if this wasn't selected,
you would be like, what am I looking at?
| | 00:52 | I have turned on a Hidden Characters
by clicking on the pilcrow icon here, so
| | 00:56 | that we can see the hidden characters
indicating Returns, Tabs, Spaces and so
| | 01:03 | on. If I press Tab here, you can see
the little Tab marks appear and as I
| | 01:08 | mentioned before in an earlier video,
you can't use the Zoom tool or the Zoom
| | 01:13 | commands. They are grayed
out in either Galley or Story.
| | 01:17 | Instead if you want to make the type
larger, change the settings in Galley and
| | 01:22 | Story appearance in the Galley and
Story Appearance toolbar at the bottom
| | 01:25 | left. So if I want to make the type a
little larger, I might change it to 18
| | 01:28 | points. As in Layout view, you can
double-click to select a word and then if
| | 01:34 | you cut it with Command or Ctrl+X, and
then paste it in front of another word
| | 01:38 | directly in front, it
automatically comes in with the trailing space.
| | 01:43 | So it's a smart cut and paste.
Similarly triple clicking; one, two, three,
| | 01:48 | select the entire line and quadruple
clicking, select the entire paragraph
| | 01:53 | including the ending character return.
By the way, in case you are curious,
| | 01:57 | clicking five times selects all.
Though I think it's a little easier to press
| | 02:03 | Ctrl or Command A to select all
the content of a particular story.
| | 02:07 | First maybe you had too much too
much coffee and you are going to end up
| | 02:10 | selecting all anyways. So in that case,
try to just come down. At the very top
| | 02:15 | of the story, we have the Story bar. I
talked about these briefly in earlier
| | 02:19 | chapter but let's look at them again.
| | 02:21 | The Story bar is what separates one
story from the next and Story and Galley
| | 02:26 | view; in general, list every editable
story in the current open document. One
| | 02:31 | right after the other. It also tells
you the status of the story; you don't see
| | 02:36 | icons like the globe and the piece of
paper or the pencil. Instead it tells you
| | 02:40 | be a text if you are editing it, which
is the pencil, or if somebody else is
| | 02:44 | using it or if it's available to be checked out.
| | 02:47 | There are collapse triangles to the
left, so you can close them and open them
| | 02:51 | to collapse all the stories expect for
the one that you are working on, and its
| | 02:55 | if there, lets say that we are working
on this long story here, the beginning.
| | 03:00 | If I hold on Option or Alt and then
click on that little triangle, that
| | 03:05 | collapses all the stories in the
document except for the one that I'm working on.
| | 03:10 | Now we are just talking about
collapsing the stories in this view, of course in
| | 03:14 | Layout nothing has changed. One thing
that is missing here as far as format is
| | 03:22 | concerned, are the indents. So it
makes a little difficult to tell when a new
| | 03:26 | paragraph begins. One clue, of course,
is just to look for the little end of
| | 03:31 | paragraph returns here; another clue
in that InCopy will always show the name
| | 03:36 | of a paragraph style on the
first line of that paragraph.
| | 03:39 | So this paragraph to style with the
Body style, this paragraph is styles with
| | 03:45 | the Sub head style and so on. What you
could do is go to the View menu and all
| | 03:51 | the way toward the bottom to Show
Paragraph Break Marks. This in only available
| | 03:55 | when you are in Galley or Story. And
then InCopy will insert these chevrons at
| | 04:00 | the beginning of every paragraph. It
has no reflection at all whether or not
| | 04:05 | that paragraph actually
has the first line indent.
| | 04:07 | In the Layout, this is just a visual key,
where the paragraph starts which can
| | 04:13 | be helpful. One thing that's turned on
by default in Story and Galley view is
| | 04:17 | Drag and Drop text. Now some people
love that, some people hate it, I'm
| | 04:21 | personally a fan. Let's say that we
want to move the phrase, dark chocolate, to
| | 04:26 | in front of another phrase. Notice
that when I have selected some text, my
| | 04:30 | cursor turns into an arrow with a T,
indicating that it's in Drag and Drop mode.
| | 04:35 | So now I can drag and where heavy bar
appears indicates where that selection is
| | 04:40 | going to move to when I release the
mouse. So I might put it right here for
| | 04:44 | example. Drag and drop text can also
be enabled in Layout view, or it can be
| | 04:49 | turned off in any view via Preferences.
If you are not interested in looking at
| | 04:55 | the column depth or the names of the
paragraph styles, you van turn off those
| | 04:59 | items by going down here to Galley and
Story Appearance and clicking on this icon here.
| | 05:05 | So this one hides the Style names,
and you can drag this bar to the left to
| | 05:10 | give yourself more area to edit the
text if you would like. So let's talk again
| | 05:17 | about the difference between Story and
Galley mode. If we switch to Galley, it
| | 05:23 | looks almost exactly as the same as
Story except for the line endings and
| | 05:27 | actually h has a few more
features that aren't readily apparently.
| | 05:30 | First of all the line endings are
accurate, they match if it's in the Layout
| | 05:33 | view. If I select some text here,
look at the line endings and then if we
| | 05:40 | switch to Layout view, you might need
to zoom in a few times, you will see that
| | 05:45 | the line endings match. We will note
there is the first syllable of this word
| | 05:50 | and then the word 'High'. If you look
at that in Story view, however, you don't
| | 05:54 | see those accurate line endings.
| | 05:56 | So that's very useful. Whets also
useful in Galley, switch back to Galley mode,
| | 06:01 | is that you see page breaks. So if
you are concerned that an article that
| | 06:05 | continues from one page to the next has
a bad break, you can preview that here
| | 06:10 | and fix it. Let's go back to Layout view,
and zoom out with Ctrl or Command 0,
| | 06:19 | and scroll down to another story on page 6.
| | 06:25 | So this is a story about the seattle
office of this chocolate company. His
| | 06:29 | having an anniversary and they have
even created a new logo. If you can see in
| | 06:34 | this little box here, there is a little
caption. Click inside that caption and
| | 06:37 | lets zoom in with Command or Ctrl+
Plus a few times, it's a little too much.
| | 06:42 | There we go, and you can see from the
overset mark in the frame and also the
| | 06:47 | Copyfit Info toolbar is telling
you that it's overset, that we are not
| | 06:51 | seeing all of the text.
| | 06:53 | The only way to see all the text is
to view it in Galley or Story. So let's
| | 06:57 | take a look at it in Galley, and in
Galley view you can see the over set text
| | 07:01 | here. You will see the copyfit break
mark and then any line or lines that have
| | 07:05 | this red line to the left means that
it's over set. So I'll go ahead and
| | 07:09 | remove-- let's just remove a few words.
We will be talking more about top view
| | 07:15 | fitting in detail in another video.
| | 07:18 | So when should you use Galley view
versus Story view. Well generally, Story
| | 07:23 | view is ideal for when you really are
not at the stage where you are proofing
| | 07:30 | hyphenation. Its great for when you
need to write a story from scratch or you
| | 07:34 | are dealing large first path edits,
because you can see a lot more of the text
| | 07:38 | right on the screen. It's
similar to Microsoft Word's normal view.
| | 07:43 | Galley view is great when you
really don't want to be distracted by the
| | 07:45 | formatting and Layout view, but you
need more details then Story view provides.
| | 07:50 | For example, why there is one frame
start and the other one end, where does the
| | 07:54 | column begin and end and pages-- you
see all those brake marks in Galley view
| | 07:58 | and they are not available in Story.
| | 08:01 | So while Layout view is fantastic for
being able to edit as though you were
| | 08:05 | working in InDesign, when you are
doing heavy duty editing, there is nothing
| | 08:09 | like Story or Galley view.
| | Collapse this transcript |
| Copyfitting text| 00:00 |
InCopy has a unique feature that's
missing in InDesign and even in Microsoft
| | 00:04 |
Word, the Copyfit toolbar. That's way
down here at the bottom and it appears at
| | 00:09 |
the bottom of every window by default.
| | 00:12 |
The Copyfit toolbar is actually two
parts. The first part tells you the current
| | 00:16 |
line or the character count and column
depth of whichever story your type
| | 00:21 |
cursor is currently blinking at. So I
just clicked in the story on the right
| | 00:26 |
hand side, on page 3 of the Bliss
Magazine document from our Chapter 4 exercise files.
| | 00:33 |
And notice if you can read at the
bottom, there is says that there are 83
| | 00:36 |
lines, 397 words, 2,221 characters and
a column depth of 22.05 inches, which can
| | 00:45 |
be very useful especially in newspaper
publishing when stories are measured in
| | 00:49 |
column depth. So this first column
plus the length of this column, plus the
| | 00:55 |
length of this column equals 22.05
inches up to the last line of type.
| | 01:00 |
I'm going to detach this toolbar and
turn it into a panel, so it's a little
| | 01:04 |
easier to see during this lesson.
To do that, I'm just going to drag on this
| | 01:09 |
little textured area to the left of the
toolbar and drop it anywhere within the
| | 01:13 |
window. And now it turns into a
Copyfit Info panel, which I could dock to the
| | 01:18 |
top or to the right or to the left of
the window, as I talked about in the
| | 01:22 |
earlier chapter.
| | 01:23 |
Now this last part here says under
12 lines and that is because according to
| | 01:28 |
InCopy, at this type size with this
leading, there is room for 12 more lines to
| | 01:34 |
the bottom of this text frame. That's
why it's important in this workflow for
| | 01:38 |
the designers to always create a frame
that in the exact size of where text can
| | 01:44 |
fit. Sometimes designers will create
text frames that extent beyond the page
| | 01:48 |
boundaries and down into the pasteboard,
to account for over set text to give
| | 01:52 |
the editors a chance to fit and so if
your frames aren't exactly true to what
| | 01:58 |
you really need, then the copyfit
count here isn't going to be that useful.
| | 02:02 |
That doesn't mean that can't put your
frames anywhere you would like and at
| | 02:06 |
whatever size you would like. It's just
that if you are going according to what
| | 02:09 |
this as here, it's going according to
how large the frame is at the moment.
| | 02:13 |
Now if we were very short in this story,
like go ahead and select some text in
| | 02:17 |
this story and just delete about half
of it, of course you have to check out
| | 02:21 |
the story first, which I have done
with all the stories in this document.
| | 02:24 |
Then notice that the blue fills in less,
so the more room you have, the smaller
| | 02:34 |
the amount of blue inside the Copyfit
Info area. I'm going to undo by pressing
| | 02:39 |
Command or Ctrl+Z a couple of times
to bring it back and let's click inside
| | 02:44 |
another frame, the one right above here
where it starts when you can't deprive
| | 02:47 |
yourself of our chocolate.
| | 02:50 |
This frame is perfectly copyfit.
There can't be another line that would fit
| | 02:54 |
inside this non-printing green frame.
When you have text that's perfectly
| | 02:57 |
copyfit to the frame, Copyfit Info
turns a happy green color. That's the color that
| | 03:02 |
we like. You see the same thing on
the left in the headlines, for CHOCOLATE
| | 03:06 |
101, and the bi-line as well. Now let's
go back to this deck over here at the
| | 03:12 |
top of page 3 and select all the text,
copy it to the clipboard. Edit > Copy,
| | 03:20 |
click after the last word, and then
paste it in to force an over set. Edit > Paste.
| | 03:27 |
Whenever text won't fit inside the
frame then you will see the Copyfit Info
| | 03:31 |
tell you how much it's over. And it's says
approximately because it's not quite sure
| | 03:35 |
how many lines over it is, because the
next frame might be a smaller or wider
| | 03:41 |
width. It really doesn't know. It's
guessing that if you kept the frame at the
| | 03:45 |
same width that it currently is, it's
going to be two lines over. And as I
| | 03:49 |
showed you in a previous video in
this chapter, that you can access that
| | 03:52 |
overset text from either Story or Galley.
| | 03:55 |
Just click over and into Story or Galley
mode and then you can see the text that
| | 03:59 |
occurs after the Copyfit break and edit
to fit. So Copyfit Info appears in all
| | 04:04 |
three views, telling you the same
information. You can do some modifications of
| | 04:11 |
Copyfit Info if you would like.
Notice that it has a panel menu. So you can
| | 04:16 |
include footnotes in the word counts
if you would like. You could also define
| | 04:21 |
the word count. By default it's
counting the actual words, which is how
| | 04:25 |
InDesign works.
| | 04:26 |
But if you want to count every
certain number of characters, you could turn
| | 04:29 |
that on instead. And then under
Customize, you can choose to show more fields
| | 04:37 |
in the Copyfit toolbar, such as the
number of words from the beginning of the
| | 04:41 |
story to the cursor or from the cursor
to the end of the story. I'm going to
| | 04:46 |
turn those off for now.
| | 04:49 |
If you make a selection of text and
wait a second, then Copyfit Info will
| | 04:53 |
change to show you the selection. So
this story still has 83 lines but what I
| | 04:59 |
have selected is 6 lines and 30 words.
And being able to see the selection is
| | 05:04 |
very useful when you are trying to
copyfit accurately. If some text is over by
| | 05:08 |
ten words, you can select ten words
earlier in the story or swipe over what you
| | 05:14 |
think maybe ten words and double check
what the selection count is, here before
| | 05:18 |
you go ahead and delete it or
cut it and paste it elsewhere.
| | 05:21 |
I'm going to put Copyfit Info back
into its little toolbar dock to show you
| | 05:27 |
that you won't be able to see the
selection readout when it's in the toolbar.
| | 05:30 |
It has to be floating as a panel. So
having a dynamically updated copyfit count
| | 05:37 |
and progress info always available at
a glance makes copyfitting very easy in InCopy CS4.
| | 05:45 |
| | Collapse this transcript |
| Inserting special characters| 00:00 | Often as you are writing or editing a
story you will need to add a special
| | 00:03 | character like an em dash or a Euro
currency character or a copyright symbol.
| | 00:10 | There are some keyboard shortcuts to
enter those special symbols but there is a
| | 00:13 | far easier way in InCopy and that is
to use the Insert menus found under the
| | 00:17 | type menu. To follow along open up the
Bliss Magazine from your Chapter 4 exercise
| | 00:22 | file and check out some stories, at
least the ones here on pages 4 and 5 in the
| | 00:28 | magazine. I'm going to zoom in with
Command or Ctrl+Plus to show this first
| | 00:34 | paragraph here and the
second one right below it.
| | 00:38 | Let's say for example that we are
looking at this and we want to change this
| | 00:42 | hyphen to an Em Dash. You might happen
to know the keyboard shortcut for an Em
| | 00:47 | Dash and there definitely is one in
InCopy that does not involve the key pad
| | 00:51 | and the Alt key by the way, but it is a
lot easier just to go to the Type menu
| | 00:55 | and go down and choose one of the
choices from the Insert menus. So we want to
| | 01:00 | insert a special character and you can
see there is a whole raft of them for
| | 01:05 | hyphens and dashes and we
can just choose Em Dash.
| | 01:08 | After a while you will start to
remember that the keyboard shortcut is
| | 01:11 | Alt+Shift+Hyphen or Option+Shift+Hyphen
on a Mac. And so that has inserted our Em
| | 01:17 | Dash. Let us take a look at some of
these other special characters that you
| | 01:21 | might be interested in. If you ever
need say copyright symbol or a trademark
| | 01:27 | symbol they are available here. The
markers are not really that useful to
| | 01:32 | InCopy, these are more from InDesign
and you know they have copied some of the
| | 01:36 | code from InDesign in to InCopy but to
keep things easier for them, I suppose they did
| | 01:40 | not remove the things that
really are not useful in InCopy.
| | 01:42 | So some things you just have to cast
a blind eye toward. Under hyphens and
| | 01:47 | dashes these are definitely things
that editors and writers use all the time.
| | 01:51 | An Em Dash and En Dash, which is
half of the length of the Em Dash, our
| | 01:55 | discretionary hyphen, which allows you
to insert a hyphen to break a word but if
| | 01:59 | you edit the text so that the word does
not need a hyphen any more then the hyphen
| | 02:02 | goes away. Like an optional hyphen.
And a non breaking hyphen. For example if you
| | 02:08 | want to type Anne-Marie is the best
and my name is hyphenated, of course you
| | 02:13 | never want to break Anne-Marie
in two lines because my lawyers would
| | 02:17 | sue you. So you would always want
keep that on the same line that would be a
| | 02:20 | non-breaking hyphen.
| | 02:21 | Quotation marks are always curly by
default but if ever need to put in foot in
| | 02:25 | inch marks you can use this to make
straight quotes and then there are some
| | 02:30 | other characters such as the Tab key
which always makes me laugh as to forget
| | 02:34 | how to insert the Tab key, all you have
to is go to the Type menu, go down to Insert
| | 02:39 | Special Character, go down to Other
and then choose Tab which actually does
| | 02:44 | insert a Tab and I did not know if
you saw that keyboard shortcut for that
| | 02:49 | character it is the Tab key. I
suppose this is useful in some tiny little
| | 02:56 | corner of InCopy where the Tab key
does not work but anyway so we have some
| | 03:00 | other special characters here as well.
In addition there are different kinds of
| | 03:04 | white space. Let me zoom in even
closer on either side of this Em Dash with
| | 03:10 | Command or Ctrl+Plus and I'm getting
rid of the spaces on either side of the Em
| | 03:16 | Dash, if you are not seeing these
little non printing markers meaning that
| | 03:19 | there is a space here make sure
that you are showing hidden characters.
| | 03:23 | Click this little pilcrow up here
under the Type menu it might say Show
| | 03:27 | Hidden Characters, choose that. If it
says Hide Characters you are fine. So
| | 03:32 | there are some publications that do
not like to insert a full space on either
| | 03:36 | sides of an Em Dash but they would
like little bit of space. So in that case,
| | 03:40 | we can use some of the different
space characters from the Insert menu and
| | 03:43 | instead of going to the Type menu and
looking for it, you can just right-click,
| | 03:47 | directly where your type cursor is
blinking and all of the Insert flyouts will
| | 03:51 | be available to you
right there, extremely handy.
| | 03:54 | So I'm going to go down to White Space
and let us try inserting a Hair Space.
| | 03:59 | So just edit a little tiny bit
of space and this is the non-printing
| | 04:04 | hidden character that appears
indicating there is a space here, a Hair Space.
| | 04:08 | I'm going to select it, copy it and
paste it on the other side. With just
| | 04:15 | Edit > Copy and Edit > Paste. So these
special characters can be copied and pasted
| | 04:20 | just like any other character. Let us
press Ctrl or Command+0 to fit the page
| | 04:25 | in the window.
| | 04:26 | Let us scroll to another page this
Happy Anniversary Seattle spread, which is
| | 04:32 | directly below on pages 7 to 8. And
this story is threaded among multiple
| | 04:38 | frames if you click in any part of the
main story and press Command or Ctrl+A
| | 04:42 | or choose Select All from the Edit menu
you will see where the entire story is
| | 04:48 | located. So this little pull quote
is not part of the story and let's say
| | 04:54 | that in this story you would like this
paragraph that starts 'Our four' to start at the
| | 04:59 | top of the next column.
| | 05:00 | What you do not want to do is click in
right front of it and press the Enter or
| | 05:04 | Return key because then you end up
with an empty carriage return and if later
| | 05:08 | on you edited the text to add another
line in that column, as I just hit Enter
| | 05:13 | key here, you might end up with an empty
carriage return at the top of a column
| | 05:18 | and usually that happens-- you discover
it while you are on press. I'm going to
| | 05:22 | press the Delete key or the command or
ctrl +0 to get rid of that little edit I
| | 05:25 | made and let us get rid of that
carriage return that you just entered instead
| | 05:30 | what you want to insert is special
character called the break character.
| | 05:34 | Go on to the Type menu and go down to
Insert Break Character. Of course, you
| | 05:38 | can get this right-clicking as well and
you will see this is how you force text
| | 05:41 | that is to the right of your cursor to
jump to the next column, the next frame
| | 05:47 | because some times you might have one
single frame that has multiple columns
| | 05:51 | inside it, the next page the next auto
even page and here is another funny one
| | 05:56 | in case you forget you can force the
text to the next line as a new paragraph
| | 06:01 | and if you forget how to do that you
could use the keyboard shortcut which is
| | 06:04 | the Enter key or the Return key on a Mac.
| | 06:08 | A forced line break also known as a
soft return is a Shift+Enter key. So if you
| | 06:13 | want to force a new line without
starting a new paragraph, for example you do
| | 06:17 | not want to new line to have space
above it or an indent then you just press
| | 06:20 | Shift+Enter. And a discretionary line
break is like a discretionary hyphen, it
| | 06:25 | is a way to break a line but if you
edit that line that text proceeding that
| | 06:29 | line then the line will break this is
great for inserting for example in to
| | 06:33 | URLs. When you want the URL to break at
a certain point but you do not want to
| | 06:37 | add a hyphen to it.
| | 06:38 | So we want to use either the column
or the frame break either one will work
| | 06:43 | fine to force this paragraph to the
top of the next column. So, I'm going to
| | 06:48 | make sure that my Type cursor is
blinking right in front of the 'O' the first
| | 06:51 | character then right-click, go to Insert
Break Character and choose Column Break.
| | 06:56 | Or I could press the Enter key on my
numeric keypad and the text starts up
| | 07:02 | here. You can see the special character
if you zoom in very closely. I'm going
| | 07:06 | to press Ctrl+0 and it is a very tiny
character that appears that stands for a
| | 07:11 | frame break or a column break.
| | 07:13 | There is another place where you can
get special characters that you might want
| | 07:16 | to insert, I'm going to click over
here just to zoom in at some text that is
| | 07:22 | the Glyphs panel you can access it from
the window menu down in Type and Tables
| | 07:28 | and choose Glyphs or you can also
get to it from the Type menu and choose
| | 07:33 | Glyphs. The first seven command after
font and size actually open up panels, so
| | 07:40 | because you work with Type so often in
InCopy there are two places to open up
| | 07:44 | related panels to type one from the
Windows flyout menu and one directly from
| | 07:49 | the Type menu but they are the same panel.
| | 07:51 | So I'm going to open up the Glyphs
panel. Now the Glyphs panel is a very deep
| | 07:56 | feature and if you want to learn all
about it I'll suggest that you watch David
| | 08:01 | Blatner's InDesign Essential title
where he goes into quite a bit of depth
| | 08:04 | about the Glyphs panel but let me show
you how it works in InCopy. It works the
| | 08:08 | same way that does in InDesign as long
as you are working with the checked out
| | 08:10 | story. The Glyphs panel lets you see
all of the characters available in that
| | 08:15 | current font. This story is set in the
font Adobe Caslon Pro, which you can see
| | 08:21 | here, and as I scroll through here
these are all of the Glyphs which is the
| | 08:25 | technically correct name for
character that are in that font.
| | 08:29 | So if I wanted to insert this kind of
a G here I could just double-click and
| | 08:34 | that G would be inserted. As you
double-click on Glyphs in the Glyphs panel
| | 08:38 | they get added to your recently used
list, so if you need to insert that kind
| | 08:43 | of G in multiple places in your
story or your document you can just
| | 08:46 | double-click them from here without
having hunt from them and by the way the
| | 08:50 | recently used list is persistent from
document to document as part of your
| | 08:54 | version of InCopy.
| | 08:56 | You are not confined to that
particular thoughts by the way, if I want to
| | 09:00 | switch to a different fonts and insert
a different Glyph, like for example I
| | 09:04 | want to insert some sort of Dingbat
from one of my Windings fonts, I can select
| | 09:09 | that and say okay I want to insert this
pointing finger and that appears there
| | 09:14 | as well. In some fonts such as that
Adobe Caslon Pro, I'm just clicking back in
| | 09:19 | the story to jump it back to Adobe
Caslon Pro. Some fonts are OpenType fonts
| | 09:24 | and the professional ones the ones
that ends with Pro are the Adobe OpenType
| | 09:28 | fonts that come with hundreds,
sometimes thousands of additional Glyphs behind
| | 09:33 | the ones that you are used to.
| | 09:34 | You get some for free when you
install InCopy but also you can purchase
| | 09:39 | additional ones from Adobe, in other
font fenders. When you have professional
| | 09:44 | OpenType fonts under the Show menu,
instead viewing the entire fonts you can
| | 09:49 | view subsets of the fonts. For
example what I find extremely useful is just
| | 09:53 | looking at currency so here are the
currency Glyphs available in this fonts and
| | 09:58 | here are my Euro symbols. You can even
save your favorite used Glyphs into what
| | 10:03 | is called a Glyphs set by creating
Glyph set and then you would open up the
| | 10:07 | Glyph sets from the Show menu, but
that is little bit beyond the workflow essentials.
| | 10:12 | Now I just want to let you know that
being able to use special characters
| | 10:16 | anywhere in your InCopy
document is one of InCopy's strengths.
| | Collapse this transcript |
| Importing text| 00:00 |
Even for publishers that have been
using InCopy and InDesign for years, it is
| | 00:04 |
fairly common for editors to continue
to work on stories outside of InCopy
| | 00:09 |
using Microsoft Word or a similar external editor.
| | 00:13 |
You may be working on an article for
an upcoming issue that has not been
| | 00:16 |
designed yet or maybe you need to
share it with some outside authors who only
| | 00:21 |
use Word. There are many times when
you need to integrate Microsoft Word into
| | 00:26 |
your InCopy and InDesign workflow.
| | 00:28 |
Of course the designers could always
place the Word files into the layout and
| | 00:33 |
then export those frames to InCopy
format as we have done up till now, but it
| | 00:38 |
is also just as possible for the
editors in InCopy to place the Word file or to
| | 00:43 |
copy and paste from it directly in to InCopy.
| | 00:46 |
Let's see how that is done. Open up
the Bliss Magazine file if you would like
| | 00:50 |
to follow along in your chapter 4
exercise folder, and scroll down to the last
| | 00:57 |
full spread, which is pages 8 and 9.
Here we have a feature story about the
| | 01:01 |
debut of a new website for this
company and as you'll often find in the
| | 01:07 |
workflow the stories not yet ready,
but the layout is somewhat there.
| | 01:11 |
So the designer went ahead and
created a frame with just the words Website
| | 01:17 |
Story To Come and it might say FPO or may
have nothing in there at all, and it's
| | 01:22 |
for the editor to fill in with text.
So you could just start typing from
| | 01:26 |
scratch here. There is nothing
stopping you from doing that.
| | 01:30 |
Or, let's say in this scenario, you
already have text in a Microsoft Word
| | 01:35 |
document or in an email or some place.
So zoom-in to the story at website story
| | 01:41 |
to come and hit Return, make sure that
you check out the story first of course,
| | 01:44 |
and let's try first copying and
pasting from an external document.
| | 01:50 |
In your chapter 4 exercise folder
inside the Bliss Magazine folder, there is a
| | 01:54 |
folder called Incoming and if you want
to open up the two Word documents that
| | 01:58 |
are inside there, go right ahead.
| | 02:00 |
The one I want to look at right now
is called DearSir.doc and if this isn't
| | 02:05 |
available to you, you can just
copy any formatted text from anywhere.
| | 02:08 |
Here is an example of a Microsoft Word
document that has some special colors
| | 02:13 |
and Bold and Italic. Let's just say
that you want to copy and paste this text
| | 02:18 |
directly into InCopy. So you select it
and then choose Copy if you are familiar
| | 02:24 |
with Word 2007 on Windows then you
will of course know, this is the command
| | 02:28 |
right here, otherwise
just press Ctrl or Command+C
| | 02:31 |
Now, we will switch over to Adobe
InCopy and your cursor is blinking inside the
| | 02:36 |
story and then choose Paste. By
default, all the text comes through and the
| | 02:42 |
correct carriage returns, but the
formatting is gone and why is that, well,
| | 02:46 |
that is a feature, not a bug.
Usually, you don't want to bring over the
| | 02:49 |
formatting, you just want to bring over
the text because you are going to apply
| | 02:52 |
formatting within InCopy.
| | 02:55 |
It's picking up the current paragraph
style and character style of wherever
| | 02:59 |
your cursor is, which at this point
happens to be the basic paragraph which is
| | 03:04 |
the equivalent to say Word's normal
style. If you do want to bring over the
| | 03:09 |
formatting though, you can change that setting.
| | 03:12 |
So let's undo this text with Ctrl+Z and
go to Preferences. On a Mac, it's under
| | 03:19 |
the InCopy menu. Under Windows,
it's under the Edit menu. Go down to
| | 03:22 |
Preferences and we are going to choose
Clipboard Handling. What happens when
| | 03:26 |
the things are copied and pasted?
| | 03:30 |
You can see that it says when pasting
text and tables from other applications,
| | 03:34 |
by default only the text is going to
come over, not all the information. And by
| | 03:39 |
the way, this phrase here other
applications is significant. If you are copying
| | 03:43 |
and pasting from another InCopy
document or another story into a different
| | 03:48 |
story, there formatting
comes through all the time.
| | 03:51 |
If you didn't want to bring the
formatting over, you would have to use a
| | 03:54 |
special command in the Edit menu called
Paste Without Formatting. So outside of
| | 04:00 |
InCopy though, all the formatting
gets stripped unless you change this
| | 04:04 |
preference before you paste.
| | 04:06 |
So this time I want to bring in all
information including Swatches, Styles
| | 04:10 |
etcetera, click OK. We still have the
information in our clipboard, so now
| | 04:15 |
choose Paste again. This time, the
formatting comes through just as it appeared
| | 04:21 |
in Microsoft Word.
| | 04:21 |
So all the formatting that was in the
external document does come through. This
| | 04:27 |
time let's undo, Ctrl+Z or Command+Z,
and let's import the entire document, the
| | 04:33 |
entire story. I'm going to actually
select all this text and press Backspace,
| | 04:37 |
so we start with a clean slate.
| | 04:39 |
Make sure that in Paragraph Styles,
Basic Paragraph is the selected
| | 04:44 |
Paragraph Style panel, and
Character Style should say None.
| | 04:49 |
To import anything into an InCopy story,
you just have to check it out first
| | 04:55 |
and then you'll always use the same
command under the File menu, and that's
| | 04:58 |
Place or Ctrl or Command+D.
| | 05:03 |
In the Place dialog box, navigate to
your exercise files in chapter 4, and in
| | 05:09 |
the Incoming folder, let's select this
file called Websitestory.doc, this is a
| | 05:14 |
Microsoft Word document. Before you
double-click it or choose Open, I want you
| | 05:18 |
to turn on Show Import options. We
click Open and you will see that in this
| | 05:27 |
document, we have a lot of choices
about what exactly we want to bring in, as
| | 05:31 |
far as elements of the Word
file and formatting is concerned.
| | 05:35 |
I'll cover this in more depth when I
talk about working with standalone InCopy
| | 05:39 |
files. In other words using InCopy
like a Word processor in an up coming
| | 05:43 |
chapter, but basically at this point
all you need to know is that you have your
| | 05:47 |
choice of stripping out any styles and
formatting and bringing it in as plane
| | 05:52 |
text whereupon it will match whatever
is the current paragraph and character
| | 05:57 |
style here or you can preserve the
existing styles in formatting adding that
| | 06:02 |
formatting to your document.
| | 06:04 |
Let's remove the styles and formatting
from text and tables, but we will retain
| | 06:09 |
this option Preserve Local Overrides
which means when somebody in the Word
| | 06:13 |
Document press the big B or the big I,
then it will retain that Bold and Italic
| | 06:19 |
formatting in the InCopy document.
| | 06:24 |
So the entire story has been placed and
it automatically threads, and pressing
| | 06:28 |
Ctrl or Command+0, it threads through
both frames and this is all one story.
| | 06:33 |
Let me press Ctrl+A or Command+A.
| | 06:36 |
So I think that is a lot faster than
copying and pasting and also you get a lot
| | 06:40 |
more control from that Word Import
options. You can also import Excel files and
| | 06:46 |
RTF files. Turning on that Show
Options Checkbox in the Place dialog box is
| | 06:52 |
your key to being able to
customize what gets brought in.
| | 06:57 |
So from this point on, you can proceed
as normal editing the story, using the
| | 07:01 |
three views, keeping an eye on the
copy fitting toolbar and so on. So Adobe
| | 07:05 |
understands that InCopy is not an
island and that editors and writers often
| | 07:10 |
need to integrate files created in
other text processing programs into the
| | 07:14 |
workflow and as you can see
InCopy supports that from soup to nuts.
| | 07:19 |
| | Collapse this transcript |
| Working with read-only layouts| 00:00 | One of my favorite features in
InCopy is how it can do double duty as an
| | 00:04 | InDesign reader similar to how
Adobe's free Reader utility can open up and
| | 00:09 | print any Acrobat PDF. InCopy CS4 can
open up any design CS4 or CS3 doc layout
| | 00:17 | maybe even earlier versions, even if
none of the stories have been exported to
| | 00:21 | the workflow. Let me show you how that
works. I have opened up the layout that
| | 00:27 | I have been using throughout
Chapter 4. It's inside the 04 exercise files
| | 00:31 | called Bliss_Magazine.indd and I have
opened that up directly from InCopy's
| | 00:36 | File > Open menu. This document does
have stories that have been exported to
| | 00:40 | the workflow and in fact I have
checked out a whole bunch of them.
| | 00:43 | So I have a little pencil icon that you
see here. But sometimes in InCopy I need
| | 00:48 | to access InDesign layouts from
before we move to the workflow or even ones
| | 00:53 | that the jobs have already been done
and they are out the door. So the designers
| | 00:57 | unlinked the stories in the layout from
the external INCX files, as I recommend
| | 01:02 | they do in an upcoming chapter when I
talk about what the designers need to do.
| | 01:07 | I might need to access those files
because I want to grab some content from old
| | 01:11 | publications and use that content in
something else, an email that I'm writing
| | 01:16 | or a story that I'm editing in
InCopy or in any other program.
| | 01:20 | All you need to do is go to InCopy's
File > Open menu and navigate to any
| | 01:25 | InDesign layout file. So I have one
that's inside your chapter04 exercise file,
| | 01:31 | if you want to take a look, it's the
folder called 04_Booklet and this is just
| | 01:36 | a plain old InDesign document, there
is no stories, folder nothing has been
| | 01:39 | exported yet to InCopy format. When you
open up one of these read-only InDesign
| | 01:45 | files, you are going to get an alert
and the alert says because this document
| | 01:49 | contains no InCopy stories, Gallery
view and Story view are not available which
| | 01:54 | makes a lot of sense if you think about
it the only point for Gallery and Story
| | 01:57 | is to show you the editable stories.
| | 01:59 | If there is no stories that are
editable they don't even show up. I kind of
| | 02:02 | think it will be nice if Adobe would
still leave them there with a note in them
| | 02:06 | saying hey, there is no stories so
you are not seeing anything but c'est la
| | 02:09 | vie. So I'm going to click OK and
because every story is read-only, every story
| | 02:17 | appears grayed out if you open up the
Assignments panel, there is nothing here.
| | 02:22 | Still, there is a lot you can do. For
example, I can still swipe over text. In
| | 02:28 | fact I can press Command or Ctrl+A to
select all the content in this file and
| | 02:33 | then I can switch to another program
like Microsoft Word for example and paste it in.
| | 02:38 | So I have selected all this text, I'm
going to choose Edit > Copy and then I
| | 02:43 | can paste it into any Microsoft Word
document or an email that are I'm writing
| | 02:48 | or basically in any program that allows
me to enter text. For now, I think I'll
| | 02:53 | just switch to that Bliss_Magazine file
that I have open and I'm going to zoom
| | 02:58 | in to the end of the story and then
choose Edit > Paste and that text comes in.
| | 03:06 | Now because this text uses a font that
is not currently installed, it appears
| | 03:12 | in this really weird highlighting but
that's a different issue, I could always
| | 03:16 | change the style or the typeface right
here within InCopy. So I'm going to undo
| | 03:22 | and switch back to this document.
Another thing that you might want to do is
| | 03:29 | look at it in Preview mode, so I'm
going to do the Screen Mode widget in the
| | 03:33 | Application bar and choose Preview.
Now I can see how this document actually
| | 03:37 | looks and from here in InCopy I can
make a print out of the layout view or I
| | 03:42 | can even export it to PDF
and send it to somebody.
| | 03:45 | So instead of me having to poof it over
to the design department and bug them,
| | 03:49 | asking them to please up this layout in
InDesign and give me what I need,
| | 03:53 | I can just do it myself. That's about it.
I think it's a neat little feature that not
| | 03:56 | a lot of people know about.
| | Collapse this transcript |
|
|
5. Formatting Text in InCopyApplying styles for Copyfit| 00:00 | You can use InCopy not just to edit
text or to add text, but to also format it
| | 00:06 | as well. Now I know that this is a
touchy subject for some publishers. They do
| | 00:10 | not want their editors having to deal
with formatting text, but at some point
| | 00:14 | editors and writers will want to be
able to apply the same styles in InCopy as
| | 00:19 | are going to be applied in InDesign
That is the best way for example to get
| | 00:23 | through line breaks, right, and to get
your copy fitting. Let's run through that
| | 00:27 | so you can see what I mean.
| | 00:29 | Open up the Choco_catalogue, it is
actually Choco_cat.indd file, a Layout file
| | 00:34 | inside your Chapter 5 Exercise folder
and let's check out some stories. The
| | 00:41 | fastest way to check out stories
when you have opened up a Layout in an
| | 00:45 | assignment is actually to open up the
Assignments panel, select the name of the
| | 00:48 | category, Unassigned InCopy Content
and then just click little check out icon
| | 00:53 | at the bottom, which checks out all
the stories at once, one of my favorite features.
| | 00:57 | In Layout view, scroll through the
documents so you can get overall idea of
| | 01:02 | how this is put together. It is a
catalogue of delicious looking chocolates and
| | 01:07 | the designer has exported many of the
stories to InCopy format and has already
| | 01:13 | placed and formatted some text in
those frames. But here on pages 4 and 5, we
| | 01:20 | have a page that just has the four
pictures, but no text and let's say that it
| | 01:27 | is up to us to actually add this text.
So I'm going to zoom in here with Ctrl
| | 01:30 | or Command+Plus after clicking inside
the frame. Remember, zooming in centers
| | 01:35 | your cursor on the screen and we want
to add text. Now instead of typing it
| | 01:40 | from scratch or let's say that we
actually have it written out, maybe we have
| | 01:44 | downloaded it from a database
or gotten it from a Word file.
| | 01:47 | It is saved as a plain text file inside
your chapter five Exercise folder or if
| | 01:53 | you do not have the Exercise files handy,
you can just choose Type > Fill with
| | 01:57 | Placeholder Text which will fill this
text frame with just gibberish text so
| | 02:02 | that at least you have something to
play with, but instead, we are going to go
| | 02:05 | to Style and choose Place. Remember,
from the previous lesson, this is how you
| | 02:09 | import files and inside the chapter
five Exercise folder there is a folder
| | 02:14 | called Incoming with product
descriptions. Show Import Options is turned on
| | 02:19 | because the last time I used this
dialog box I turned it on and that is a
| | 02:22 | sticky setting meaning that it
remembers your last setting that you used.
| | 02:27 | For text file, there is not a whole lot
of options. Sometimes you are bringing
| | 02:31 | in a text file that has a
character turn at the end of every line, so
| | 02:34 | obnoxious. In that case, you can tell
InCopy to please remove that and if you
| | 02:39 | have double returns between paragraphs,
you can tell it to strip that as well.
| | 02:42 | If you have Space runs instead of Tabs,
you can have it replace that and you
| | 02:47 | can make all the quotes curly. So
that is what we are going to do. I'm just
| | 02:50 | going to leave everything at
the default setting and click OK.
| | 02:54 | It immediately brought in this text
file in to this frame and this is very
| | 03:00 | typical for you how you might be
receiving text files. You will see that the
| | 03:04 | person did hit the Return at the
place like here is a headline, the product
| | 03:09 | name, product description and their
price product description and their price
| | 03:14 | and it is up to you to format it to
see if it is going to fit. When you first
| | 03:17 | bring it in, it might fit or it might
be overset or it might be short. It is
| | 03:22 | just that you really do not have an
accurate understanding if it is going to
| | 03:25 | fit until you apply the actual styles.
| | 03:28 | So how does that work? Well, first
let's divvy up this text. Did you notice at
| | 03:33 | the very top the writer put in a line
that says Title and he preceded it with
| | 03:38 | a little tag? I have seen a lot of
publishers do this for writers, putting
| | 03:41 | little tags or quotes, letting the
designers know this is a title, this is a
| | 03:45 | subhead, this is a caption. Well, very
often, InCopy users will find themselves
| | 03:49 | in the driver's seat and they will
need to understand which dials to apply
| | 03:53 | where and what's supposed to be a
headline and what's supposed to be a caption.
| | 03:57 | Now because I work for this chocolate
company, let's assume I know that this
| | 04:00 | title Make Your Own Bliss in the
Kitchen is supposed to go into this frame on
| | 04:05 | the left. So I'm just going to cut it.
Click inside this frame and paste and of
| | 04:13 | course I would have had to have checked
out the stories first in order to paste
| | 04:15 | it in. And then I'll triple click on
this paragraph to get rid of the title. So
| | 04:23 | you can only bring in one text file at
a time, but very often, the text in that
| | 04:27 | file is suppose to be divided up in to
multiple frames and they have to just --
| | 04:31 | a simple cut and paste operation.
| | 04:33 | When you first bring in Text, by
default the text is styled with InCopy's
| | 04:38 | equivalent of what is the normal style.
You will find that in the Paragraph
| | 04:43 | Styles panel, which is part of the
panel doc on the right in most of the
| | 04:47 | workspaces. So this is saying that it
has been styled with basic paragraph then
| | 04:51 | it has got a plus symbol on it
which means that there are some sort of
| | 04:55 | override, some sort of additional
formatting that is been applied to this text.
| | 04:59 | If you hover over the plus symbol, you
will see that it is telling you what is
| | 05:02 | different that somebody changed the
font here from whatever a basic paragraph
| | 05:07 | is supposed to be to Adobe Caslon Pro.
| | 05:10 | It might also say italic or bold or
different size they really make no
| | 05:14 | difference. The main thing is what
paragraph style has been highlighted when
| | 05:17 | you click inside of a paragraph. The
paragraph styles that you see here are
| | 05:22 | ones that the designer has created in
InDesign and saved with the Layout, you
| | 05:26 | can apply them by just clicking
inside of paragraph and then clicking on a
| | 05:30 | style name. Similar to how you do that
in Word. So I can click right here and
| | 05:35 | then click Subhead above it or Subhead
numbered or category and I can just sort
| | 05:41 | of click around and see
what each one looks like.
| | 05:44 | Now what you cannot do when you are
working with a managed document, meaning
| | 05:48 | you have a layout or an assignment
open and you have got stories checked out,
| | 05:51 | you cannot edit these styles. Normally,
you should be able to double-click on a
| | 05:56 | Style name and get to its formatting
details that will allow you to do things
| | 06:01 | like change the type face and
things like that. You cannot do that in a
| | 06:04 | standalone InCopy document, which
I'll be talking about in its own chapter later on.
| | 06:09 | But as it is, you cannot modify these
Styles and in fact, if you go to the
| | 06:12 | Paragraph Styles panel menu by
clicking this icon at the right, you will see
| | 06:17 | almost all of the commands are grayed
out. They are inaccessible. So you cannot
| | 06:20 | create a new style, you cannot delete
a style and you cannot get the style
| | 06:24 | options. Those are the most important
ones. The same is true for character
| | 06:28 | styles. Now a character style is when
you have a selection of text that often
| | 06:33 | needs a combination of formatting like
a color and a font and a weight rather
| | 06:38 | than the entire paragraph. For example,
Bullets often have a character style
| | 06:43 | applied to the Bullet itself or you
have a Bold run in or something like that.
| | 06:47 | Those character styles must have been
created by the designer and they are
| | 06:51 | saved with the design. They
automatically are available to any InCopy user, but
| | 06:56 | all the InCopy user can do is apply
them or not apply them. They cannot edit
| | 07:00 | them; they cannot create new ones or
delete them in a managed document. So the
| | 07:04 | fastest way to apply styles is if you
know what is the most common style in
| | 07:10 | this story, select all the text by
pressing Command or Ctrl+A, open up the
| | 07:16 | Paragraph Styles panel and click on
the style that is most often used in this
| | 07:20 | story and I know that the style that
I want to apply is called description.
| | 07:25 | So I click on description. Now
everything becomes formatted with description
| | 07:30 | and if I sort of dragged to the right
a bit, you can see that this text over
| | 07:34 | here is also formatted with description.
If I want to know what should this be
| | 07:39 | formatted with, I can some times
get a little hint by finding similarly
| | 07:44 | formatted text elsewhere in this
document and clicking in it. So according to
| | 07:48 | this, it says Subhead so over here I
can click Subhead and so on and I can
| | 07:53 | continue clicking inside of paragraph
and clicking on the style. That is the
| | 07:57 | basic way that you apply styles. There
are many advanced or quick ways to do
| | 08:01 | so. If you as an InCopy user find
yourself having to do a lot of style
| | 08:05 | formatting is to ask the designers to
include a keyboard shortcut. If they do,
| | 08:11 | you will see a different keyboard
shortcut for your most frequently applied styles.
| | 08:15 | Even if they create them on the Mac,
like let's say they say it is Option+5
| | 08:19 | when you open it on a PC it will say Alt
+5. So it is intelligent that way. That
| | 08:23 | way instead of actually having to go
to the Paragraph Styles panel you could
| | 08:26 | just click inside of paragraph and
hit the keyboard shortcut and it applies
| | 08:30 | that style, but even if they do not do
that or you are not a keyboard shortcut
| | 08:34 | kind of person; there is another
really neat way to apply styles which is
| | 08:38 | called Quick Apply.
| | 08:40 | Inside any paragraph, just click your
type cursor and then press this keyboard
| | 08:45 | shortcut and Windows+Ctrl+Enter,
very easy to remember. On a Mac,
| | 08:50 | Command+Return, same thing, different
names. So I'm going to press Ctrl+Enter
| | 08:54 | and you will see a little window
immediately open up that lists all of the
| | 09:00 | character and paragraph styles in this
document. In fact, many more things than
| | 09:05 | just paragraph and character style,
these little guys are Window commands.
| | 09:10 | Quick Apply is a way to stay on the
keyboard. Most editors and writers now that
| | 09:15 | the longer you can keep your fingers
on the keyboard without having to go to
| | 09:19 | the menus or the to the panels, the
faster you are going to be, the more
| | 09:22 | productive you are going to be. Now
whether or not you will use it to actually
| | 09:25 | apply menu commands from the keyboard,
we will leave that to another video, but
| | 09:28 | what we are interested here are just
Styles. So I'm going to go to the Quick
| | 09:32 | Apply Customize menu right here and I'm
going to deselect by just choosing them
| | 09:39 | to get rid of the checkmark, all of
the Quick Apply items that might appear
| | 09:43 | here than I'm not that interested in.
| | 09:45 | So all I have is Include Paragraph
and Character Styles and this is also a
| | 09:50 | sticky setting. So it will be this way
for any new document I work on from now
| | 09:54 | on, until I change it. What I can do
now that Quick Apply is open, remember I
| | 09:59 | just got here by pressing Ctrl+Enter
or Command+Return, it is just type in a
| | 10:04 | few letters from the style that I want
to apply which is description and look
| | 10:08 | at it. As soon as press DE the Quick
Apply window filters to description and
| | 10:11 | highlights it. As soon as your style
is highlighted in here, then you just
| | 10:16 | press Enter or Return again and
it applies that style to the text.
| | 10:21 | So this was already description. I
guess it did not make that big of a deal,
| | 10:24 | but let's try, let's see this other
style that we want to Subhead. So let's
| | 10:28 | click inside this one and we will use
Quick Apply again with Ctrl+Enter or
| | 10:32 | Command+Return. It is remembering our
last style, which would be great if we
| | 10:36 | wanted to apply description again, but
this time we want to apply Subhead. So I
| | 10:39 | type subhead. Now let's say what I
wanted subhead numbered. I could type su n
| | 10:49 | with a space and it immediately goes there.
You do not have to type in the whole name.
| | 10:52 | Or I could just use the up and down
arrow keys on my keyboard to select the
| | 10:57 | style that I want. But I'm happy
with su for Subhead and I press Enter or
| | 11:02 | Return and it applies that style and
now I can navigate down to the next place
| | 11:08 | where I need subhead. Press Ctrl+
Enter or Command+Return, it remembers last
| | 11:12 | setting, hit Return or Enter again and
it applies the style. One more time, the end.
| | 11:18 | See how quick that is? Especially if
you have a Paragraph Style panel that goes
| | 11:22 | on and on and on, sometimes it is a lot
faster to use Quick Apply. If for some
| | 11:26 | reason you cannot remember that very
easy keyboard shortcut Quick Apply is
| | 11:30 | available from under the Edit menu
right here. But it kind of defeats the
| | 11:34 | purpose of choosing it from the menu.
That is how paragraph styles work. There
| | 11:38 | is not much more to say about character
styles except that you actually need to
| | 11:42 | make a selection of text before you
apply a character style, similarly to how,
| | 11:47 | if you wanted to make something bold
or italic in Microsoft Word, you need to
| | 11:50 | select the text first and then
choose the big B or the big I.
| | 11:54 | Unfortunately, we do not have the big
B or big I here. What I suggest in this
| | 11:58 | workflow is that the designers create
character styles for the most frequently
| | 12:02 | accessed local formatting that the
designers need to do. For example, they need
| | 12:07 | to make something italic or bold or in
this case, apparently, the editors often
| | 12:14 | need to make something small caps or
they need to make something into a link
| | 12:17 | for the Table of Contents and so the
editors -- you just select the text that
| | 12:22 | you want to apply character style to
and then choose it from Character Style
| | 12:25 | panel menu or of course, you can
choose it from the Quick Apply. Can you tell
| | 12:30 | that I'm a big fan of Quick Apply? So I'm
going to type in -- what was that? You have to
| | 12:35 | know a few letters of it. That was
TOC links. T-O, there we go, that's enough.
| | 12:41 | And then press Ctrl or Enter to apply it.
Now that you have applied the actual
| | 12:46 | formatting that the InDesign layout is
going to use, you can accurately proof
| | 12:51 | the line endings and hyphenation
and see if your story fits or not.
| | Collapse this transcript |
| Applying local character formatting| 00:00 | When you need to apply your own
formatting to just a few characters or words in
| | 00:05 | a story that you have checked out from
the layouts, you might need to actually
| | 00:08 | use the Character panel, which I have
opened from the panel dock at the right.
| | 00:12 | If you would like to follow along
open up the 05_Choco_catalog.indd in your
| | 00:18 | chapter05 Exercise Files or just open
up any InDesign layout that has stories
| | 00:22 | in the workflow.
| | 00:24 | Now normally if you want to apply
some sort of formatting to a selection of
| | 00:28 | characters, I have selected some
characters here on Page 2 of the document,
| | 00:33 | you should look first in the Character
Styles panel. Using styles rather than
| | 00:38 | manual formatting makes it a lot
easier down the line to do things like
| | 00:42 | Find/Change or to do any kind of
automated formatting or any kind of XML or
| | 00:47 | HTML workflows, if everything
is formatted with a style.
| | 00:51 | Sometimes it is just not possible and
in that case let's say, for example, I
| | 00:55 | want to italicize 'warm your belly' and
the exclamation point. I select the text
| | 01:03 | here in the story on Page 2. Open
the Character Styles panel and see that
| | 01:08 | there is nothing that says italic. So
I'll send a stern note to the designers
| | 01:12 | to please make an italic character
style for us to use and in the meantime I
| | 01:16 | can use the Character panel.
| | 01:18 | Now unfortunately there is no big B
and big I as I often hear editors ask me,
| | 01:23 | where are those? Because that is
what you see in my Microsoft Word in the
| | 01:27 | toolbar, there is a large B and a
large I and a large U with an underline and
| | 01:31 | you click those to make a selection
Bold, Italic or Underlined. We don't have
| | 01:35 | that in InCopy and I have always
thought I could make a million dollars if I
| | 01:38 | knew how to program and could sell that
plug-in instead what you do is you open
| | 01:43 | up the Character panel and I'm going
to detach it just so its just easier to
| | 01:46 | see by dragging and dropping it out here.
| | 01:49 | The Character panel is similar to the
dialog box that you see in Microsoft Word
| | 01:55 | under the Format Character menu
command. It lists in the first field all of
| | 02:00 | your active typefaces that you can
choose from and each typeface is preceded by
| | 02:06 | a letter indicating the type of face
it is. These are all OpenType fonts and
| | 02:10 | then a little sample of that typeface.
Underneath that are the styles available
| | 02:17 | for that selected face, so this text is
currently Adobe Caslon Pro, Regular but
| | 02:23 | I see that I can also choose Italics,
Semibold, Semibold Italic and so on. I'm
| | 02:27 | going to choose Italic.
| | 02:29 | I think it is a lot faster to make
something Italic just by using the keyboard
| | 02:32 | shortcut. So if I wanted to italicize
the word husband here -- let us zoom in,
| | 02:37 | make it a little easier to see. I'm
going to press Ctrl+Shift+I, which makes
| | 02:42 | something Italic, and Ctrl+Shift+
B makes something Bold and add the
| | 02:48 | Ctrl+Shift+I again, it makes
something Bold and Italic. Depending on the
| | 02:53 | typeface used though those don't always work.
| | 02:56 | If you have a typeface that is using
an extended or condensed or it is extra
| | 03:01 | heavy and extra bold and ultra light
that kind of thing. Using these keyboard
| | 03:05 | shortcuts sometimes gets you the wrong
style of the font. It really depends on
| | 03:09 | how the typeface was constructed by the
developer. But, you will always get the
| | 03:13 | correct face and style by using the
Character panel's fields here. You can also
| | 03:18 | go to the Type menu where you will see
a flyout list of fonts and then in this
| | 03:23 | flyout list you will see the list of styles.
| | 03:25 | So, that is another way to get to it
and you can change the type size from
| | 03:29 | here. In the Character panel the type
size field is this one. So, let's say
| | 03:34 | that I wanted to enlarge the word heart;
I can click inside this field, swipe
| | 03:40 | over the type and type a different size
like let's say 14. And then as soon as
| | 03:44 | I press Tab or Enter then it makes
that size. I'm going to press Ctrl+Z to
| | 03:50 | undo. You can also choose from a pop-
up list of commonly accessed sizes. You
| | 03:56 | can use the up and down arrows here to
inch it up and down to get a real time
| | 04:03 | preview of how it looks or you can
click in this field and use the up and down
| | 04:07 | arrow keys on your keyboard.
| | 04:09 | So I'm telling you all these details
only because I only want to have to tell
| | 04:12 | you once because in any kind of
field that has this up and down arrows in
| | 04:18 | InCopy, you could also just click
anywhere in the field and use the up and down
| | 04:23 | arrow keys on your keyboard which I
think are a lot easier to do. There are
| | 04:26 | some other fields here we have. This
one is for Leading, which is also known as
| | 04:30 | Line Spacing. If I select a few lines
of type and then increase the Leading by
| | 04:36 | clicking inside this field and
using the up arrow key. It increases the
| | 04:41 | Leading; the down arrow
key decreases the Leading.
| | 04:44 | This field and this one are related.
It refers to the amount of space in
| | 04:48 | between characters. This one is called
Kerning and it is for tightening up or
| | 04:54 | loosening the amount of space in
between any two characters. So, let's look at
| | 04:58 | this word flavors here. Let me zoom in
closer with Ctrl+Plus, let's say that I
| | 05:03 | don't like all these are touching, I
could like inside this field and use my up
| | 05:07 | arrow key to space them out a bit. Or
let's say that I want to bring the O
| | 05:11 | closer to the Y, want to tuck it in a
little bit, I could click in between
| | 05:14 | these two characters and click inside
here and use the down arrow key or just
| | 05:19 | use the keyboard shortcut for Kerning,
which is Alt or Option+left arrow and
| | 05:25 | right arrow, spaces it out.
| | 05:28 | Tracking is when you have two or more
characters selected. So, I could select
| | 05:32 | this entire word, for example, and
then press Alt or Option+left arrow to
| | 05:39 | tighten it up and notice how this
field increments down. A negative number
| | 05:44 | means it is smaller amount of letter spacing
or Option/Alt+Right arrow to space it out.
| | 05:51 | Now I know that if any designers are
watching this they are cringing because
| | 05:55 | this is something that they do not
want anybody to do except themselves and
| | 05:58 | they have legitimate concern because
when you start using Kerning or Tracking
| | 06:03 | to fit more words or to fill out a
frame compared to the other text on that
| | 06:08 | page on that document it is going to
look really dumb. So, it takes a very
| | 06:12 | small amount to make a big change. So
be careful with this and usually in the
| | 06:16 | workflow the designers will tell the
editors, you know if you are going to use
| | 06:20 | Kerning or Tracking you cannot do
something more than say ten units.
| | 06:24 | So I can kern this out to ten, but not
anything more than that. Once you have
| | 06:31 | applied some sort of local formatting
that is what it's called when you select
| | 06:36 | some type and apply command from the
Character panel. If you look at the
| | 06:40 | paragraph style, let me click here. If
you look at the Paragraph Style panel
| | 06:44 | you will see a plus symbol up here
after the paragraph style name that means
| | 06:49 | that in addition to the formatting from
this paragraph style affecting the type
| | 06:54 | there is also local formatting and if
you hover over that as you saw it briefly
| | 06:58 | before, I'm backing way and coming
back, it will tell you what the local
| | 07:02 | formatting is. Here it says, tracking 10.
| | 07:05 | And it also gives you a hint about how
to get rid of it. Alt-click to clear. On
| | 07:10 | a Mac it would say Option-click to
clear. So, let's see what that means. If I
| | 07:14 | zoom out with Ctrl+Minus a few times
and I'm going to hold down my Alt key and
| | 07:21 | drag to get the temporary Hand tool.
Let's say, that I want to get rid of all
| | 07:27 | the local formatting that I have
applied to this paragraph and start over
| | 07:31 | again. If I click in a word that hasn't
had any local formatting applied, there
| | 07:36 | is no plus symbol. If I click where it
has been applied there is a plus symbol.
| | 07:41 | Instead of you having to select every
time there is a plus symbol and Alt or
| | 07:45 | Option-click, just select the entire
paragraph and do you remember what that
| | 07:48 | is? That is four clicks, so if you
selected entire paragraph and you see a plus
| | 07:53 | symbol that means there is some local
formatting somewhere in the paragraph,
| | 07:58 | and you can Alt or Option-click and it
resets itself to the default style and
| | 08:02 | nothing else.
| | 08:03 | Now, Alt or Option-clicking does
not get rid of any character style's
| | 08:08 | formatting. So I select a few words and
open up the Character Styles panel and
| | 08:14 | apply some sort of Character Style
like TOC links and then I double-click
| | 08:19 | another word and I press the
keyboard shortcut for italicize which is
| | 08:23 | Ctrl+Shift+I or Command+Shift+I on the Mac.
| | 08:26 | Now this paragraph has both character
styles and local formatting on top of the
| | 08:33 | paragraph formatting. If I open up the
Paragraph Styles panel, quadruple click
| | 08:37 | the paragraph, it tells me that
there is some local formatting. Option or
| | 08:42 | Alt-click on it to clear it out, only
that disappears, the character style
| | 08:47 | remains. Let us make this word italic
again by pressing Ctrl+Shift+I so that
| | 08:54 | once again we have a paragraph that
has both character styles and local
| | 08:57 | formatting also knows as
Overrides applied to it.
| | 09:00 | If you want to clear out all of this,
select the entire paragraph and then add
| | 09:05 | the Shift key to the keyboard shortcut
to clear out local formatting. So Shift
| | 09:10 | and then Alt or Option and then click
on the name of that style that you want
| | 09:15 | to apply and that clears out everything.
| | 09:18 | There are some more instances of
character formatting you should know about
| | 09:22 | especially where they are hiding. For
example, let's say I want to select these
| | 09:26 | four words and I want to make them
underlined or small caps. Where do I find
| | 09:30 | those commands? You would find them in
the Character panel menu. Remember that
| | 09:35 | little icon down here that is a few
lines with a downward pointing triangle.
| | 09:39 | So, here we see Small Caps and
Underline and Strikethrough and so on. So, Small
| | 09:44 | Caps is Shift+Ctrl+H and I can
choose that and it turns into small caps.
| | 09:49 | Again you should first look to see
if there is a character style that the
| | 09:53 | designers created called small caps for
body or something like that. If not you
| | 09:57 | can grab it and format it yourself
from the Character panel flyout menu.
| | 10:01 | Finally, there are a few over here in
the Type menu as well, especially the
| | 10:06 | Change Case commands. So I'm not
sure why Adobe kind of split up all the
| | 10:11 | character formats in between the
Character panel flyout menu and the Type menu,
| | 10:15 | but there you have it. If you have
been searching all over for how do you
| | 10:19 | convert -- type comes in as all
Uppercase to Sentence case, for example, this
| | 10:24 | is where that command is and it is quite useful.
| | 10:26 | So to summarize this lesson you usually
want to use styles to apply formatting
| | 10:33 | because that makes things more
accurate and it makes it easier to change.
| | 10:37 | However, if you cannot find a
character style that will the apply formatting
| | 10:41 | you are looking for then your answer
is to open up the Character panel. Two
| | 10:45 | separate panels. The Character
panel lets you apply local formatting to
| | 10:48 | selected text.
| | Collapse this transcript |
| Applying local paragraph formatting| 00:00 |
I know this video is all about applying
local paragraph formatting, but I have
| | 00:04 |
to tell you that is something you very
seldom should be doing, especially in a
| | 00:09 |
managed document. The reason I say
that is because in most workflows the
| | 00:14 |
designers have created paragraph styles,
which I covered in depth in a previous
| | 00:19 |
video. But the paragraph styles are
what you should look at first if you need
| | 00:23 |
to change the way an entire
paragraph looks from one view to another.
| | 00:27 |
So I have opened up the Choco_catalog
in the 05 Exercise File and navigated to
| | 00:33 |
Page 2 and checked out this frame just
to show you a sample of what I'm talking
| | 00:38 |
about. When I click inside of a
paragraph and I enlarge the Paragraph Styles
| | 00:42 |
panel, the name of the paragraph style
that is currently have been applied to
| | 00:46 |
this paragraph is highlighted, in this
case Body. If I wanted this to look like
| | 00:51 |
a description, I wouldn't actually
change some of the paragraph formatting for
| | 00:55 |
description. I would just actually
click on a style called Description, which
| | 00:59 |
would change it.
| | 01:00 |
Now I'm going to go back to Body.
If you really need the entire paragraph
| | 01:05 |
changed and there is no paragraph
style that is when you should switch to the
| | 01:10 |
Paragraph panel. It is a separate
panel from Paragraph Styles, it just says
| | 01:15 |
Paragraph and I'm going to detach it
from the panel dock by dragging and
| | 01:20 |
dropping it right out here. And these
are where all the paragraph commands are.
| | 01:24 |
It is far better though for you to
contact the designer as the editor contact
| | 01:28 |
the designer and say, we need a paragraph
style for Body that is centered, for example.
| | 01:33 |
And then they can add that style to the
InDesign document, then you can update
| | 01:38 |
the design which I'll be covering in a
later video while you are waiting, just
| | 01:41 |
takes a second and then suddenly you
will have that style available to you.
| | 01:44 |
Paragraph styles are much more
commonly used in stand-alone InCopy documents
| | 01:49 |
when you are using InCopy like a
Word Processor. Still, to complete this
| | 01:53 |
chapter of the video title I must
talk about the Paragraph panel commands.
| | 01:57 |
So you have got your cursor blinking
inside of a paragraph. When you format a
| | 02:01 |
paragraph just as in Word or other
documents you don't need to select the
| | 02:04 |
entire paragraph, you just need to
have your cursor blinking in it and then
| | 02:08 |
choose the command from up here. Now,
this first row of little line icons are
| | 02:13 |
for horizontal paragraph alignment. The
first one is Align Left as you can see
| | 02:20 |
and then we have centered and so the
paragraph is centered and right aligned.
| | 02:25 |
The rest of this next group all has to
deal with what kind of justified do you
| | 02:30 |
want it, justified, means that they
are even on the left and the right side.
| | 02:34 |
So, InCopy adds space in between the
letters as necessary to even out the space
| | 02:40 |
and so that all the words end exactly
at the frame edge. The difference between
| | 02:45 |
these different kinds of justified is
what happens to the last line. This is
| | 02:48 |
the most common one where you want the
last line to be aligned left, but you
| | 02:52 |
could also have it aligned centered or
right or fully justified, every single
| | 02:58 |
line justified.
| | 02:59 |
So, if I choose that you will notice
that there is no short line at all and
| | 03:05 |
even as I edit this text, if I click in
here and say, our newly hired customer
| | 03:11 |
service manager told us -- just type
in some random text, see how InCopy
| | 03:19 |
automatically resets the paragraph.
What is happening here is actually called
| | 03:23 |
the Paragraph Composer, which is a
very strong feature in InDesign and is of
| | 03:28 |
course supported in InCopy as well
since they use the same text engine.
| | 03:32 |
The Paragraph Composer resets the
entire paragraph as you edit or as you format
| | 03:38 |
instead of just resetting the current
line deciding if it needs to break or not
| | 03:42 |
which may cascade down to the
additional lines in the paragraph. The Paragraph
| | 03:47 |
Composer might reset lines above the
paragraph that you are editing. I'm going
| | 03:51 |
to click right before this last
sentence and hit Enter or Return and you will
| | 03:56 |
see that it added a different amount of
space in between these lines as it did
| | 04:00 |
up here. It is still carrying out the
full justification, but it has reset the
| | 04:05 |
entire paragraph.
| | 04:06 |
This little tooltip is bugging me, so
I'm going to go to Preferences and turn
| | 04:11 |
that off. If you would like to do the
same thing go to Edit > Preferences or in
| | 04:15 |
a Mac under the InCopy menu chose
Preferences > Interface and Tool Tips, change
| | 04:21 |
it to None. There we go. And the
Paragraph Composer is not just part of
| | 04:29 |
changing paragraph formats or not just
part of fully justified text for that
| | 04:33 |
matter. If I select both of these
paragraphs and then click on the Left Aligned
| | 04:38 |
again you can often see InCopy change
text in the lines above the one that you
| | 04:45 |
are editing.
| | 04:45 |
So in, there you see it just happened.
I type the word the, let me see if I can
| | 04:50 |
find out exactly when it happened,
there. Adding one character to this line
| | 04:54 |
change the lines above it because
InCopy is looking at the entire paragraph and
| | 05:00 |
choosing the best line breaks based on
the settings for word spacing, character
| | 05:05 |
spacing, your hyphenation rules and so on.
| | 05:07 |
Almost all of these are preset
within the paragraph style, but this is
| | 05:11 |
something that your designer setup and
if you have an issue with how lines are
| | 05:16 |
breaking, how InCopy and InDesign are
doing the automatic line breaks, this is
| | 05:20 |
something you can sit down and discuss
with and test out with your designer. It
| | 05:24 |
is a strong feature; you may think how
it could be a feature, I'm getting less
| | 05:28 |
control over the line breaks.
| | 05:30 |
Its a strong feature because
automatically most of the type looks perfect,
| | 05:34 |
right from the get-go there is a far
less work involved in getting rid of
| | 05:37 |
rivers, for example because InCopy and
InDesign will seldom let that happen due
| | 05:41 |
to that powerful feature of the
Paragraph Composer. So that's my little song
| | 05:45 |
and dance about it. It is possible to
turn it off, but I'll make you watch the
| | 05:50 |
InDesign videos as far as paragraph
styling is concerned to learn how -- or you
| | 05:54 |
can tell your designers to please take
a look at it. You do result in uglier
| | 05:58 |
looking type but at least then in the
lines above the line that you are editing
| | 06:02 |
won't re-break as you edit.
| | 06:04 |
Other commands here in the Paragraph
panel menu are Left Indent, Right Indent,
| | 06:09 |
First Line Indent and the weirdo one
which because I turned tooltips off
| | 06:13 |
doesn't appear anymore, but it is
Last Line Right Indent. So, I think it is
| | 06:18 |
pretty self-explanatory, click in the
paragraph, click inside the Left Indent
| | 06:22 |
field and as I showed in previous video
you can just use the up and down arrow
| | 06:26 |
keys on your keyboard to change that
setting and you see the Left Indent
| | 06:30 |
changing. Again, you should probably
look for a paragraph style that's called
| | 06:35 |
Body, two pack of indent or something
like that instead of you doing it yourself.
| | 06:41 |
Below here, there is Space Above and
Space Below and this is something that we
| | 06:45 |
use all the time. Notice that though we
do have hidden characters showing like
| | 06:49 |
this empty paragraph return we are not
seeing an empty paragraph between these
| | 06:53 |
two paragraphs or between these two
either. So, how are we getting the extra
| | 06:57 |
space in between the paragraphs? So
that is because if you click in the
| | 07:00 |
paragraph you can see that part of the
style is to automatically add a measure
| | 07:04 |
below the paragraph. This is the proper
way to type set copy. You shouldn't be
| | 07:08 |
using two Returns in a row because that
will often end up with an empty Return
| | 07:12 |
being at the top of the page or a
column easy to miss when you are in the
| | 07:16 |
throes of production. That won't happen
if you use Space Below or Space Above.
| | 07:21 |
This field is for Drop Cap and this
field is for how many letters should drop
| | 07:25 |
in the Drop Cap. Hyphenation is
something that is turned on or off within a
| | 07:29 |
paragraph so if I didn't want any
hyphens -- well the Hyphenation is already
| | 07:34 |
turned off in all these paragraphs.
But if I wanted this paragraph to be able
| | 07:38 |
to hyphenate, I could just turn this on
and then as I type a long word, you can
| | 07:44 |
see there is one that appeared right
away. But if I turn off Hyphenation then
| | 07:49 |
InDesign resets the paragraph so that
it looks good even with no Hyphenation.
| | 07:53 |
These two last commands are for just
regular text, this is the normal way text
| | 07:57 |
is set and this one is for Lock to
Baseline Grid, when the baseline of text has
| | 08:02 |
to line up across the entire spread
like in a magazine or a newspaper. All of
| | 08:06 |
these things are normally included
in the paragraph styles within your
| | 08:10 |
document. So, there is very little
reason for you to have to go in here, but in
| | 08:14 |
case you do, here are
where the commands are stored.
| | 08:17 |
| | Collapse this transcript |
|
|
6. Useful InCopy ToolsChecking spelling | 00:00 |
So are you a perfect speller? I am. (Laughs.)
You can ask any of my editors and they will
| | 00:07 |
tell you. Unfortunately, you don't
have me supplying you with the correct
| | 00:12 |
spelling for all the text in your
stories, so you will have to rely on the
| | 00:16 |
Spell Checker in InCopy. Luckily, it is
one of the most powerful spell checkers
| | 00:21 |
I have ever encountered. There is a
couple of different ways to use it, but
| | 00:25 |
before we can obviously we have to have
some text that we want to spell check.
| | 00:28 |
So, if you would like to follow along
open up Bliss_Magazine in your chapter06,
| | 00:33 |
Exercise folder and let's check out the
stories. I think for now I'm just going
| | 00:38 |
to check out this one story that I want
to work on, which is on Page 4 about the
| | 00:43 |
Pastilles, the new kind of candy which
looks delicious. I have shown you a few
| | 00:48 |
different ways to check out stories.
Let me show you the way that I actually
| | 00:51 |
use most often which is to
just start typing in the story.
| | 00:55 |
Click an insertion point inside the
story, type any letter on my keyboard and
| | 01:00 |
you will see that InCopy
automatically tells you, you have to check out the
| | 01:04 |
contents of this frame. Of course you
do in order to make changes. Check it out
| | 01:08 |
now, so you hit Enter or a Return,
which accepts the default Yes. In effect all
| | 01:12 |
you have to do is type any letter and
then Enter or any letter and then Return
| | 01:16 |
on a Mac and that checks out the story
a lot faster than having to dig around
| | 01:19 |
the Assignments panel, especially if
you just need to check out a single story.
| | 01:23 |
So I'm going to show you that in fast
motion. I'm going to click No and now I'm
| | 01:27 |
just going to press Enter. That's it,
see, nice and easy. And I'm going to
| | 01:31 |
press Ctrl+Plus to zoom in a bit. I
mentioned that there are two ways to check
| | 01:36 |
spelling. First of all is to run a
regular spell check and you will find that
| | 01:40 |
command under the Edit menu.
| | 01:42 |
Go down to Edit and you will see a
flyout for spelling and there is the Check
| | 01:46 |
Spelling command, Ctrl+I. It
immediately starts spelling from where your cursor
| | 01:51 |
is and starts going through the document,
finding problems like un-capitalized
| | 01:55 |
sentences and of course as well as
misspelled words, suggesting a change or a
| | 02:00 |
list of suggestions. You can also add
the word to your dictionary if it's --
| | 02:06 |
let me skip this one and go on to
an actual misspelled word, here is a
| | 02:10 |
misspelled word.
| | 02:11 |
If I like the spelling of
Pomegranate I can click Add to add it to my
| | 02:14 |
dictionary. Obviously that is not what
I want to do, but for things like your
| | 02:18 |
company name or people's names that are
repeated throughout a document or that
| | 02:22 |
you are going to be using a lot, you
might as well include it in your user
| | 02:25 |
dictionary. And when it's included in
your user dictionary it's also included
| | 02:29 |
in the document, which means that
when the user opens it up in InDesign, it
| | 02:33 |
will not be flagged as a misspelling.
So they both work together in that way.
| | 02:37 |
Now, actually I don't often use the
Check Spelling routine to check spelling. I
| | 02:42 |
prefer to Check Spelling as I'm
writing or editing similar to how Microsoft
| | 02:46 |
Word will put little squigglies under
words that are misspelled and allow you
| | 02:50 |
to right-clicking and correct it on
the fly and you can do exactly that in
| | 02:54 |
InCopy. But one advantage of using the
Check Spelling dialog box is that you
| | 02:59 |
can quickly check the entire document.
Notice though that the scope of the
| | 03:03 |
search for Check Spelling by default
is the story, the story that your cursor
| | 03:07 |
is blinking in.
| | 03:08 |
If you want InCopy to check all the
stories in a document, choose Document. Now
| | 03:13 |
in this case Check Spelling will find
misspelled words in stories, but will
| | 03:19 |
only be able to change to the correct
spelling if you have checked out the
| | 03:23 |
story first. But assuming that you have
checked out all the stories that works
| | 03:27 |
really great and you can even choose
All Documents and in fact doing a batch
| | 03:32 |
spell check. Open up more than one
layout or assignment; check out all the
| | 03:36 |
stories in each file and then say,
check spelling in all documents. Nice and
| | 03:40 |
quick, but like I said I usually don't
use that dialog box, instead I like this
| | 03:45 |
other option.
| | 03:46 |
Go to the Edit menu, go down to
Spelling and turn on Dynamic Spelling or just
| | 03:52 |
press Alt+Ctrl+L or Option+Command+L
on a Mac. Give it a second, depending on
| | 03:57 |
how long your text file is, and you
will see a whole bunch of non-printing
| | 04:01 |
squigglies suddenly appear underneath
type. A red squiggly line indicates a
| | 04:06 |
misspelled word. So, this word
pomegranate is misspelled and if you right-click
| | 04:11 |
on it, you will see a list of
suggestions and I believe it is not Pome granite.
| | 04:16 |
It is actually Pomegranate.
| | 04:17 |
So I'll select that and it fixes that
in one instance. Doesn't fix all the
| | 04:22 |
instances, if you want that to happen
you would have to use the dialog box
| | 04:25 |
routine. Now, this word is actually
not misspelled, it's just that it is not
| | 04:30 |
inside InCopy's dictionary. So, I want
to add that to the dictionary, so I'll
| | 04:35 |
right-click on it and say Add Chai to
the User Dictionary. Now when you do
| | 04:39 |
that, any other instance of Chai does
now count as being spelled correctly and
| | 04:44 |
you will see all the little red squigglies
throughout the story or document disappear.
| | 04:48 |
Sometimes you will see this little
green squiggly and that indicates something
| | 04:52 |
wrong with more or like grammar. If I
right-click on it, it is saying that the
| | 04:56 |
word is not capitalized and that is
because if I changed it from All small caps
| | 05:01 |
to Sentence case then you would see
that the person who entered this text
| | 05:05 |
actually didn't capitalized that W.
But I really don't care here so I'm going
| | 05:08 |
to leave it alone, look likes the
same thing is happening to the all of the
| | 05:11 |
designer sub-heads. Here is
another squiggly that I want show you.
| | 05:15 |
Here is one on the word incredibly, let
me zoom in a bit. Why is that one have
| | 05:20 |
a green squiggly? Because it is not
capitalized and it is coming right after a
| | 05:25 |
period, so let's right-click and
capitalize it. Here is another instance where
| | 05:28 |
the Dynamic Spell Check will catch an
error in duplicated words all right or
| | 05:33 |
repeated words. So, you right-click
and it says, Delete Repeated Word his.
| | 05:38 |
Sometimes when I have been working and
I'll see a line with a green squiggle,
| | 05:41 |
it doesn't pop out to me what is
wrong and just by right-clicking on it and
| | 05:44 |
seeing what it says, Delete Repeated
Word. Oh! You don't even realize the word
| | 05:48 |
was repeated otherwise you would have
gotten it out yourself. So it can be very
| | 05:52 |
useful that way.
| | 05:53 |
Now, if it bothers you that it
is flagging all repeated words or
| | 05:57 |
mis-capitalized words, you just want
it to focus on misspelling or words that
| | 06:01 |
it doesn't recognize in its
dictionary, you can change that by going to
| | 06:05 |
Preferences. On a Mac go under the
InCopy menu, on a PC go under the Edit menu,
| | 06:10 |
choose Preferences > Spelling and you
can choose whether or not it should find
| | 06:15 |
these kind of problem child errors.
| | 06:18 |
You can also change the markup color
that it uses for each kind of error. So,
| | 06:22 |
if you have a red background behind the
text, the red squiggly is not going to
| | 06:25 |
help very much and you can change the
color to something you know that's a
| | 06:29 |
little bit more flashy or that will
stand out better. I'll click Cancel here.
| | 06:33 |
So, whether you want to use the
actual routine of running a spell check
| | 06:37 |
throughout a story or document or
multiple documents or you like to do it
| | 06:40 |
on the fly as you write or
edit, InCopy has you covered.
| | 06:44 |
| | Collapse this transcript |
| Using the language dictionaries| 00:01 | I want to devote a video to a feature
that I think is one of the most powerful
| | 00:04 | features in InCopy and in InDesign,
how it comes with over thirty language
| | 00:09 | dictionaries. It is just that it is
not immediately evident especially to
| | 00:13 | people who are working in InCopy
because it is hidden by default. To see where
| | 00:17 | this can come in extremely handy when
you are editing a document follow along
| | 00:21 | as I open up the Bliss_Magazine file
from chapter06, Exercise Files and scroll
| | 00:27 | down to the spread about happy
anniversary seattle, so I'm on page 6 and 7.
| | 00:32 | In the pull quote on page 7 at the
bottom, click inside it with your Type tool
| | 00:36 | and zoom in a bit Command or Ctrl+plus
a few times, so we can see it more
| | 00:41 | clearly. This document was written in
English obviously, but there is also a
| | 00:46 | quote in Spanish. And if I spell check,
InCopy would catch this all or at least
| | 00:52 | Te quiaro mucho as misspelling. To
see that more clearly let's go ahead and
| | 00:56 | turn on Dynamic Spell Check, which is
something that I talked about in detail in
| | 01:00 | a previous video. Go to the Edit menu,
go down to Spelling and choose Dynamic Spelling.
| | 01:05 | When you do that, InCopy puts a red
wiggly line under any words that is not
| | 01:11 | finding in its dictionary. Before you
can actually correct any spelling you
| | 01:14 | need to check out the story. So I'm
going to right-click on this frame and
| | 01:18 | choose Check Out. Now if you right-
click on any underlined word, you will see
| | 01:23 | that InCopy suggest -- Christian and
Christine and Kristina all sorts of
| | 01:29 | English spellings for the name
Cristina. What about this word quirao?
| | 01:34 | right-click on that word quirk and
quirt and quires and mucho, that suggests
| | 01:41 | much or macho or mushy or mooch.
Obviously none of these are correct.
| | 01:45 | We need to tell InCopy to please
compare these words with a Spanish dictionary
| | 01:50 | and give us suggestions in Spanish. And
here is how you can do that. Go to the
| | 01:55 | Character panel flyout menu and choose
Customize. The problem is that Language
| | 02:01 | is not turned on by default. You see
the Font & Style, Size, Leading, Vertical
| | 02:06 | Scale, but the very last option under
the Character panel is not on by default.
| | 02:10 | So turn on Language and then click OK.
Then you will see that the language
| | 02:15 | that's currently being used in this
case is English USA. If you had installed
| | 02:19 | InCopy on a system that used a
different language as its default language this
| | 02:24 | is something you would choose when you
install the program, the text by default
| | 02:28 | would be checking spelling and doing
hyphenation against that language dictionary.
| | 02:32 | Click on the downward pointing arrow to
the right of the Language field and you
| | 02:36 | will see all of the languages that you
can switch to. It even includes a full
| | 02:41 | legal and medical dictionary. So if
you are type setting say promotional copy
| | 02:46 | for pharmaceutical firm with a lot of
very long Latin names for body parts or
| | 02:51 | medicines you might want to switch to
the USA Medical which has a lot more of
| | 02:55 | those terms in its dictionary. Now,
the language that text is set in can be
| | 03:00 | included in a paragraph style. It
is my experience though that very few
| | 03:04 | InDesign users even realize
that language is available.
| | 03:07 | But say that you are doing a
publication that's also in Spanish or say you are
| | 03:11 | from Canada and you are doing -- every
one of your publications has to be in
| | 03:14 | French as well in English and other
languages. You can create styles that
| | 03:19 | include that language, so you could
have a body English and a body French, for
| | 03:24 | example. And so then as an editor,
when you apply the correct style to a
| | 03:29 | paragraph, the Spell Check
would check against that dictionary.
| | 03:32 | In this instance we just have a few
words within an English language paragraph
| | 03:37 | that should be checked against the
Spanish dictionary. And you can easily do
| | 03:41 | that in InCopy just by selecting the
words that should be checked against that
| | 03:45 | other dictionary and then changing
the language from the Character panel to
| | 03:49 | that language. So for Spanish we only
have one choice. Notice that if this was
| | 03:54 | said in German we had a ton of choices.
| | 03:55 | I'll choose Spanish and now you see
that it recognizes the Te is spelled
| | 04:00 | correctly and mucho spelled correctly,
but quiaro is still misspelled. And if I
| | 04:04 | right-click on quiaro, you can see
that it suggest the correct spelling right
| | 04:08 | here, quiero, which means I love it.
All right I love is quiero. Also the
| | 04:14 | suggested spellings in the different
languages will include any diacritics. So
| | 04:19 | this is an excellent way of being able
to just type something with the plain
| | 04:23 | roman characters say from German or
Norwegian where they have a lot of
| | 04:27 | diacritic marks that are kind of hard
to remember how to insert yourself or
| | 04:31 | that you would have to be hunting
through the Glyphs panel to do so.
| | 04:34 | And then as long as you associate that
word with that correct language you can
| | 04:38 | right-click and have the program insert
the correct diacritic for you. Like if
| | 04:42 | this word should be quinar, I can
just select it and it would automatically
| | 04:46 | insert that. I'm actually going to
undo it because this is bugging me and I'm
| | 04:49 | going to right-click and choose quiero.
| | 04:53 | If I right-click on Cristina, proper
names usually aren't part of the foreign
| | 04:57 | language dictionary so you might
actually need to Cristina to the User
| | 05:00 | Dictionary if you are going to be using
that a lot or you could say Ignore All,
| | 05:04 | so that it would ignore all instances
of that word throughout the story or document.
| | 05:09 | Again, if you are doing any kind of
multilingual publishing, I strongly suggest
| | 05:13 | that you get together with your
designers and talk about ways that they can
| | 05:17 | include this in a paragraph style or
even a character style so that you can
| | 05:21 | just choose it from the correct style
panel. If they didn't though or it is
| | 05:25 | just an occasional instance where you
want to make sure that you have spelled
| | 05:28 | the foreign phrase correctly, just
select the text, make sure that you have
| | 05:32 | turned on Show Language in your
Character panel and then you can choose it from
| | 05:36 | one of the choices in the dropdown menu.
| | Collapse this transcript |
| Using the thesaurus| 00:00 | So the question is does InCopy have a
thesaurus? And the answer is yes, it
| | 00:06 | does. In my opinion it's not as great
as it could be, but it has its uses.
| | 00:11 | Let's check it out.
| | 00:12 | Open up the Bliss_Magazine document
from your chapter06 Exercise Files and
| | 00:18 | scroll down to page 6, which is the
opening of the story that says happy
| | 00:22 | anniversary, seattle! I zoomed in and
I have checked out the main story here
| | 00:27 | and let's say for example, that I
would like to use a word other than
| | 00:30 | neighborhood, 'located in the
beautiful Queen Anne neighborhood.'
| | 00:34 | So I double-click the word
neighborhood and then I need to open up the
| | 00:37 | Thesaurus panel. It is one of the
panels under the Window menu. So I go down to
| | 00:42 | the Ts and select it and it
automatically loads my selected word in to
| | 00:46 | the Lookup field and looks it up. So,
you can see that the synonyms that it
| | 00:52 | comes up with are ambit, which I have
never heard of, compass, environs and so on.
| | 00:57 | On the left there might be related
terms so borough, precinct, quarter,
| | 01:01 | which could be useful, and on the right
if there are Near Synonyms, See Also or
| | 01:07 | Antonyms those will also be available.
| | 01:09 | If I choose Near Synonyms we have
division and section. Once you find the word
| | 01:14 | that you want to use, like let's go
back to Synonyms and I want to change this
| | 01:18 | to environs. Then you can just double-
click the word that it found, that's how
| | 01:23 | it works by default. Now, if you have
it open and it has already looked up a
| | 01:27 | word and you want to continue using it
there is a slightly different tactic you
| | 01:30 | need to do. Let's say that I want to
look up the word beautiful. Double-click
| | 01:34 | the word and it doesn't
automatically load in the Lookup field.
| | 01:38 | You need to click this icon at the
bottom, which is Load Word, this little
| | 01:42 | eyedropper icon. It loads the word
and it doesn't automatically lookup the
| | 01:47 | word, you then need to click the
magnifying glass. Once you do that then it
| | 01:51 | goes ahead and finds the synonyms
attractive, beauteous, comely. Oh! I thought
| | 01:56 | I had typed in my own name up there, no.
It is this word beautiful and we can
| | 02:01 | see -- is there anything else? No just
one adjective. Let's see what else we
| | 02:06 | have here. There are Antonyms, so I'll
slip to Antonyms and wow! Look at all
| | 02:11 | those antonyms it came up with.
| | 02:12 | So it is not the strongest thesaurus in
the world, but it can be useful if you
| | 02:17 | are just trying to come up with a
particular antonym or synonym for something
| | 02:21 | that is in your copy.
| | Collapse this transcript |
| Using Find/Change| 00:01 | Any word processing program worth
its salt needs to have a very strong
| | 00:05 | Find/Change feature and the one
that you will find in InCopy will not
| | 00:09 | disappoint you. Let's test it out
by opening up Bliss_Magazine in the
| | 00:13 | Chapter 06 Exercise folder and scroll
to the spread called Pastilles about this
| | 00:19 | delicious looking candy on
pages 4 and 5 in the layout.
| | 00:24 | Check out the main story just by right-
clicking and choosing Check Out or any
| | 00:28 | of the other ways that you have learned
to check out a story and let's zoom in a
| | 00:32 | bit. I'm going to Command or Ctrl+
Plus here to zoom into the story.
| | 00:36 | Let's assume that we have just been told
that we have the name wrong. It's shouldn't
| | 00:41 | be Pastilles with two Ls, it should
have one L. All right, so we need to go
| | 00:45 | through the story and change every
instance where there are two Ls to one L, in
| | 00:50 | the word pastilles
regardless of the current formatting.
| | 00:53 | So that's a job for Find/Change. You
will find a Find/Change under the Edit
| | 00:57 | menu or you can also get to it with
the shortcut, the binoculars here in the
| | 01:02 | Command Bar. But I'm just going to go
to Edit, choose Find/Change or press
| | 01:07 | Ctrl+F or Command+F on Macintosh.
And Find/Change is actually quite a busy
| | 01:12 | little dialog box and it is not a
modal dialog box, by the way. You can come
| | 01:17 | over here and you can move around on
the page even while the dialog box is
| | 01:20 | open. There are three separate kinds
of Find/Changes that you can run and
| | 01:25 | within most of them you can also
find and change formats along with text strings.
| | 01:30 | But we are just going to start out
with a simple text string for now. We want
| | 01:34 | to find Pastilles with two Ls and then
I'm just going to press the Tab key and
| | 01:39 | replace with Pastiles with one L. Now
as with many other functions in InCopy,
| | 01:45 | such as Check Spelling, you can go
ahead and do your Find throughout an entire
| | 01:49 | document. But you are not going to be
able to change unless you have checked
| | 01:52 | out the story first. So if you do want
to do a document wide Find/Change, you
| | 01:56 | need to check out all those stories
first from these Assignments panel and
| | 02:01 | whether or not you have checked out
more than one story you can change the
| | 02:04 | scope of the search from this dropdown menu.
| | 02:06 | By default, you are just going to
search the current Story, where your cursor
| | 02:10 | is blinking, but you could also choose
Document and then it will run through
| | 02:13 | all the stories in the Document. All
the open documents. So if you want to do a
| | 02:17 | batch Find/Change, open all the
documents first, check out all the stories and
| | 02:21 | then choose any one of them to start
your Find/Change in and also from the
| | 02:24 | cursor To End of the Story. If you had
made a Selection first like let's say I
| | 02:28 | just want to do the Find/Change in
this one paragraph, then make a selection
| | 02:31 | and then you will see
Selection is also listed as a choice.
| | 02:34 | But I'm just going to start from
wherever and say Find and it finds and selects
| | 02:41 | the first item and it brings that into
the middle of the window and I'll say
| | 02:45 | Change, Find Next, Change. So notice
that it kept the capital because we are
| | 02:51 | not doing a case sensitive search. If
we do want to do a case sensitive search
| | 02:54 | then we would have to turn on this
button right here, in which case it would
| | 02:57 | only find pastiles with a lower case p
and then change them. And then after you
| | 03:02 | are positive that your Find/Changes
are working, of course you can then click
| | 03:05 | Change All and it tells you
how many replacements were made.
| | 03:08 | Now, let's say that we want to find
every instance of the word pastilles
| | 03:12 | spelled correctly. So I'm going to come
up here and type pastille. But we want
| | 03:16 | to color it red or some other color.
You can do that as well with Find/Change.
| | 03:20 | If you are not actually going to change
the text string, you are just going to
| | 03:23 | change the formatting then remove
everything from the Change field and down
| | 03:28 | here in Change Format click the little
icon to tell InCopy which attributes you
| | 03:34 | want to change to. You have the full
selection of formats that you can change
| | 03:38 | to as well as styles.
| | 03:40 | So this is also a cool trick for being
able to quickly style, some un-styled
| | 03:44 | text, if you can search for certain
pattern and you can say when you find it
| | 03:47 | apply this net style. But for now all
we want to do is change the color of the
| | 03:51 | characters, so we click on Character
Color and here we have a list of all the
| | 03:55 | colors that are in our InDesign
document and let's change them all to this
| | 03:58 | color. All right, for Character Color
you want to fill the color, not put a
| | 04:01 | stroke around it so make sure
this back is in front, click OK.
| | 04:05 | Whenever you add Formats, you will see
it listed down here so you can remember
| | 04:09 | what the formats was that you chose
and also in the Find what and Change to
| | 04:13 | fields, you will see a little icon if
formatting is having an impact on what
| | 04:18 | you are finding and changing to.
| | 04:20 | So let's start from the beginning of
the story and click Find and I probably
| | 04:24 | should have add an S here. So I did
that wrong, let me type an S. Okay, lets
| | 04:27 | try that again. Find, there it founded
and now lets Change it and it change the
| | 04:32 | color. You can also leave both of
these blank and just do a Find/Change for
| | 04:37 | Format, so that if you want to find
every instance of text that was Small Caps
| | 04:41 | and change it to Sentence case or do
something else with it, you can do that as well.
| | 04:45 | So you can find the same kind of
options that you have in Change Format. So
| | 04:49 | here is Case for example. We are going
to find everything that's set in Small
| | 04:53 | Caps and give it a color. So let's do
Find and it found this. And let's change
| | 04:59 | it and then apply that color. So you
can use Find/Change not just for finding
| | 05:02 | text strings but also formatting.
| | 05:04 | And a lot of people use Find/Change
for finding non-printing characters or
| | 05:09 | punctuation that they want to fix. For
example, if you wanted to see if there
| | 05:13 | are any instances of two spaces
after a period, which there should have
| | 05:16 | actually only be one space after period.
Then you could type, period, period,
| | 05:20 | space, space up here and just
replace it with period, space.
| | 05:24 | Now we don't really don't really
want to have formatting affecting this
| | 05:27 | Find/Change, so that's one of the
reasons we see this up here to remind us
| | 05:31 | that, it's not going to find every
instance because we have this formatting. So
| | 05:34 | it's actually only going to look for
period, space, space that's been formatted
| | 05:38 | as small caps which would probably not
exist in this story. So to clear that
| | 05:42 | out, just click the trash can down here,
that clears out any formatting that
| | 05:46 | might be considered during the Find/Change.
| | 05:48 | And now I'll say Find, and we got one.
Change, Find Next, only found one. One
| | 05:55 | that I use a lot is find a space, dash,
space and replace with an Em Dash. You
| | 06:01 | can type in an Em Dash but also you
can use these little Special character
| | 06:05 | flyout menus. So if you want to change
to an Em Dash, you can go down here to
| | 06:10 | Hyphens and Dashes and choose it right
there, because there is actually special
| | 06:14 | code for that.
| | 06:15 | You might be familiar with this for
example, if you looked for a return
| | 06:19 | character in Microsoft Word you
probably are familiar with this little code,
| | 06:24 | the carat p and a lot of the codes
are the same between Microsoft Word and
| | 06:28 | InCopy. So if I wanted to search for a
tab for example, or two tabs in a row, I
| | 06:32 | type carat t carat t and so on. Lets
do a Find and I found one, lets change
| | 06:39 | that, beautiful.
| | 06:40 | And if we wanted to include for
example, we want to include a thin space on
| | 06:45 | either side of this, I'm going to undo
with Ctrl+Z and here I'm going to click
| | 06:49 | right in front of this Em Dash
character and say, I want you to include a
| | 06:53 | little bit of a space. Let's do a
little Thin Space in front of it and then a
| | 06:59 | little Thin Space after it. All right
and now Find it and Change it. So now we
| | 07:08 | have a little air on either side of our Em Dash.
| | 07:10 | Now this is kind of tedious to setup
for the first time but what you want to do
| | 07:13 | is if you think you are going to be
doing this kind of search and replace
| | 07:16 | multiple times in your career, you
might as well save it. And that's what you
| | 07:20 | can do up here by clicking this
little floppy disk icon, you can save your
| | 07:23 | Find/Change Query. So I'll call this,
Find hyphen replace with em dash. And all
| | 07:33 | of them will appear up here as well.
And if you come up here you will find a
| | 07:37 | nice little Christmas present
that Adobe has included some prebuilt
| | 07:41 | Find/Changes for you. Dash Dash
to Em dash, Straight Double to
| | 07:45 | Typographers' Quotes and so on.
| | 07:47 | The ones underneath here, a lot of
these are GREP Find/Changes. Let's talk
| | 07:51 | about that. I'll click on the GREP. A
GREP Find/Change, at first glance it
| | 07:54 | looks exactly like a regular text Find/
Change. But GREP which is a little bit
| | 07:59 | advanced for this topic but just let
me tell you what it's about, stands for
| | 08:02 | General Regular Expression Parsing and
it's a programming code. And now I know
| | 08:06 | that your eyes are rolling back in your
head at this point, but the main thing
| | 08:09 | is that it can do pattern based searching.
| | 08:11 | So if you are searching for anything in
parenthesis for example and you want to
| | 08:14 | do something, with whatever you find in
parenthesis. So here you could say find
| | 08:18 | a parenthesis with anything in it and
then a close parenthesis and then you can
| | 08:21 | apply a format to it. If you go to the
flyout menu, you will see that there are
| | 08:25 | many other very interesting kinds of
special characters. Like you could say
| | 08:29 | find me Any Digit. And so there is a
special little character for that. And if
| | 08:34 | you wanted any digit that repeats one
or more times, so this might find a price
| | 08:39 | for example, followed by a period and
then you could do something with that.
| | 08:43 | If you would like to learn more about
GREP Find/Change, I suggest that you
| | 08:46 | watch David Blatner's InDesign CS4 or
even CS3 Beyond the Basics title where he
| | 08:52 | does spend a good amount of time on
that or go to indesignsecrets.com, the blog
| | 08:56 | that we co-host where we cover a lot
of very useful GREP Find/Changes for
| | 09:01 | editors, writers and designers.
| | 09:03 | Anything that you read about that's
possible to do in InDesign as far as
| | 09:07 | Find/Change is concerned including GREP
is also possible to do in InCopy with a
| | 09:12 | checked out story.
| | 09:13 | The last item Glyph is really not that
useful I just want to point it out that
| | 09:17 | it allows you to search for a certain
Unicode Glyph from the Glyphs panel for
| | 09:21 | example and replace with another Glyph.
And seriously, the only time I have
| | 09:25 | ever I used this is one time a Hawaiian
Dictionary needed to replace their fake
| | 09:31 | Okina character, which looks like a
single closed quote, with an actual Okina
| | 09:36 | character available in the OpenType
font that they switched to. That is not
| | 09:39 | accessible from the keyboard and by
giving the Unicode IDs for their accents
| | 09:45 | and the actual Okina then we were able
to fix their entire dictionary and they
| | 09:48 | were very pleased.
| | 09:49 | I thought the Glyph Find/Change came
in very handy in that course but I don't
| | 09:52 | think you are going to be using it
very much at all within InCopy. Text and
| | 09:56 | GREP Find/Change and being able to
save and recall Find/Change queries is
| | 10:00 | useful in and of itself.
| | Collapse this transcript |
| Working with Autocorrect| 00:01 |
You know sometimes as you are writing,
you might make a mistake. I mean you,
| | 00:05 |
not me. Personally, of course I never
make mistakes and I spell everything
| | 00:09 |
correctly. But you know for the
general populace out there, perhaps you
| | 00:13 |
yourself. As you are typing you make
the same frequent mistakes. Well like
| | 00:17 |
Microsoft Word, InCopy can correct
those errors for you as you write out text.
| | 00:23 |
Let's see how that works.
| | 00:24 |
Open up the Bliss_Magazine file from
the chapter06 Exercise Files folder and
| | 00:30 |
scroll down to this spread called
Pastilles on pages 4 and 5 and check out the
| | 00:36 |
main body of the story. Let me zoom in
a bit, so we can see what I'm writing.
| | 00:42 |
For example, go ahead and just click
anywhere and type the word the, but
| | 00:47 |
purposely misspell it as teh, which
often occurs in the throes of creative
| | 00:52 |
passion. Teh and then type a space
or any other sentence or word ending
| | 00:58 |
character like a semicolon or a
period and you will see that InCopy
| | 01:02 |
automatically corrected that.
| | 01:04 |
Try misspelling separately or separate,
which is commonly misspelled seperate,
| | 01:11 |
and it corrects it and changes the
internal E to an A. A word that I commonly
| | 01:16 |
misspell when I'm typing is license.
So if I type in -- I always forget which
| | 01:21 |
comes first, the s or the c and I'll
end up doing something like this, I type a
| | 01:25 |
space and it didn't correct it.
| | 01:27 |
So how can you add some of your own
frequently misspelled or mistyped words
| | 01:33 |
into InCopy's AutoCorrect Engine, very
easily? Go to the Edit menu and choose
| | 01:40 |
Preferences. On the Mac you go under
the InCopy menu and choose Preferences and
| | 01:46 |
find AutoCorrect. AutoCorrect is
turned on by default. It is not going to
| | 01:51 |
AutoCorrect Capitalization Errors; if
you wanted to do that, turn this on. But
| | 01:55 |
what I love about InCopy's AutoCorrect
feature is that, you can see what it's
| | 02:00 |
actually going to correct and what it
counts as a misspelled word. And I wish I
| | 02:04 |
could see this in Microsoft Word but you can't.
| | 02:07 |
To add one just, click the Add button,
type in the misspelled word and I know
| | 02:11 |
all you editors out there are
immediately reading this word. Is this spelled
| | 02:14 |
correctly? No answer, occupational
hazard, all right. It is lisence. It's how I
| | 02:19 |
always misspell it. And you want to
type in license and click OK, and then OK.
| | 02:26 |
Now it doesn't automatically go
through your document and correct all the
| | 02:29 |
misspellings. All right, you would have
to just try it again. So lisence space
| | 02:35 |
and I corrected that. There is
lots of fun stuff that you can do with
| | 02:38 |
AutoCorrect. You can add more than
one word. You can to a limited extent
| | 02:42 |
include some punctuation. But even
just having the commonly misspelled or
| | 02:47 |
mistyped words in there automatically
corrected for you as you go is a huge help.
| | 02:52 |
| | Collapse this transcript |
| Using text macros| 00:01 | Take a look in InCopy under the Window
menu where all the panels are stored and
| | 00:06 | cast your eyeballs on this one, Text
Macros. Now a lot of Word users, okay,
| | 00:11 | well not a lot, just a few, but they are
quite geeky and intelligent Word users.
| | 00:16 | They get all excited when they see Text
Macros in the Window's menu. They think
| | 00:20 | its equivalent to Word's Macro. You
know a little program that can make the
| | 00:24 | program do things. And I'm really sorry
but that's not what Adobe means by Text
| | 00:29 | Macros. I think it's an unfortunate
name for the panel. It's more like an
| | 00:33 | Auto-Expand feature.
| | 00:35 | It's still extremely useful in InCopy.
So let's open that up by going to Window >
| | 00:40 | Text Macros and you should have the
Bliss_Magazine open from the Chapter 06
| | 00:45 | exercise files and have checked out all
the stories form the Assignments panel.
| | 00:50 | That's what these little pencil icons
are so that we can edit them. Initially,
| | 00:53 | the Text Macro panel is completely
empty and what it's for is you think of
| | 00:58 | something and select it, that you type
quite often that you are really tired of typing out.
| | 01:03 | A typical one might be the company name.
Here is an example on page 8 of this
| | 01:08 | magazine. Let me zoom in with Command
or Ctrl+Plus a few times. Bliss no.5 is
| | 01:14 | often typed out everywhere in this
document and if I'm the writer and I'm
| | 01:18 | writing the story from scratch, I have
to remember not to put the space after
| | 01:21 | the period, after the no. Because that
is how the designers of the logo came up with it.
| | 01:27 | And it would be so much easier if I
could just type some kind of code and it
| | 01:30 | would auto-expand it correctly, so
I never have to worry about making a
| | 01:33 | mistake. So what you will do is you
will select some text that's like that.
| | 01:37 | Open up the Text Macros panel and then
click the little icon at the bottom that
| | 01:41 | means create a new one and it
creates a new one of whatever was selected.
| | 01:46 | So it's got Bliss no.5 here and then
you type in a Macro Code, this is the
| | 01:51 | shortcut that you are going to type,
not a key stroke. All right, not like
| | 01:54 | Ctrl, or Shift, or Option or
anything, but just like a few letters. For
| | 01:59 | example, I might just say bn.
| | 02:00 | We will come back to Remember Text
Attributes in a minute. Just leave
| | 02:03 | everything else alone for here, and
just all you need to do is create a new
| | 02:07 | Macro, type in a Code, click OK and
you will see it up here on the list here.
| | 02:10 | And let's say that elsewhere in our
story, we want to type the name of the
| | 02:15 | company. So I just want to delete that
and then I want to insert the Macro. All
| | 02:18 | I have to do is type bn and then a
space and then it automatically expands to
| | 02:23 | whatever I had selected.
| | 02:24 | Now there really is no limits on the
length of what it can expand to. For
| | 02:29 | example, I could select these two
paragraphs, turn them into a Macro and you
| | 02:34 | see that all the text is here. Let's
say that every time I want to write these
| | 02:37 | two paragraphs about gift sets in the
brochure and in the magazine and in a
| | 02:42 | newsletter and so on, and everything
I'm working on in InCopy, I'm just going
| | 02:46 | to write gs, and I'll say OK.
| | 02:49 | Now let's say that I'm actually working
on this article and it's time for me to
| | 02:53 | write the two paragraphs about gift
sets. So I'll click here to make an empty
| | 02:59 | return, and I'll just say, all right,
now I have to put the boilerplate about
| | 03:02 | gift sets. gs space and it comes in.
| | 03:05 | All right, so all the text comes in
but by default it is not formatted. That
| | 03:09 | was Remember Text Attribute. That's
what that check box was all about. So let's
| | 03:13 | undo a few steps. I'm going to Ctrl+Z
a few times, or Command Z on a Mac and
| | 03:18 | get it back to how it was before, there it is.
| | 03:21 | Let's make another one, with the same
text selected. Again we will create a New
| | 03:25 | Text Macro. We will call this gsf for
formatted, all right. And this time we
| | 03:30 | will turn on Remember Text Attributes
and then I'll click OK and when you have
| | 03:34 | turned on Remember Text Attributes, the
Text Macros panel will show this little
| | 03:38 | lowercase a indicating it such.
| | 03:40 | Once again, we will come back up here,
we will select these paragraphs, delete
| | 03:44 | it and turn empty carriage return
and then say gsf space and it comes in
| | 03:50 | completely formatted.
| | 03:51 | Now what is extremely cool about the
Text Macro feature is that not only does
| | 03:55 | it retain the formatting of what you
had selected, but this is persistent
| | 03:59 | across all the documents that
you work on from now on in InCopy.
| | 04:03 | Even if you need to rebuild your
Preferences, the Text Macros are stored as
| | 04:07 | little XML files in your documents
and setting area or in your Home folder
| | 04:12 | Preferences and you can actually grab
these Text Macros, copy them and insert
| | 04:16 | them in somebody else's folder in the
same way and they will be available for you.
| | 04:20 | If you are working on a document and
these styles aren't part of the story that
| | 04:25 | you have checked out, then it will add
it to the story that you have checked
| | 04:29 | out. They will be added to the
Paragraph Styles panel, which is one of the few
| | 04:33 | times that you can actually add styles
to a checked out story, because normally
| | 04:37 | you can't create a new paragraph style.
| | 04:39 | But the ones brought in from Text
Macros do get added to this list. So, Text
| | 04:44 | Macros are a wonderful way not just
for tedious auto-expanding but also as a
| | 04:49 | way to store boilerplate text
that you use in multiple documents.
| | Collapse this transcript |
| Using inline notes| 00:00 | InCopy is often meant to take the
place of editors and writers having to mark
| | 00:06 | up paper proofs with all their
corrections and to that end, it's very easy to
| | 00:11 | actually make the correction yourself
within the story that you have checked
| | 00:15 | out. But a lot of times when I'm
teaching or helping out clients moving to an
| | 00:19 | InDesign and InCopy workflow, some of
the editorial staff will say, you know,
| | 00:22 | we didn't just make corrections on
those print outs. We often would have write
| | 00:26 | notes to each other or notes to the
designer and how am I supposed to do that
| | 00:30 | on an electronic file?
| | 00:32 | Well, actually there is a whole Notes
menu and Notes tool built into InDesign
| | 00:37 | and InCopy for you to communicate with
each other just in that manner. Open up
| | 00:42 | Bliss_Magazine from your Chapter 06
Exercise File and move to page 6, the
| | 00:48 | happy anniversary seattle story. Now
I have just opened up the Assignments
| | 00:52 | panel and checked out all the stories
so that I don't have worry about having
| | 00:55 | to check them out one by one as I
showed you in the previous movie and let's
| | 00:59 | say that we want to add a
note to another editor here.
| | 01:03 | It's actually easier to see at first
glance, if you move to either Galley or
| | 01:07 | Story mode. So I'm going to swipe over
some text, which is my favorite way of
| | 01:12 | orienting myself before I make a switch
in view, and I'll click Story and there
| | 01:17 | is my selected text.
| | 01:19 | Let's say that we want to add a note.
Asking another editor to please double
| | 01:23 | check that the Seattle store is
really in the Queen Anne neighborhood. With
| | 01:27 | your cursor blinking near the text to
which you want to add a note, just go up
| | 01:30 | to the Notes menu and choose New Note.
In your user color, you will see these
| | 01:35 | little frames appear with your cursor
blinking inside and now you can just
| | 01:39 | immediately start to type. Are you
sure the store is near the Queen Anne
| | 01:49 | neighborhood? That's all.
| | 01:51 | No matter how much I type, it does not
add to the word count. If you watch the
| | 01:56 | bottom it's still saying Under 16 Lines
and the word count right now is telling
| | 02:00 | us the word counts of the note itself.
If I click out here, it tells us the
| | 02:04 | story is 485 words. If I add another
sentence here, Please check for me I'm
| | 02:13 | really curious and click back out
here again, it's still says 485 words.
| | 02:19 | When your cursor hovers over the
opening or closing frame, you will see how it
| | 02:23 | turns on its side. That means you can
click and it will collapse. So that's a
| | 02:26 | collapsed note and that's an expanded
note and you can add as many notes as you
| | 02:30 | like throughout the document. If you
have checked out a story that somebody
| | 02:34 | else has already edited and they have
inserted notes, you will see there notes
| | 02:37 | appear in their user colors. I'll
take a look at that in a second.
| | 02:40 | I also want to call your attention to
the fact that while there is a Notes tool
| | 02:44 | all of what you do if you selected is
click anywhere in the text and when you
| | 02:48 | click it inserts a note. But I find
it's too much trouble to switching the Type
| | 02:52 | tool to the Notes tool, instead I just
always use the Notes > New Note command
| | 02:58 | and in fact I usually assign a
specific keyboard shortcut to the New Note
| | 03:02 | command from the Edit Keyboard Shortcuts menu.
| | 03:06 | We don't cover creating your own
keyboard shortcuts in this title, but if you
| | 03:09 | would like to learn how to do so, you
can watch David Blatner's InDesign CS4
| | 03:14 | Essentials title. How you create
keyboard shortcuts in InDesign is the same as
| | 03:17 | how you do them in InCopy.
| | 03:19 | So I'm going to add another note very
quickly. I'm just going to say Note > New
| | 03:23 | Notes and here is another notes. To
show you that what if you want to remove a
| | 03:30 | note, how do you do that? Well, you can
just click to the right of it and press
| | 03:33 | the Backspace key. I'm going to undo
right now with Ctrl+Z, even if it's
| | 03:37 | collapsed you can still do the same
thing. That's how you get rid of a note and
| | 03:42 | I just did undid it and I'm expanding it again.
| | 03:45 | There are also commands under the
Notes menu to expand or collapse all the
| | 03:50 | notes in the Story or remove any
notes that are in the story or Remove All
| | 03:54 | Notes. Let's see what this note looks
like in Layout view. So I'm going to make
| | 03:59 | a little selection, switch to Layout
and it doesn't look like it's here at all,
| | 04:03 | does it? Let me zoom-in a lot and I
think you will be able to see where it is.
| | 04:07 | Aha, it's this little tiny icon that
looks like an hourglass; it's in the user
| | 04:12 | color what they set up under file user.
It doesn't add any white space to the
| | 04:16 | run of text and when the users type
cursor is over the top half of it, it turns
| | 04:22 | into a pointing finger and if you click
then you will see the Notes panel open up.
| | 04:26 | Yes, there is a Notes panel. If you go
on to the Window menu, you will see that
| | 04:30 | there is a Notes panel. It
automatically opens when you are working in Layout
| | 04:34 | and you need to insert a note or read
somebody else's note and look at all the
| | 04:38 | information that it captured from the
notes. The author, when they created it,
| | 04:42 | what's story it's in, which page it's on,
how many notes, Notes No. 1 of 6 and
| | 04:47 | how many characters and words in this notes.
| | 04:50 | At the bottom of the Notes panel,
there are also little icons for jumping to
| | 04:54 | the next and previous notes and doing
some conversions. Let's go ahead and
| | 04:58 | click the Next Note Command and we
jumped all through the entire document. So
| | 05:05 | you are not limited to just looking
at the notes in the story that you are
| | 05:08 | currently working on, you can look at
notes throughout. And in fact, you can
| | 05:11 | read notes even if you haven't checked
out the story. It's just that you can't
| | 05:15 | add notes, or delete notes
unless you check out the story.
| | 05:18 | What we are doing here with adding
notes in Layout or Story Editor is also
| | 05:23 | possible in InDesign. InDesign has the
same Notes panel, the same Notes menu
| | 05:28 | and the Notes tool in their toolbar.
So you can read notes that the designer
| | 05:32 | leaves, and the designer can read
notes that the editorial team leaves.
| | 05:36 | However, the only way to do something
like print note is through InCopy. In
| | 05:41 | InCopy and I'll be talking about
this more when I get to the outputting
| | 05:45 | projects form InCopy Chapter. But in
InCopy, not only can you print out the
| | 05:50 | Story view showing all the notes, but
you could also explore this to PDF, where
| | 05:56 | InCopy can optionally include notes as
comments in the PDF, which is extremely handy.
| | 06:02 | Now the one thing that's InCopy
doesn't let you do as far as notes are
| | 06:06 | concerned, I'm going to choose Fit in
Window from the Layout menu, which is
| | 06:10 | Command+0 or Ctrl+0. Is it doesn't let
you add a note anywhere else other than
| | 06:15 | inside a workflow story that you have
checked out. What if I want to add a note
| | 06:18 | about this picture or something about
the page in general, very often editors
| | 06:23 | will write stuff in the margins. It's like,
didn't we write about this in our last issue?
| | 06:27 | Now there are some companies have
developed a convention way. If you have
| | 06:31 | something to say about the page or the
images on the page, then you add a note
| | 06:35 | at the very first character in a story.
In other companies that I have worked
| | 06:39 | with have come up with this interest
in little item, is that they have added
| | 06:42 | quasi notes frames in the pasteboard.
This is something that only the designer can do.
| | 06:48 | I'm going to zoom way out on this
document and you can see that the designer,
| | 06:52 | when he or she created the document,
added these frames, text frames in the
| | 06:57 | paste board area on the side of each
spread and then they exported them to the
| | 07:01 | InCopy format and what you could do here.
Let me zoom in, I clicked on the one
| | 07:05 | over here in the right and I'll zoom in.
| | 07:06 | As you could just actually write a note
saying, I'm not sure about this spread,
| | 07:14 | I think it should come at the end of
the magazine and then sign your name or
| | 07:22 | you can even have a special
paragraph style that indicates these are your
| | 07:25 | comments and so on and people can
now respond to each other in an ongoing
| | 07:29 | conversation on either side of the spread.
| | 07:32 | So though that's not really a feature
of notes, I wanted to tell you how a lot
| | 07:36 | of companies are working around some
of the limitations of notes, though they
| | 07:39 | are extremely cool in and of
themselves and are a lot of fun to work with.
| | Collapse this transcript |
| Using the Customizable Links panel| 00:01 | InCopy CS4 boasts a redesigned Links panel. Now InCopy has
always had a Links panel. It's never been part of the default
| | 00:11 | workspace. You'd never see it over here.
Normally we're using the Assignments panel
| | 00:15 | to see a list of all of the
stories that have been linked
| | 00:19 | to this layout. However there
is another panel called Links
| | 00:22 | and let's open it up from the
Window menu and choose Window > Links.
| | 00:27 | What Links lists that Assignments does not
| | 00:31 | are all of the images
| | 00:33 | that have been linked to this layout or this assignment
that you have open in InCopy as well as all of the stories.
| | 00:40 | When Links first opens you'll see
an empty Link Info panel below
| | 00:45 | and to see the utility of that
open up the Bliss magazine
| | 00:49 | file inside the Chapter 6 exercise folder
and scroll down to any spread that has images.
| | 00:55 | Here I've scroll down to page 4.
| | 00:57 | And if you switch to the Position tool, which
is used to edit images within their image frames,
| | 01:02 | you can use it to click on any image even
if it hasn't been exported to the workflow.
| | 01:07 | So if you click on an image, you see that
immediately lights up in the Links panel
| | 01:12 | and indicates that this image is linked to the
external file close-up of the pastilles.jpg.
| | 01:18 | And then once something is
selected in the top part of the Links panel,
| | 01:22 | the bottom part in Links Info
gives you a lot more information.
| | 01:27 | I'm going to hover over one of the sides
| | 01:29 | to resize the
entire panel so we can see more.
| | 01:34 | So it tells us the name of the file,
the format, the JPEG, the size of it.
| | 01:39 | For example it came in at 72 pixels per inch but
somebody scaled it in InDesign or perhaps in InCopy,
| | 01:46 | scaled it so small that it's now a much
higher resolution of 655 pixels per inch.
| | 01:52 | When it was created, when it
was placed, where is it located
| | 01:56 | on the server path,
| | 01:58 | and how much it's been scaled by. This is just
some of the information that Links can tell you.
| | 02:03 | Now you may not be that interested in actually the images in
the files, but there's also information we can tell you about
| | 02:10 | the stories because every linked InCopy story appears twice
in InCopy. Once in the Assignment panel and once in the Links panel.
| | 02:20 | So, for example, I'm going to scooch this guy over
| | 02:23 | and click this story that says the beginning.
| | 02:26 | The Assignments panel
immediately highlights the name of that story.
| | 02:31 | Now, I believe that this might be a little bug in
the late beta software that I'm using for these videos.
| | 02:36 | But normally the Links panel will also highlight
| | 02:39 | that same story, so bliss the beginning. Now,
how am I supposed to find bliss the beginning here?
| | 02:45 | Well take a look. We can sort these things by name, or by status
or by page number. By default they're sorted by page number.
| | 02:52 | If I click on name then they'll be sorted in alphabetical
order. I can click on this little triangle to sort them in
| | 02:58 | reverse order if I want.
| | 03:00 | And I can't really see the full file name
so I'm going to drag a column divider
| | 03:05 | to give myself a little bit more room.
| | 03:07 | So now I'll scroll down and
look for bliss the beginning.
| | 03:10 | Here it is.
| | 03:11 | So this is that story and again you should
not have to do this with the shipping software.
| | 03:16 | It should automatically highlight as soon as you click
inside the story in the layout or Story or Galley.
| | 03:21 | Now we can see that the
size of this file is 35K,
| | 03:26 | who created it, when it was placed, which layer it's on,
when it was last modified, which can be very useful for people
| | 03:33 | the path to the server, the actual
icml file, the external InCopy file,
| | 03:39 | and check this out. Has the text been
modified, are there any notes in the story?
| | 03:44 | Is track changes off or on?
| | 03:46 | Is there a label for this story? Is it part of an assignment
and what's its current status. So some of this information,
| | 03:53 | like status, you can get from here.
| | 03:56 | But a lot of it you'd have to go digging around inside
the server itself to find out this information or start
| | 04:01 | flailing around different menus. Like, how are
you supposed to tell if there's notes in a story?
| | 04:06 | Now the thing is that it's kind of pain to have to select
every story here and scroll down and look to find this
| | 04:11 | information so, one of the reasons I
called this movie title the Customizable Links Panel
| | 04:17 | is because that's the big feature in CS4. Is that you
can customize what's shown both in the top half and the bottom
| | 04:23 | half and the idea is you put the essential critical stuff
in the top half and then leave the bottom half for when you
| | 04:29 | just want a whole lot of details.
| | 04:31 | To customize the Links panel go
to the Links panel flyout menu
| | 04:35 | and go down to Panel Options.
| | 04:38 | So you can change the size of the rows
and if you want to see a thumbnail of the file
| | 04:44 | in the top part, in the name column, or you want to see it in
the bottom part called Link Info and that's not really that
| | 04:51 | useful at all
| | 04:52 | for InCopy stories but you can see how
having thumbnails of images would be useful.
| | 04:56 | Down here, everything that's checked under Link Info
means that it is currently set to show up when the file is
| | 05:01 | selected.
| | 05:03 | Down here in this bottom Link Info part. Show Column means a
new column will be added to the top half of the Links panel.
| | 05:10 | So you don't have to select an item to see its details. Let's
go ahead and turn on the presence of notes and the status of
| | 05:18 | track changes in the column area.
| | 05:20 | So I'm going to scroll down to the bottom
where all the InCopy goodies are hiding.
| | 05:24 | And I'll just go ahead and add
a bunch of them. I'll add # of Notes.
| | 05:28 | Is Track Changes turned on?
Is it a part of Assignments?
| | 05:32 | And who is currently editing it?
| | 05:34 | All right. Click OK.
| | 05:37 | And I'll close the Assignments panel for now and now we see we
have a number of new additional columns and we don't have to keep
| | 05:43 | this open. We can click the show/hide
button down here to keep this closed.
| | 05:48 | And now whenever we are working
in a story we can immediately see
| | 05:52 | how many notes does the story have. Let's see if there's any
notes in these files. Oops. There is one with four. We can sort by
| | 05:58 | the notes. So I'll click
| | 06:00 | that column there.
| | 06:03 | And then sort by # of Notes. I'm scrolling down to
the bottom, with the greatest number of notes at the bottom.
| | 06:09 | Probably would've been better to
click again to sort in reverse order.
| | 06:14 | To get the story with the most number
of notes appears at the top and so on.
| | 06:18 | Track Changes is off right now. When I go
into the Track Changes chapter in this title
| | 06:22 | I'll be coming back to the Links
panel and talking about using it there.
| | 06:26 | But I wanted to devote one video just
to call people's attention to it
| | 06:30 | because I think it's much more useful
in CS4 than it ever was before.
| | 06:34 | I think a good idea would be to customize the Links panel
to show just the most critical information that you'd like at
| | 06:40 | the top and then if you save that in a
workspace, you know you can put this over here
| | 06:46 | and maybe tuck in right under to Assignments,
| | 06:49 | and then when you click it,
it'll open up with that same view.
| | 06:51 | If you then go out to the workspace switcher and choose
New Workspace and call it InCopy Management or something like
| | 06:59 | that then you never have to go back through the Links panel
panel options to choose which attributes you want to see
| | 07:05 | up here and which attributes you want to see down here. Making
it much easier to use and giving editors and writers a lot
| | 07:12 | more information about
what's happening in their layouts.
| | Collapse this transcript |
| Collaborating with Share My Screen| 00:01 | A very cool new feature that Adobe has
added to all of its CS4 products is the
| | 00:05 | ability for users to share their
screen with a colleague across the hall or
| | 00:11 | across the country, directly from
within the program, and they didn't leave
| | 00:15 | InCopy out of the party either.
| | 00:17 | To share your screen, just boot up
InCopy, and you can open up any layout, the
| | 00:21 | idea being I have opened up a Layout or
an Assignment and I want somebody else
| | 00:26 | to collaborate on it with me, just to
look at it and give me some feedback.
| | 00:30 | Instead of me asking them to come over
and take a look over my shoulder or me
| | 00:34 | copying this onto a Zip Drive, bringing
it over to their computer opening it up
| | 00:38 | and both of us looking at it on the
screen, I can just sit right here and ask
| | 00:41 | people to join me in an online meting.
| | 00:44 | It's called ConnectNow and its part of
the acrobat.com suite of free services;
| | 00:50 | it's just that they have built access
to these free services from within all of
| | 00:55 | the creative suite programs. To start,
just go to the File menu under InCopy
| | 01:00 | and choose Share My Screen.
| | 01:02 | You do need an Adobe ID to share your
screen, which is free, and all they ask
| | 01:08 | for is your email address and a
password, then they ask you to confirm your
| | 01:12 | email address. But, the people that you
invite to your meeting, they don't need
| | 01:15 | an Adobe ID. All they need is an
internet connection on their computer, a web
| | 01:20 | browser and a web browser that's
running the Flash plug-in which over 90% of
| | 01:26 | all web browsers are doing so.
| | 01:28 | So they shouldn't need to do any
kind of setup at all and it makes no
| | 01:31 | difference which platform they are on
either. So I'm going to enter in my Adobe
| | 01:34 | ID, which I have already setup. If you
haven't set yours up yet, then you can
| | 01:38 | click right here at Create A Free
Adobe ID and then come right back here, and
| | 01:46 | enter my password which of course I'm
going to keep secret from all of you. You
| | 01:51 | can turn on the Checkbox to remember
you on this computer, so you don't have to
| | 01:54 | keep entering this
information, and then click Sign In.
| | 01:57 | Your default browser automatically
opens up and if this is a first time that
| | 02:01 | you're running this, you may be
prompted to install the latest version of the
| | 02:05 | Flash plug-in, part of ConnectNow comes
with a pre-conference call line. So you
| | 02:12 | can use this number if you would like.
Now, people still have to reach it with
| | 02:15 | a toll call, its 9800 number, but you
see there are lots of feature that go
| | 02:19 | with it. So you can for example mute
other people and have people raise their
| | 02:23 | hands to speak and stuff. There is a
host ID and a participant ID that you can
| | 02:27 | enter in this information.
| | 02:29 | When you close this little dialog box
with phone conferencing information, you
| | 02:34 | will see a URL that you can tell
invitees to enter into their browser URL
| | 02:39 | field. You can also customize this URL
which I've already done previously under
| | 02:43 | this Customize Your Meeting URL and
now I just have this memorized, and I can
| | 02:47 | just tell people over the phone or I
can shoot them an email and you can shoot
| | 02:51 | them an email directly from here.
| | 02:52 | So I'm going to click Close and then
I'm going to wait for my friend Samara to
| | 02:56 | appear. I have just called her on the
phone down the hallway, but I'm just too
| | 03:00 | lazy to walk over there and say come
on over, instead I said, go to your
| | 03:03 | browser, go to my URL. I
want to show you something.
| | 03:05 | So Samara says that she'd like to
come in and I'm going to say Accept. Now,
| | 03:09 | what you might want to do is allow
people automatic entry, so that you don't
| | 03:12 | have to keep clicking Accept. You can
have up to two people joining in the
| | 03:16 | meeting. Beyond two, it will say the
meeting is too crowded and you have to
| | 03:20 | move up to a paid version of ConnectNow,
but I'll just say Accept. And then,
| | 03:24 | across the bottom, there is me as a host.
You can upload a picture of yourself.
| | 03:28 | I uploaded my favorite picture of the ducky.
| | 03:30 | There are lots of features across the
top. I don't want to go into them in a
| | 03:33 | whole lot of detail. But, in addition
to sharing your screen, you can also do
| | 03:37 | things like white board, you can send
files to each other, you can turn on your
| | 03:41 | web cam, so that people can see each
other's pictures over here. You can have a
| | 03:45 | live chat like a little IM window
while you are talking, also you can enter
| | 03:49 | notes down here and Samara is
apparently typing right now. Let me expand my
| | 03:53 | screen here.
| | 03:55 | She said she loves the new layout. Well,
that's great Samara. But, I'm going to
| | 03:59 | show you this latest proof, all right?
I'm going to turn on Share My Computer
| | 04:03 | Screen. I'm going to now just click OK.
I'm now sharing my screen. Well, this
| | 04:09 | part right here is not very exciting.
| | 04:11 | What I want to do is go back to
InCopy, and now Samara can see my actual
| | 04:15 | layout, and I can tell her Samara,
this is page 4 and 5. I'm going to move my
| | 04:20 | little Control panel over, and I'm
going to zoom-in down here and say, do you
| | 04:23 | have another image maybe that you
could put down here, in the chat window, do
| | 04:28 | you have an image, for here, and then
we will see what she says in her reply.
| | 04:36 | Samara says she has got a great shot of
some chocolate cookware, that's great.
| | 04:39 | So now, I know that I don't have to
write to fill this because Samara, my art
| | 04:43 | director can put in a picture
here after I check in my story.
| | 04:46 | If we decide on major decisions while
we are speaking, I can open up the Shared
| | 04:51 | Notes Pod and add notes here, and then
print this out later, Samara will add
| | 04:57 | new picture to page 5. You can even
select things and color them, Samara likes
| | 05:05 | the color purple and then you can
save this as a document as well and then
| | 05:09 | print it out later.
| | 05:10 | So that's basically it, and I have to
tell you that you are not tied to InCopy
| | 05:15 | while you are sharing your screen,
even though I'm in InCopy and that is kind
| | 05:19 | of the point of using Share My Screen
within the program, I could switch to any
| | 05:22 | other program that I currently have
opened and share it with on my screen, and
| | 05:26 | my Excel file, and my Windows
Explorer window in Photoshop and so on.
| | 05:31 | When you are done with the meeting,
then you just click the little Close box,
| | 05:35 | and your little ConnectNow floating
control panel, which stops your screen from
| | 05:40 | sharing and then end the meeting from
the Meeting menu. You can put up your own
| | 05:45 | special message and click OK.
| | 05:47 | I think it's just another great way of
being able to collaborate with all of
| | 05:51 | the people that you are working with
and getting your publications out the
| | 05:54 | door, whether they are your colleagues
across the hall or at the other corner
| | 05:57 | of the building, an outside author,
the commercial printer, anyone who has
| | 06:01 | access to a browser and an internet
connection can collaborate with you on what
| | 06:05 | you are looking at in InCopy.
| | Collapse this transcript |
| Working with built-in scripts| 00:02 | One of the most powerful tools
available to people who are using InCopy are the
| | 00:06 | scripts that come with the program
and the multitudinous free and low-cost
| | 00:11 | shareware scripts that you can
easily add to the program yourself.
| | 00:15 | Now, if you are familiar with actual
Macros in Microsoft Word, not Text Macros,
| | 00:20 | the topic of a different video tutorial,
which is more like an auto-expand, but
| | 00:24 | Macros which are programs that automate
tasks in Microsoft Office applications.
| | 00:30 | The Adobe applications have the same
capability except we call them scripts.
| | 00:34 | There are some sample scripts that get
installed with the program. You can find
| | 00:38 | them under the Window menu and go down
to Scripts. So the Scripts panel is not
| | 00:44 | part of any default workspace. You
will never see it appear on the right; you
| | 00:47 | have to actually open it yourself.
| | 00:48 | There are two folders that appear. One
is the Application, which are scripts
| | 00:52 | that came with the program, and the
other one is User. If you want to install
| | 00:56 | your own scripts and not have them
available to anybody else who uses this
| | 01:00 | computer, you would
install them in this location.
| | 01:02 | Right now, let's look at the
Application Scripts. They are sample scripts and
| | 01:07 | they come in two flavors, they are the
exact same scripts. JavaScript scripts
| | 01:11 | are cross-platform compatible. So if
you have a Macintosh friend who is using a
| | 01:17 | cool script in InCopy and it's
JavaScript, you can ask them to send your copy
| | 01:21 | and drop it in here.
| | 01:22 | VBScript of course, is Windows only. On
the Macintosh side in InCopy, you would
| | 01:27 | also see JavaScript, but you would
see AppleScript instead of VBScript.
| | 01:31 | Let's just open up the JavaScript
folder and you will see that there are five
| | 01:36 | sample scripts that come with the
program, Create Character Style, Export All
| | 01:39 | Stories, Find Change By List and so on.
Some of these scripts only work in a
| | 01:44 | standalone InCopy document like you
cannot create a character style in a manage
| | 01:49 | story and something that you've checked
out as you can see it's all grayed out.
| | 01:53 | However, you could do something like
this, Export All Stories. Export All
| | 01:57 | Stories lets you export each individual
story here as a separate file which is
| | 02:02 | not really that useful, but at least
you can export them as RTF files in case
| | 02:06 | somebody who doesn't have
InCopy, needs to access them.
| | 02:09 | Find Change By List, is very useful.
Find Change By List will run through a
| | 02:14 | whole bunch of find change routines,
and I've covered Find/Change in some
| | 02:17 | detail in an earlier video. That's this
command here under the Edit menu. Edit
| | 02:22 | > Find/Change lets you search for
things and replace them with something else.
| | 02:26 | Well the Find Change By List command
does a text clean up. For example, I've
| | 02:31 | checked out a story in the Bliss
Magazine file inside your chapter 6 exercise
| | 02:36 | files folder. And I'm just going to
add some garbage to it like people often
| | 02:41 | get from outside authors with multiple
returns and double spaces after periods
| | 02:47 | and instead of using an Em Dash,
they use the space and a double dash and
| | 02:52 | another space, and cleaning up
all these would be tedious even with
| | 02:57 | Find/Change, but Find Change
By List can fix that for you.
| | 03:00 | I want to have it fix this Selected
Story and then I click OK, and well, it
| | 03:06 | converted the double hyphens into Em
Dashes, and got rid of the double spaces.
| | 03:11 | You can see exactly what it changes
and you can add and remove from that list
| | 03:15 | in this FindChangeList.txt file.
| | 03:18 | So it's something very easy that you
can edit yourself. If you just right-click
| | 03:21 | and choose Reveal in Explorer, then
you can double-click it in Explorer, open
| | 03:26 | it, and add things like also convert n-
spaces to m-spaces or numbers to letters
| | 03:31 | or whatever it is that you like to
include in the Find/Change. Right now it
| | 03:35 | runs through five separate things.
| | 03:37 | Sort Paragraphs will sort a selection
of paragraphs in alphabetical order,
| | 03:41 | which could be handy, and Tab
Utilities helps you insert tabs. Normally, you
| | 03:45 | insert a tab by going to the Type menu
and choosing the Tabs panel or you can
| | 03:49 | choose this from the Window menu as
well and then you set tabs according to the
| | 03:54 | Tab Ruler above the Text Frame. But,
sometimes it's easier just to use Tab Utilities.
| | 03:59 | Let's say for example that I wanted to
add a tab, here is a tab right at the
| | 04:05 | word Please. I could double-click Tab
Utilities and say, set a tab stop at The
| | 04:10 | Right Column Edge where my cursor
is currently, the Left Indent of this
| | 04:15 | paragraph or make a Hanging
Indent; I can even add a Tab Leader.
| | 04:19 | So it's up to you whether it's faster
to use that little Tab panel or the Tab
| | 04:23 | Utilities Script, but there are some
kinds of tabs that are quite difficult to
| | 04:26 | create by hand with the Tab panel,
such as the Right Column Edge and so you
| | 04:31 | might find this to be a little bit
more useful or specially Current Cursor Position.
| | 04:35 | In addition to these sample scripts,
which really are installed more for
| | 04:39 | teaching people how to script, when
you install InCopy, it comes with a very
| | 04:42 | large scripting guide and teaches
people how to script InCopy in AppleScript,
| | 04:47 | VBScript, and JavaScript. These are
more like proof of concept scripts that also work.
| | 04:51 | I really encourage you to go out on the
net and look for scripts that can help
| | 04:56 | you in your work or hire a scripter
to write something in JavaScript or
| | 04:59 | VbScript that you really need InCopy to
do that it doesn't do currently. I have
| | 05:04 | already opened up a few URLs that I
think you might find useful and I'll be
| | 05:09 | talking about some of
these at the end in resources.
| | 05:12 | Incopysecrets.com is my blog with
InCopy and InDesign workflow information and
| | 05:17 | I have a section here about Scripts and
Plug-ins as well. For example there is
| | 05:22 | a wonder script called Diacritic.jsx
that can easily add diacritics to any
| | 05:29 | character. There are some scripts
that are commercial like this one
| | 05:33 | InEventScripts allows you to automate
complex or repetitive processes in either
| | 05:37 | InDesign or InCopy. This one happens
to be $120, which is kind of expensive,
| | 05:42 | but it is extremely powerful and if it
saves you two hours of time with every
| | 05:46 | publication, it will pay for itself in no time.
| | 05:49 | You will find that a lot of text
related scripts where InDesign also work with
| | 05:53 | InCopy even if the developer doesn't
realize it. So it always pays to ask them.
| | 05:58 | This script Proper Fraction was one
that I was just asked about this morning by
| | 06:02 | a client. They use this all the time in
InDesign and they wanted to know if it
| | 06:05 | works in InCopy, and take a look at
the title of Dan Rodney's page Proper
| | 06:09 | Fraction, InDesign and InCopy script.
Proper Fraction works as for free just
| | 06:15 | like QuarkXPress, as all make fraction.
You type out a fraction, select it, run
| | 06:19 | the script and it convert it
into a nice looking fraction.
| | 06:22 | The Pro-version which costs a little
bit per user, adds a whole bunch of new
| | 06:26 | features as well, but it does work in
both InDesign and InCopy and if you set a
| | 06:31 | lot of text that needs to have nice
looking fractions, this thing is wonderful.
| | 06:36 | Again, the free one is free. I always
encourage to please make a donation, send
| | 06:42 | them a few bucks via Pay Pal to
encourage independent script developers to
| | 06:47 | continue to develop these cool scripts
and release them on a grateful nation.
| | 06:52 | To install scripts, it's very simple.
You just have to get the script, and JSX
| | 06:56 | or VBScript or AppleScript is just a
plain text file with a special extension,
| | 07:01 | completely editable on any Text Editor.
And then you drop it into the Scripts
| | 07:05 | folder. If you want to drop it into
the Program Scripts folder, you can see
| | 07:09 | here's where all the other ones live,
and it's inside a folder called Scripts,
| | 07:13 | Scripts panel, Samples, JavaScript,
these are the JavaScript scripts.
| | 07:17 | You can see inside my C Drive in
Program Files, Adobe, in the InCopy folder,
| | 07:24 | this is the Scripts folder. Anything
that you put inside the Scripts panel
| | 07:28 | folder will appear in the Scripts
panel in InCopy. You don't need to restart
| | 07:32 | the program. Just drop it in here,
jump back to InCopy and you will see it
| | 07:35 | appear there.
| | 07:36 | You might not have privileges to drop
things into things inside the Programs
| | 07:40 | folder on your computer. If so, then
you can use the Users folder and full
| | 07:45 | documentation about where these things
are located is available in the online
| | 07:48 | help that comes with InCopy or
just visit InCopySecrets.com.
| | 07:53 | So whether you just limit yourself to
the scripts that come with the program or
| | 07:56 | your a more adventurous sort and you go
out and find scripts that do things for
| | 08:01 | you, or perhaps you want to learn how
to write scripts yourself, one thing is
| | 08:04 | for sure, scripts will always
save you a heck of a lot of time.
| | Collapse this transcript |
|
|
7. Advanced Text Editing in InCopyAdding footnotes| 00:01 | Emma by Jane Austen, one of my favorite
books. We are looking at this document
| | 00:06 | in InCopy, I have opened it up from
the chapter07 exercise files and I have
| | 00:13 | also switched over to Preview mode, so
you can sort of see what the text looks
| | 00:17 | like. I'm going to switch back to
Normal mode from the Application bar. If we
| | 00:21 | open up the Assignments panel, you
will see that there is only one story that
| | 00:25 | is part of this document and I know to
any of you book editors out there, this
| | 00:29 | is coming as sweet visual relief from
the very busy document that we have been
| | 00:33 | working with another videos.
| | 00:35 | Let's check out this document, I'm
just going to right-click and choose Check
| | 00:38 | Out and let's zoom out a bit to give
ourselves an over all look. I'm pressing
| | 00:43 | Ctrl+Minus or Command+Minus on a Mac.
So it's not that long, it's just two
| | 00:48 | chapters and it's one a continuous story,.
If I zoom in a little bit more, click
| | 00:54 | in any of these frames and press
Command or Ctrl+A or choose Select All. You
| | 00:58 | will see that it's just one long
story, threaded among multiple frames.
| | 01:02 | So click inside the very first frame
of the story and zoom in and what I want
| | 01:09 | to talk about is something very
simple to do, how to add footnotes to a
| | 01:13 | document. Let's say that we are a Jane
Austen scholar and we want to comment on
| | 01:18 | some of the text. Let's just take a
certain sentence, like let's say right
| | 01:23 | after the word Miss Taylor and say
that we have comment to add about that.
| | 01:27 | To add a footnote go to the Type
menu and go down to Insert Footnote. It
| | 01:31 | doesn't have a keyboard shortcut but
you can certainly add one yourself from
| | 01:35 | the Edit Keyboard Shortcuts dialog box.
As soon as you insert a footnote, it
| | 01:39 | adds a Footnote Reference in
superscript next to the word and then it jumps
| | 01:44 | your cursor down to the footnote area
of the Layout page. Miss Taylor was known
| | 01:51 | to Jane Austen as a kindly neighbor.
Maybe Jane Austen liked to include her
| | 02:01 | neighbor's names in her books. All
right, that's why you wanted add. You can
| | 02:04 | just continue going on this way if you
want to add another, we will go after
| | 02:08 | the real evils. This time I'll just
right-click and then choose Insert Footnote
| | 02:13 | directly from the contextual menu and
say I think it's interesting that evil
| | 02:23 | spelled backwards is live.
| | 02:28 | You may not like how the footnotes
appear but you have limited control over
| | 02:32 | them. If you go up to the Type menu,
you will see that there is something
| | 02:36 | called Document Footnote Options but
this is only fully enabled for you when
| | 02:40 | you are working with a stand-alone
InCopy document, just though you are working
| | 02:44 | in a Microsoft Word document and then
you can set all sorts of options for how
| | 02:48 | far above the text should appear,
should there be a rule above the first
| | 02:52 | footnote and so on. All these things
have been already setup in InDesign and
| | 02:57 | saved with the document.
| | 02:58 | So if would like the footnotes to
look differently then you need to consult
| | 03:01 | with the designer first and have
them save that in the InDesign document.
| | 03:04 | However, you can apply paragraph
styles to footnotes and here we see that the
| | 03:10 | designer has currently included a
Footnote Style, so I'll just select all this
| | 03:15 | text here and click Footnote and click
once down here and click Footnote and as
| | 03:20 | you add additional Footnotes, the text
up here just raises up on the page to
| | 03:25 | account for more room.
| | 03:26 | The designer can also set a footnote
to split among multiple pages and can
| | 03:31 | apply a character style to the
Footnote Reference. There's a lot more to talk
| | 03:35 | about with Footnotes. But I just
wanted to give you an idea of how it's done
| | 03:38 | and it's quite simple. Also want you
to check out of how Footnotes look in
| | 03:42 | Gallery and Story. If I click in Story,
look at how easy it is to work with
| | 03:48 | Footnotes. They appear in line
directly when you added them and they are
| | 03:51 | preceded with a little number, so
here's footnote number one, footnote number
| | 03:54 | two, along with the Em space that the
designer asked to separate the numbers
| | 03:58 | from the footnote and then you can
continue typing here. Just type whatever you
| | 04:04 | would like. To collapse the footnotes
that they are not too bothersome when you
| | 04:09 | are reading, you can just click right
on them and click on them again to open them.
| | 04:13 | So in Story and Gallery they are quite
easy to work with, like in line notes,
| | 04:17 | they are often much easier to see and
work with in Gallery and Story than they
| | 04:21 | are in Layout. However, I know that a
lot of people using InCopy like to stay
| | 04:25 | in Layout most of the time and I wanted
to show you that how it works in Layout
| | 04:29 | in InCopy is exactly how it
works in Layout in InDesign.
| | Collapse this transcript |
| Using conditional text| 00:01 | If you would like to see a little bit
of magic that's new in InCopy CS4, open
| | 00:05 | up the Bliss_Magazine file from your
chapter07 exercise folder and scroll down
| | 00:11 | to the last spread which is about our
new website. It's on pages 8 and 9 and I
| | 00:16 | have done that here on the screen. I
have also changed the Screen Mode from
| | 00:20 | Normal to Preview.
| | 00:21 | The little magic occurs in the
Conditional Text panel, a new panel in both
| | 00:27 | InDesign and InCopy. If you are using
the Advanced workspace, like I have been
| | 00:32 | doing throughout all of these videos,
you will see the Conditional Text panel
| | 00:35 | is the last one on the list; otherwise
you can choose Conditional Text from the
| | 00:40 | Window menu, go all the way down to
Type & Tables and choose Conditional Text from there.
| | 00:45 | So open up the Conditional Text panel,
which has already been prepared with a
| | 00:49 | couple of conditions. By default,
the only thing you will here is
| | 00:52 | Unconditional, but you see we have
two conditions called UK-specific and
| | 00:57 | US-specific. The first column is the
visibility of that condition and right now
| | 01:02 | the UK one is invisible.
| | 01:04 | To see the magic, hold on your Alt or
Option key on a Mac and click in the
| | 01:09 | Visibility column next to UK-specific.
Did you see anything change? Try Alt or
| | 01:15 | Option clicking in US-specific
again to toggle that visibility on while
| | 01:20 | toggling off the UK one. Watch the
deck up here change as I do it again and
| | 01:27 | also there is some text changing down
here, let me zoom in there with Command
| | 01:31 | or Ctrl+Plus a few times
and Option or Alt-click.
| | 01:35 | So when this magazine is out put for
the UK market, it's going to have this
| | 01:41 | condition visible and everything in the
magazine that is specific to the UK and
| | 01:47 | nothing that is specific to be US will
appear. On the other hand, from the same
| | 01:51 | exact document we can create a US
version of the magazine and this is an
| | 01:56 | astounding piece of work because this
means now that publishers can create
| | 02:01 | single source documents
for multi-channel publishing.
| | 02:04 | You might have a magazine, a
newsletter, a newspaper, a brochure, an annual
| | 02:09 | report where a lot of the text is the
same for all the editions but some of the
| | 02:14 | text is specific for certain editions.
Such as one for French and one for
| | 02:19 | English, one for teachers and one for
students, a catalog with prices specific
| | 02:24 | to the east coast versus the west coast
versus the mid-west. Text can have more
| | 02:29 | than one condition applied so that you
can have the same bit of text appear if
| | 02:33 | either the American, Australian or
Canadian condition is visible but disappear
| | 02:40 | if the Latin American market is visible.
| | 02:43 | I go into a lot of detail about
setting up a document for various Conditional
| | 02:47 | Text purposes. In my InDesign CS4, new
features video. In fact I think I have
| | 02:53 | four or five videos just on
Conditional Text. It comes at it from an InDesign
| | 02:57 | users' perspective and as is true for
things like style sheets and other items
| | 03:04 | in the InDesign InCopy workflow.
| | 03:06 | When the InCopy user gets the document,
they can apply conditions, they can
| | 03:11 | make conditions visible and invisible
but they cannot create new conditions and
| | 03:16 | they cannot delete existing conditions.
The only time they can do those kind of
| | 03:19 | actions are when they are working with
a stand-alone InCopy document, as though
| | 03:23 | they were working with the standalone
Word document. Now I'll be talking about
| | 03:27 | that in upcoming chapter. So let's
get some practice in applying these
| | 03:31 | conditions and making them appear and disappear.
| | 03:34 | Go back to the Screen Mode of Normal
from the Application bar widget up here or
| | 03:39 | you can always go to the View menu >
Screen Mode flyout menu and notice that
| | 03:44 | once we are looking at it in Normal
view, we see some indicators that tell us
| | 03:48 | which parts of this text are linked to
a condition. So thanksgiving is linked
| | 03:54 | to the US-specific condition, the color
of the indicator is red. So anything in
| | 03:59 | this document that will only appear
when the US-specific condition is visible,
| | 04:04 | will appear with this red wavy line
indicator. You see at the bottom of the
| | 04:08 | Conditional Text panel, Indicators,
Show, you can also say Hide in case that
| | 04:13 | bothers you looking at them.
| | 04:14 | You can also choose whether or not they
print, normally they do not print. But
| | 04:18 | if you want them to print for your
records or because you are trying to figure
| | 04:22 | something out and it's easier to do
on paper, then turn this on before you
| | 04:26 | choose print. The default is Show.
Also look at this little indicator to the
| | 04:31 | left of the word thanksgiving, let me
zoom in even more, this indicates that
| | 04:35 | there is text here that is currently hidden.
It's the Hidden Conditional Text Indicator.
| | 04:39 | It's very large because it actually
does stand for text. If I check out this
| | 04:44 | story, I'm going to go to the
Assignments panel and then just with this story
| | 04:49 | selected click the Check Out icon and
then I attempt to delete that Hidden
| | 04:54 | Conditional Indicator, just press the
Delete key. I'll get a warning saying if
| | 04:59 | you continue, you are actually going
to delete the text. Do you remember what
| | 05:03 | it said? It said Boxing Day and
normally that's not what you want to do. So
| | 05:07 | that's a good thing that this warning
comes up and I would never turn on Don't
| | 05:10 | Show Again. So click Cancel if you see
this and think about what it is that you
| | 05:14 | are trying to do.
| | 05:15 | If you open the Conditional Text panel
and you hide both conditions, then you
| | 05:20 | still see just one Conditional Text
Indicator. If you show both conditions,
| | 05:25 | then you see one appear right after
the other. So the UK condition has this
| | 05:30 | blue squiggly mark and the US
condition has this red squiggly mark and the
| | 05:35 | designers can choose different kinds of
indicators for each condition. They can
| | 05:39 | be highlighted behind here. They can
be a straight line and so on with all
| | 05:43 | sorts of different colors.
| | 05:45 | So let's zoom out with Ctrl or Command+
0 and move over to the right side of the
| | 05:50 | page where we have this Buy Online
table. Click inside any of the lines and
| | 05:55 | zoom in with Command or Ctrl+Plus. So
another thing that we want to change for
| | 06:00 | our UK and US-specific edition of this
magazine are the prices, right? These
| | 06:06 | prices should only appear in the US version.
| | 06:09 | In the UK version we want to put a
slightly different price with the pound
| | 06:12 | symbol. So to create your conditions,
there is a few different ways to go about
| | 06:16 | it, one of them is to enter in all the
text first and then apply the condition.
| | 06:20 | Let's do that for the $8 one. So right
after $8 add a space. I haven't checked
| | 06:26 | out this frame, thank you very much.
And copy, Yes. Please check this story out
| | 06:30 | for me now. Add a space and then add a
pound and we will say ?3 because you
| | 06:36 | know how bad the American dollars.
| | 06:38 | Now if you forgot how to make the pound
symbol, don't worry about it, I have a
| | 06:41 | little a cheat sheet for you, scroll
down a little bit and in the bottom pace
| | 06:44 | board I have a pound symbol already
prepared. Remember you can always just
| | 06:49 | select text and copy it even without
checking out the story as long as you
| | 06:52 | don't want to edit it. Now back up here
in the Buy Online, you can go ahead and
| | 06:57 | paste it in and we will say 3, all right.
| | 07:03 | And then I'm going to select the space,
the pound and the number, copy that
| | 07:08 | with Command or Ctrl+C, click after the
10 and I'll paste it there, click after
| | 07:14 | the 6 and paste it there, after the 12,
and after the 13 and now select the
| | 07:20 | space, the dollar sign and the eight,
next to the Bag of Beans and turn on the
| | 07:26 | condition for US-specific by clicking
once in the square to the left of the
| | 07:30 | condition and you will see that the
indicator appears and if you hide the
| | 07:36 | US-specific condition, that also
disappears and is replaced by a Hidden
| | 07:40 | Conditional Text Indicator. Make it
visible again and do the same thing, apply
| | 07:45 | the US-specific condition to the other
prices. Make sure you include the space.
| | 07:50 | You need to come up with the routine of
whether or not you are going to include
| | 07:53 | spaces in conditions or not, I think
that you should because it makes them
| | 07:57 | easier to distinguish when they are
all showing, otherwise we would have the
| | 08:00 | pounds running right into the numbers
over here. What you don't want to end up
| | 08:04 | with are two spaces because somebody
forgot to select a space. And then when
| | 08:10 | you are done with that, do the same
thing for the UK condition. Select the
| | 08:14 | space pound symbol and 3, UK and so on.
| | 08:18 | So this could be a little tedious but
it is no less tedious then creating two
| | 08:22 | versions of this document and then
every time that you make a change anywhere
| | 08:27 | to the common text between the two
documents, you have to remember to make the
| | 08:30 | same change to the second document,
right? At least here whenever you are
| | 08:34 | editing text that is not specific to a
region, you just have to make it once.
| | 08:39 | UK and UK, all right.
| | 08:44 | Now let's test it out. Let's switch
over to Preview mode, all right just click
| | 08:51 | anywhere to sort of deselect everything
and now Option or Alt-click, you don't
| | 08:55 | have to Option or Alt-click, it just
toggles the visibility, you could just
| | 08:58 | click once. Let's click once on the
Visibility icon to the left of US-specific
| | 09:04 | and here are the prices
good to go for our UK market.
| | 09:07 | Looks like we need an extra space right
here, I have to put that in there, all
| | 09:11 | right and then let's turn off US-
specific, turn on US-specific and turn off
| | 09:16 | UK-specific. If we click elsewhere
then we get rid of the Non-printing
| | 09:19 | Conditional Text icons and we can get a
better look at it. Let's zoom out with
| | 09:23 | Command or Ctrl+Minus a couple of times
and I'm Alt or Option dragging to move,
| | 09:29 | to pan the page around and let's Option
or Alt-click on UK which also turns off
| | 09:34 | US and there we have the UK prices,
boxing day and up here it says, will be
| | 09:41 | debuting soon in the UK. And we do it
again with Option or Alt-click right here
| | 09:45 | with US-specific, that's blissful
America, thanksgiving and the US prices.
| | Collapse this transcript |
| Creating hyperlinks| 00:01 | In this day and age when you are
writing copy, you are often writing not just
| | 00:04 | for print but also for websites or PDFs,
that people will download as digital
| | 00:10 | files and in those cases you often
want to include hyperlinks, links to
| | 00:15 | websites, links to email addresses,
and so on. You could never do that before
| | 00:19 | in InCopy, you could in
InDesign but not in InCopy.
| | 00:21 | Well in CS4, yay! It has given us a
Hyperlinks panel so now we can actually
| | 00:26 | not only add a hyperlink that makes it
through unscathed when updated in the
| | 00:31 | InDesign layout and thus exported to
PDF for XHTML or whatever design is going
| | 00:37 | to do with the InDesign file. But
also a link that you can test directly in
| | 00:41 | InCopy. You don't have to export it to
PDF first and click it in the PDF to see
| | 00:45 | if it will actually bring it to the
correct URL. That's new in both InDesign
| | 00:49 | and InCopy CS4. In fact, they revamped
the entire Hyperlinks panel. So let's
| | 00:54 | see how that works.
| | 00:55 | Open up the Bliss_Magazine file in
your chapter07 folder and scroll down to
| | 00:59 | pages 8 and 9. This is our new
website spread. I have checked out all the
| | 01:04 | stories in this document, just to
make things easier for me. You can do the
| | 01:08 | same thing in your Assignments panel.
Check them all out. And let's look at
| | 01:12 | this URL right here. I'm going to zoom
in with Command or Ctrl+Plus a couple of times.
| | 01:17 | Now the idea is that when this
publication is out put to PDF, people will be
| | 01:22 | getting the PDF version of the
magazine and they will probably in Acrobat
| | 01:26 | Reader want to be able to click on
this and bring you to the website and you
| | 01:31 | can add that directly here in InCopy.
However there really is no blissn05.com
| | 01:37 | yet. I hate to break it to you but
this is a fake magazine. So let's actually
| | 01:42 | put in a real URL such as lynda.com.
| | 01:45 | So how do you turn a URL into Hyperlink,
just select the URL and open up the
| | 01:52 | Hyperlinks panel, you will see it
toward the bottom of the panel doc, if you
| | 01:57 | have the Advanced workspace selected,
otherwise you can choose it from the
| | 02:01 | Window menu right here, Hyperlinks,
all right. What we want to do is create a
| | 02:06 | new hyperlink and at first when you
look at this panel, you will say well, how
| | 02:09 | do I do that?
| | 02:10 | Now actually let me detach it, so
it's a little easier for you guys to see,
| | 02:14 | collapse the other thing. Because cross-
references are tightly integrated with
| | 02:18 | hyperlinks and I suppose because the
price of panel real estate has shot
| | 02:24 | through the roof and Adobe can't
afford another panel, they have sort of made
| | 02:28 | them be roommates in the same panel.
| | 02:30 | No actually they are related in some
ways but for now what you see is the top
| | 02:35 | part is Hyperlinks, the bottom part is
Cross-References. Another new feature
| | 02:38 | that I'll be talking about in upcoming
video. But at the bottom we have links
| | 02:43 | and doohickeys for both of these
features and also from the Hyperlinks panel
| | 02:48 | menu we have both Hyperlink
and Cross-References commands.
| | 02:52 | If you hover over the little picture
of the link over here and click it, you
| | 02:56 | will see the New Hyperlink dialog box.
This is how we add a hyperlink and what
| | 03:01 | we want to do is we want to link to a
URL, a website address. There are other
| | 03:06 | things that you can link to, you can
link to a file, an email address, a
| | 03:10 | certain page in the document, the text
anchor or shared destination which is a
| | 03:15 | saved location in a different document.
That's a little bit beyond the preview
| | 03:19 | of this video. For now we are just
going to deal with URL and I'll also talk
| | 03:22 | about creating an email hyperlink.
| | 03:24 | So the URL is what we had just
selected and I'm going to type it in again
| | 03:29 | www.lynda.com. You may have wondered
why did I need to select it before,
| | 03:34 | because we want this entire URL to be
applied to the selection. If you want to,
| | 03:39 | you can also apply a character style to
this URL So I have one called Hyperlink
| | 03:46 | but actually I kind of like the
formatting as it is right now, so I'm going to
| | 03:49 | turn that off. And finally at the
bottom we have an Appearance thing. By
| | 03:53 | default InDesign and InCopy put this
Visible Rectangle, a square, a round text,
| | 03:58 | that has been hyperlinked and that's
just in case you are linking something
| | 04:01 | that is right in the middle of the
massive body copy, how is the poor person
| | 04:06 | who is reading that PDF, supposed to
know that one phrase is a hyperlink as
| | 04:09 | opposed to the rest of it.
| | 04:10 | If you don't happen to have a character
style already applied to it to let them
| | 04:14 | know, this is something you can click
on then InDesign or InCopy can go ahead
| | 04:18 | and put a rectangle around the item.
However because we assume most people who
| | 04:22 | will be looking at this PDF will hover
over the lynda.com web address assuming
| | 04:27 | it is a hyperlink, we really don't need
any kind of markups. So I'm just going
| | 04:31 | to choose Invisible Rectangle and then click OK.
| | 04:34 | Once you have added a link, then you
will see it highlighted and added to the
| | 04:38 | Hyperlinks panel and it tells you that
it is the type of URL and if you want to
| | 04:43 | test it then you want to click this
arrow to the right which is Go to Hyperlink
| | 04:47 | Destination. If I click in this text,
the hyperlink becomes deselected. If I
| | 04:51 | click in this text, it becomes selected.
So you don't need to select the entire
| | 04:55 | hyperlink, just make sure that it's
highlighted in the Hyperlinks panel and
| | 04:59 | then click the right pointing arrow,
that will open up your default browser and
| | 05:03 | jump right to the website.
| | 05:05 | So if you didn't put in the correct URL,
in that New Hyperlink dialog box you
| | 05:10 | can go back and edit it. However, in
this case we did. So to edit the hyperlink
| | 05:14 | if you need to, you can just double-
click it, right inside the panel and then
| | 05:17 | edit the URL right here.
| | 05:18 | Now let's do an email hyperlink as well,
I'm going to press Ctrl+0 to fit in
| | 05:25 | window and search for that place where
we talk about a contest and we invite
| | 05:30 | people to send in their entry into the
contest. You can see it if you click it
| | 05:35 | in the second to last paragraph at the
bottom of page 6 and press Command or
| | 05:39 | Ctrl+Plus a few times. So here we have
an email address and what we would like
| | 05:44 | to happen is that people can click on
that email address and from the PDF their
| | 05:49 | default email program will open
up with a new outbound message and
| | 05:54 | contest@blissno5.com will
already be filled out in the To field.
| | 06:00 | So to do that again you just select
the text because we want that all these
| | 06:04 | text to be a single hyperlink and then
click the New Hyperlink button at the
| | 06:09 | bottom. This time we want it to be
an email link and then we enter in the
| | 06:14 | address which is contest@blissno5.com
and look you can even add a Subject Line,
| | 06:21 | Here's my entry for the contest. And so
now when they click that link, not only
| | 06:27 | will they get a new outbound email
message but the subject will already be
| | 06:30 | pre-filled in for them and their
cursor will be blinking in the body. Isn't
| | 06:33 | that nice and simple for your readers?
| | 06:36 | Again you could apply character style
and I think here we actually will. It's
| | 06:40 | not too obvious that this email
address is a link. It looks exactly like the
| | 06:44 | surrounding body copy. So in this case,
I'm going to turn on Use a Character
| | 06:48 | Style and make it a hyperlink. Now this
hyperlink character style was something
| | 06:52 | that the designers created for us. If
you don't have a character style for a
| | 06:56 | hyperlink, then you would just ignore
this. But of course, you could select it
| | 06:59 | yourself and format it with items from
the Character panel or ask the designers
| | 07:04 | to please add a character style
for hyperlinks and there it is.
| | 07:07 | Now I'm not going to bother actually
creating an outbound email message with
| | 07:10 | this in there, you are just going to
have to take my word for it. But again,
| | 07:13 | you could test that for yourself by
selecting the link here in Hyperlinks and
| | 07:17 | then clicking the Go to
destination of the selected hyperlink.
| | 07:20 | And that's about it. Any of the
hyperlinks that you create and save in a
| | 07:23 | checked out story are automatically
updated within the InDesign document and
| | 07:27 | then from there out to the world.
| | Collapse this transcript |
| Inserting cross-references| 00:00 |
Cross-References are ways for writers
and editors to automate referring to a
| | 00:07 |
different part of the same publication
or a completely separate publication. So
| | 00:12 |
that when a different part changes, the
cross-reference to it changes in unison
| | 00:17 |
and until Creative Suite 4, neither
InDesign nor InCopy users were able to do
| | 00:22 |
any kind of cross-referencing. That was
left up to other page layout programs
| | 00:26 |
that did more automated document
processing and so of course, we were much more
| | 00:30 |
restricted in this file as what
kind of design you could create.
| | 00:33 |
Well, Adobe has been trying to
bring in more of that automated and long
| | 00:36 |
document processing into InDesign and
InCopy, since their inception. And so
| | 00:41 |
with CS4, we get conditional text,
which I talked about in the previous video,
| | 00:45 |
as well as cross-references. So for
this video, I would like you to open up two
| | 00:49 |
documents from your Chapter 7
Exercise folder. One of them is called
| | 00:53 |
07_Choco_cat for chocolate catalog.
Open up that document directly in InCopy
| | 00:59 |
and then also open up the
Bliss Magazine file in InCopy.
| | 01:02 |
So now we have two documents open and
you can just click on the tab at the top
| | 01:07 |
to switch between them. For both
documents, I would like you to check out all
| | 01:10 |
the stories. So in Bliss Magazine,
remember, the fast way to check out all the
| | 01:14 |
stories is to select this category
Unassigned InCopy Content at the top of the
| | 01:19 |
Assignments panel and then click the
little icon for checkout which checks
| | 01:24 |
everything out in that category.
| | 01:25 |
Do the same for the chocolate catalog,
select the name of the category and then
| | 01:29 |
click the checkout icon. Now any story
that the designer put into the workflow
| | 01:34 |
is editable by us. By the way, you see
this number sign after this 2009 and the
| | 01:39 |
cover of the catalog? You will see
that at the end of every text frame when
| | 01:43 |
hidden characters are showing like
pilcrows and tabs and spaces. That just
| | 01:48 |
indicates the end of text for this frame.
It has nothing to do with the number.
| | 01:52 |
I get asked that all the time.
| | 01:53 |
Okay let's zoom out a bit with Command
or Ctrl+Minus and we will scroll down
| | 01:58 |
and we are going to insert some cross-
references in this introductory text here
| | 02:03 |
under hot products. Press Command or
Ctrl+Plus a couple of times. I know it
| | 02:07 |
looks like it says not product at the
top, but once you use your menu, you will
| | 02:10 |
see that you can see the entire H. So
where is the cross-reference? You don't
| | 02:15 |
see it, if you are looking at the
Advanced list and it's not immediately
| | 02:19 |
visible from the Window list. However,
if you go down to Type & Tables, you
| | 02:24 |
will see Cross-References and if you
have watched my video on using Hyperlinks
| | 02:29 |
in InCopy, you will remember that I
said that apparently, panel real estate is
| | 02:33 |
extremely expensive and not even Adobe
can afford two separate panels for these
| | 02:37 |
two things. Therefore,
they are roomed in together.
| | 02:39 |
Hyperlinks and Cross-References are
actually sort of related so it doesn't make
| | 02:44 |
a little bit of sense for them to be
together. The icons at the bottom and the
| | 02:48 |
commands coming out of the Hyperlinks
panel menu also include commands for both
| | 02:53 |
Cross-References and Hyperlinks. And
another way to insert either one of these
| | 02:57 |
by the way is to go to the Type
menu and go down to Hyperlinks &
| | 03:01 |
Cross-References and insert something.
| | 03:03 |
So let's actually go ahead and insert
a Cross-Reference. Click an insertion
| | 03:08 |
point anywhere inside this text frame
that you have checked out and then go to
| | 03:13 |
Type > Hyperlinks & Cross-References >
Insert Cross-Reference and let me orient
| | 03:18 |
you to this dialog box.
| | 03:20 |
You can create a cross-reference to any
paragraph in this document or any other
| | 03:25 |
InDesign layout that you have open in
InCopy. The proviso being that you
| | 03:31 |
have to have checked out the stories if
you want to reference something in that
| | 03:35 |
story and the reason is that when you
create a cross-reference, you not only
| | 03:39 |
change the document where you are adding
the cross-reference 'like see figure 5 on
| | 03:43 |
page 9,' but in the destination
document or text frame, you are also adding a
| | 03:49 |
little marker there, so you also have
to have editing privileges for that story.
| | 03:53 |
Therefore, you cannot make a cross-
reference to a story that is not part of the
| | 03:57 |
workflow or that somebody else is
currently editing. You have to have checked
| | 04:00 |
them both out first. That's why we
opened up both of these documents and
| | 04:04 |
checked out all the stories so that we
have all the possibilities open to us.
| | 04:07 |
So you can link to any paragraph, as I
said, in a story that you are editing.
| | 04:11 |
You can also link to a text anchor and
I'll show you that in a little bit. But
| | 04:15 |
in most cases, you are going to be
linking to live paragraph text. The
| | 04:18 |
destination where is this text
reference going to referred to will be our
| | 04:23 |
current document for now, so we are
going to say something here that refers to
| | 04:27 |
another page in the same document.
But you will see that you also have any
| | 04:31 |
other documents that you currently have
open appear here or if you have forgot
| | 04:34 |
to open it, you could choose
Browse from here and open it.
| | 04:37 |
On the left, we have a list of all of
the paragraph styles used in the current
| | 04:42 |
document. If you don't know the
paragraph style of the paragraph that you want
| | 04:46 |
to reference, then you can choose All
Paragraphs, which lists the first few
| | 04:50 |
characters of every single paragraph
in this document in the story that you
| | 04:55 |
have checked out. If you didn't check
out any stories, you will see nothing
| | 04:59 |
here. All right, so you have
to check out the stories first.
| | 05:01 |
And so these are all the paragraphs
that appear here and we don't even know
| | 05:05 |
where they are. So let's actually click
Cancel and find the paragraph style of
| | 05:09 |
the text that we want to refer to. So
scroll down to the next page and let's
| | 05:14 |
say that we want to create a text
reference to this tool here, the Super
| | 05:19 |
Truffle Scooper, all right, which is
on page 4. If you go back up to page 2,
| | 05:27 |
you can see that we actually did create
a reference to it somewhat, Use our new
| | 05:31 |
tools, such as the Super Truffle
Doohickey, to concoct your creations. So this
| | 05:36 |
is like an excellent example of why
you would want to use a cross-reference
| | 05:39 |
rather than trying to
memorize what that text said.
| | 05:42 |
Instead, we can delete this and have
InCopy automatically insert the correct
| | 05:48 |
text, all right. Use our new tool such
as the; we will add a space and now we
| | 05:53 |
will insert a cross-reference to that
actual line of text. So once again, go to
| | 05:58 |
Type > Hyperlinks & Cross-References
> Insert Cross-Reference, you see an
| | 06:03 |
immediate preview as soon as you add
something. And the name of the paragraph
| | 06:07 |
style that. That product name was
linked to is Subhead numbered and I know that
| | 06:11 |
only because I checked it
before starting this video.
| | 06:13 |
But you can always click inside a
paragraph and take a peek at the Paragraph
| | 06:17 |
Styles panel and you will see that
InCopy immediately lists all paragraphs that
| | 06:22 |
have that style applied. Now some
paragraphs like let us say you choose, body.
| | 06:25 |
They might go on and on and on and on,
right? So you are only going to see the
| | 06:28 |
first 20 or 30 characters worth of
text here, but if you hover over any of
| | 06:33 |
these, you will see the entire paragraph.
| | 06:36 |
So do you see what it did? It
immediately, because it selected the first one
| | 06:39 |
Cacao Nibs, inserted a cross-reference.
Use our new tools such as the "1.Cocoa
| | 06:45 |
Nibs" on page 4 to concoct your
creations. That's not quite what we want. First
| | 06:50 |
of all, we do want this one, Super
Truffle Scooper, but we want a different
| | 06:55 |
Cross-Reference Format and we
don't want a visible rectangle.
| | 06:59 |
So let's immediately change Visible
Rectangle to Invisible Rectangle, we don't
| | 07:03 |
need any kind of markup on this. All
right, and here is the list of built-in
| | 07:08 |
formats plus if your designers have
created any custom Cross-Reference Formats
| | 07:13 |
they will appear here as well. Full
Paragraph & Page Number mean that it's
| | 07:17 |
going to include the page number as
well as all the text in the paragraph. So
| | 07:21 |
you see that they have included the
entire paragraph, "2.Super Truffle Scooper"
| | 07:26 |
on page 4, all right.
| | 07:28 |
So we do like the page number, but
we really don't want the number of the
| | 07:32 |
paragraph in front of it. The
difference between Full Paragraph and Paragraph
| | 07:37 |
Text in these Cross-Reference formats
is that paragraph text doesn't include
| | 07:42 |
any auto numbering that occurs
before the paragraph and that's how those
| | 07:46 |
paragraphs were created with
auto numbering like auto bullets.
| | 07:49 |
So instead, we will just say
Paragraph Text. As you see, so it dropped the
| | 07:53 |
number, but it also dropped the page
number and it still has a quote mark
| | 07:57 |
around it. So we can try Paragraph Text
& Page Number, Super truffle scooper on
| | 08:05 |
page 4, and so on. So in your workflow,
you would come up with the kind of
| | 08:08 |
Cross-Reference format that you need
and if it's not one of these built-in
| | 08:12 |
ones, the designers could create a
custom Cross-Reference format by clicking on
| | 08:16 |
this little plus symbol and
editing a Cross-Reference format.
| | 08:19 |
Now in a managed document, you won't
be able to save any cross-reference
| | 08:23 |
formats. However, it is a very
powerful feature that you could do with the
| | 08:27 |
standalone InCopy document. I often
think that editorial people have a better
| | 08:32 |
handle on what constitutes a true
cross-reference format as opposed to the
| | 08:37 |
designers. So again, this is something
that you will be working together with
| | 08:40 |
them to do and you certainly can create
your own cross-reference format in the
| | 08:44 |
standalone InCopy document. When the
designer imports that into the InDesign
| | 08:48 |
layout, that cross-reference format
will then become available to anybody who
| | 08:52 |
opens up the layout and checks out the story.
| | 08:54 |
If you would like to learn more about
custom cross-reference formats, be sure
| | 08:57 |
to check out the entire chapter I did
on cross-references in the InDesign CS4
| | 09:02 |
New Features video title,
that I did for lynda.com.
| | 09:05 |
Let's see what this Bliss categories
one looks like. Now this one has the name
| | 09:10 |
of the text without the number and
has the page number and it also has a
| | 09:15 |
character style applied to it as well,
that's good enough for now, we will just
| | 09:18 |
say OK. And then I want to show you
that in the Cross-Reference panel now, you
| | 09:24 |
will see the entry for that Cross-Reference.
| | 09:27 |
I'm just going to click inside that
cross-reference and then click the Go to
| | 09:30 |
destination link so it jumps to the
actual page and here's the actual text,
| | 09:35 |
that, that cross-reference leads to
and I'll change this to, let's say Super
| | 09:41 |
Ice Cream Scooper. As soon as you
change the referred text then you see the
| | 09:45 |
Auto Update icon up here and you can
update it, to update the cross-reference.
| | 09:51 |
When we go back to the Cross-Reference
itself and you don't have to hunt for,
| | 09:56 |
you can just select this and then
click the Go to the source of the selected
| | 10:00 |
Hyperlink or Cross-Reference to jump
you back and you will see that it's also
| | 10:03 |
been immediately updated. You can
create Cross-References to external
| | 10:07 |
documents, again, as long as you have
checked out the story from the InDesign
| | 10:12 |
layout and you have opened
up the layout within InCopy.
| | 10:14 |
Cross-References are a fantastically
useful feature, not just for long document
| | 10:19 |
producers, but for everyone who wants
to make sure that their text accurately
| | 10:23 |
refers to other text in that document.
| | 10:26 |
| | Collapse this transcript |
| Working with tables| 00:00 | If you rely a lot on tables in
your Microsoft Word documents or your
| | 00:04 | publications, you will be thrilled to
know that InCopy has an extremely robust
| | 00:09 | support for tables with lots of fun
features. Open up the Chocolate catalog
| | 00:14 | from the Chapter 7 Exercise Files and
scroll down to pages 2 and 3, that's what
| | 00:20 | you see on my screen. On the right,
over here on page 3, you will see a table
| | 00:24 | and let's zoom in a bit, just click
inside there and press Command or Ctrl+Plus
| | 00:27 | a few times. And to make it a little
easier to see, let's hide Guides. These
| | 00:32 | are non-printing margin guides and
column guides. Go up to the View options and
| | 00:38 | choose Guides, so that the checkmark disappears.
| | 00:40 | So now we just see the table itself,
along with the table divisions. This table
| | 00:45 | is within a text frame that's been
exported to the workflow, meaning that we
| | 00:48 | can edit it. But first, of course, we
have to check it out. So to check it out,
| | 00:52 | use your favorite method. My favorite
method is to just press any key and then
| | 00:56 | hit Enter or Return immediately
thereafter because InCopy will check it out for me.
| | 01:00 | Now I know people who are accustomed
to working with tables in InCopy CS3,
| | 01:06 | would like to see what's new in InCopy
CS4 and here is what's new, check this
| | 01:10 | out. Do you see how there is overset
text there? Well that's not new. There is
| | 01:14 | overset text in these cells because
the designer set the row to be in exact
| | 01:18 | measure instead of growing in response
to additional text like what happens in
| | 01:23 | most tables. Here, additional text
that won't fit inside the cell height just
| | 01:27 | oversets. This was extremely difficult
to fix because you couldn't access the
| | 01:32 | text within tables, in Galley or Story.
| | 01:34 | But you can in CS4, just make a
selection of any type, switch to Galley or
| | 01:39 | Story; let's click on Story first and
check that out. We can see all the text
| | 01:43 | including the overset text. The table
itself appears at the very top of this
| | 01:49 | Story only because it's the only thing
in this text frame, the only thing in
| | 01:53 | the Story and here's this little icon,
See that little triangle there? Click it
| | 01:57 | and this is what tables used to look
like in Story and Galley in CS3 but you
| | 02:02 | see they added this magical little
reveal triangle, so we can access all of the
| | 02:06 | text in here.
| | 02:07 | Now sometimes you will see little
icons that stand for Hyperlinks or
| | 02:11 | conditional text or embedded graphics,
but the text itself you can access. Each
| | 02:17 | row is signified by this non printing
blue label here so Row 1, Row 2, Row 3,
| | 02:23 | Row 4, and of course, we are not seeing
columns. The columns have been divided
| | 02:28 | out into their individual portions
bounded by this dashed line. All right, so
| | 02:35 | take a look at Row 2 Column 1, check it
out, all right. Go back, this is Row 2
| | 02:44 | Column 2; go back and here is Row 2 Column 3.
| | 02:49 | So I guess they could have made it
prettier, but I don't know how. I mean,
| | 02:53 | either that's what Story and Galley is
for is to just concentrate on the text
| | 02:58 | without worrying about the layout
geometry. The good thing though is that now
| | 03:03 | that we can edit table text in Story
and in Galley, we can, for example, track
| | 03:07 | our changes in tables and then we can
also add notes. So I'm just adding a New
| | 03:12 | Note. Now if you haven't seen my
videos yet, I'm using track changes and the
| | 03:19 | notes feature, two different videos in
InCopy, check those out but for people
| | 03:23 | who are coming from InCopy CS3, this is
the fantastic because before, you could
| | 03:27 | never do this with text inside of tables.
| | 03:31 | Anyway, let's get rid of this
overset text right here, I'm just going to
| | 03:34 | change, each truffle is rolled and
coated in our cocoa powder, so I'm going to
| | 03:38 | say in our get rid of the word famous
and then get rid of this, let's see if
| | 03:45 | that fixes it. I think it does. Let's
click at Layout. Yeah, our overset is gone.
| | 03:52 | Now let me turn to actually creating
tables and modifying them. To do that,
| | 03:57 | scroll down to the last page in this
document, page 7 or I have an empty text
| | 04:03 | frame that we can play with. Click
inside it and check it out, I'll press any
| | 04:07 | key and then press Enter or Return to
check it out. I'm going to give you just
| | 04:12 | a brief overview of how you create a
table, format it, bring in an external
| | 04:16 | table, and apply a style. It is going
to be the fastest little two or three
| | 04:19 | tables ever.
| | 04:21 | If you do a lot of work with tables, I
really recommend that you watch David
| | 04:24 | Blatner's InDesign CS4 Essentials,
where he covers tables in much more depth.
| | 04:31 | To add a table to a Story, you have to
check out the story first and there can
| | 04:36 | be text in the story, there can be text,
but then you have to go to the Table
| | 04:42 | menu and choose Insert Table. You
can set the number of body, rows, and
| | 04:48 | columns, you can also create header or
footer rows, these are rows that repeat
| | 04:53 | on multiple pages when a
table continues from page to page.
| | 04:58 | You can also apply a style, which we
will do in a minute. Just click OK, to
| | 05:02 | accept the defaults and so we have our
initial table. As you enter text in a
| | 05:07 | cell and you press Tab, it goes to the
next cell. Just like in Microsoft Word,
| | 05:11 | it continues row to row. If you add the
very last cell, press Tab again and it
| | 05:17 | adds another row.
| | 05:20 | To select the complete row, hover over
the left edge of the table until you get
| | 05:24 | that very large arrow. To select the
complete column, hover over the top of the
| | 05:30 | column and you can drag to select more
than one column. To select the entire
| | 05:34 | table, hover over the upper left hand
corner of the table until it turns into a
| | 05:38 | downward pointing arrow, and click
and to resize the entire table, put your
| | 05:44 | cursor over the lower right hand
corner till it turns into a double headed
| | 05:48 | arrow and then you can drag it around
to resize both the row height and the
| | 05:53 | column width. And tables can even
extend beyond the boundaries of a text frame,
| | 05:59 | which makes them very useful for
people in InCopy, who usually cannot change
| | 06:03 | the boundaries of where the
text can lie on a page at all.
| | 06:08 | Now under the Table menu, we have a
great number of commands for table options
| | 06:13 | such as Alternating Fills and Strokes
and for cells as well. You can insert and
| | 06:19 | delete rows and columns, you can
merge and unmerge cells, just by selecting
| | 06:24 | them and split them as well. Let me
reset my advanced workspace right here to
| | 06:29 | get my full panel plate here of panels.
| | 06:32 | The Table panel also has many
commands that let you do things only more
| | 06:36 | visually. So if you click inside of a
table, the Table panel is reporting how
| | 06:41 | many rows and columns it has. If for
example, you want to add another row, you
| | 06:45 | could do so right here just by
clicking the Up arrow or another column, to do
| | 06:49 | so that way. Set row height, column
width, and then these guys are for
| | 06:55 | formatting the text within an individual
cell, in sets, in rotation and the like.
| | 07:02 | Instead of you doing all that work
though, you can have the designers do the
| | 07:05 | work and save a table style with the
InDesign Layout. That way you can apply a
| | 07:10 | table style to just a raw table.
Let's give that a shot. Let's select this
| | 07:15 | table and delete it, I'm just going
to click anywhere inside the table,
| | 07:19 | right-click, go down to Select, choose
Table and then I can delete it or I can
| | 07:25 | just go right up here to Delete, choose Table.
| | 07:29 | Now let's place a table that I already
have prepared for you, a simple Excel
| | 07:32 | file. To import anything into a text
frame, go to File > Place and inside the
| | 07:41 | Chapter 7 Exercise Folder, you will
see another folder called incoming and
| | 07:47 | there is the Choc_products Excel
file and make sure that the Show Import
| | 07:52 | Options is checked on and then click
Open. Just so that you can see that you do
| | 07:56 | have a lot of control when you are
bringing over an Excel file. If you are
| | 07:59 | bringing over a Word file that had a
table, you wouldn't get these options, of
| | 08:02 | course. This is just for Excel, but you
can bring in a complete Word table and
| | 08:06 | it's completely editable just so
though you had created it from scratch in InCopy.
| | 08:10 | We will leave everything at the
default and here so our simple table that I'm
| | 08:15 | just going to hover over the column
divisions and drag to format so we can see
| | 08:19 | a little bit better. And now let's
apply a style to this table. I'm going to
| | 08:24 | right-click, choose Select to select
the entire table. This is similar to
| | 08:29 | selecting paragraphs in a Story and
then clicking on a Style in the Paragraph
| | 08:34 | Styles panel. And here I'm going to
open up the Table Styles panel and choose
| | 08:38 | choco table.
| | 08:39 | So InCopy automatically formatted the
strokes, the repeating fills, the correct
| | 08:45 | styles. I can start typing
descriptions. I love truffles. And I have very
| | 08:54 | little work to do other than to
concentrate on the content of the table, which
| | 08:57 | is my job as an editor or writer in InCopy.
| | 09:00 | So tables are really great to work
with and especially with the help of table
| | 09:05 | styles and cell styles, you can create
lovely looking tables in a minute flat.
| | Collapse this transcript |
|
|
8. Tracking Changes in InCopySetting up and using Track Changes| 00:01 | One of the rewards of moving to an
InDesign and InCopy workflow is that you no
| | 00:05 | longer have to deal with stacks of
paper proofs, all those rounds of revision markups.
| | 00:10 | But the Editorial Department still needs
a way to prevent certain types of InCopy
| | 00:14 | users, such as proofreaders or
first round editors from making editorial
| | 00:19 | changes to the final story without any
oversight or review by somebody higher
| | 00:24 | up in the food chain. That's
where Track Changes comes in.
| | 00:27 | To see that work, open up the
Chocolate catalog, Choco_cat.indd file in your
| | 00:33 | chapter08 Exercise Files, and scroll
down to spread pages 4 and 5 as I have
| | 00:40 | done here on the screen. I'm going to
click inside the story in the left hand
| | 00:44 | side and press Command+Plus or Ctrl+
Plus a few times to zoom in a bit.
| | 00:49 | This looks like a normal story,
doesn't it, like nothing out of the ordinary?
| | 00:53 | However, if you switch to either Story
or Galley view, suddenly you see all of
| | 01:00 | this markup. So here are all of these
different users who have made changes to
| | 01:04 | this story, and you couldn't tell if
you are looking at it in Layout nor could
| | 01:08 | you tell when the story was updated in InDesign.
| | 01:11 | You can't tell it from the InDesign
document. The only place to view Track
| | 01:16 | Changes Markup and to actually use
Track Changes is within Story or Galley view
| | 01:22 | of InCopy. We will come
back to this example later.
| | 01:25 | First, let's see how you get started
with Track Changes. Switch back to Layout
| | 01:29 | view and let's scroll up to this
opening spread in our chocolate catalog, this
| | 01:35 | story right here. Let's say that we
want to start editing this story, but we
| | 01:39 | want InCopy to track our changes so
that I myself can get a chance to change my
| | 01:44 | mind later or maybe somebody else
needs to approve or reject my changes.
| | 01:49 | The first thing you should know is
that Track Changes doesn't work unless you
| | 01:51 | check out the story. So check out the
story, in fact, I'm just going to go to
| | 01:55 | the Assignments panel and check out
all the stories in this document, which I
| | 01:59 | think is just as easy. Select the
name of the Unassigned InCopy Content
| | 02:03 | category and click the Check Out icon.
| | 02:06 | Now because you can only see the
markup in either Story or Galley view, let's
| | 02:09 | switch to one of those views right now.
We will switch back to Story view and
| | 02:14 | here is our story. Because we are not
paying any attention to the other stories
| | 02:17 | right now, let's use my favorite
little trick of Option-clicking or
| | 02:21 | Alt-clicking on this little triangle
next to the story that we were editing to
| | 02:24 | collapse all the other
stories except for that one.
| | 02:27 | If you make a change right now, 'Four
new flavors are extraordinary.' We will
| | 02:31 | just change Extraordinary to Wonderful.
Nothing became marked up, and that is
| | 02:36 | rule number 2 about working with Track
Changes; rule number 1 was checkout the
| | 02:40 | story first. Rule number 2 is, Track
Changes is not on by default. You have to
| | 02:44 | turn it on manually for each story
that you want Track Changes to work with.
| | 02:48 | You do that by going to the Changes
menu and choosing Track Changes in Current
| | 02:52 | Story or press Ctrl+Y or Command+Y on a
Mac. That will do so as well, but check
| | 02:57 | this out. Enable Tracking in All Stories.
So if you have checked out more than
| | 03:02 | one story in the current document, you
could just have InCopy enable tracking
| | 03:06 | in all the stories at once. When
Track Changes is turned on in Galley and
| | 03:10 | Story, you will see a little icon to
the right of the Story bar indicating that
| | 03:13 | Track Changes is turned on.
| | 03:15 | Now, if we select some text and make
a change, InCopy marks it up with its
| | 03:20 | Track Changes Markup, the default look.
So something that you have deleted,
| | 03:24 | like when I selected the word Wonderful
and type something on top of it, which
| | 03:27 | in fact deleted the word Wonderful,
appears with a strikethrough and highlight
| | 03:32 | it in my user color.
| | 03:33 | Remember, that's what you get when you
go to File > User. We set this up in the
| | 03:36 | beginning of the video tutorial.
Added text gets no markup other than the
| | 03:40 | highlighting of the user color, and any
line that has a change in it gets this
| | 03:45 | little change line at the far left.
| | 03:47 | You see this in Galley as well, looks
exactly the same, but again in Layouts,
| | 03:53 | you don't see anything different. It
looks as though the change was accepted or
| | 03:57 | it looks as though you had made the
change without Track Changes turned on.
| | 04:00 | Let's go back to Story view and note
that while you are working with Track
| | 04:05 | Changes, sometimes the markup can
become obnoxious, it's really hard to make
| | 04:09 | sense of the story. You don't always
have to keep going to Layout to see "how
| | 04:13 | it reads". You can temporarily hide
the markup. Just go to the View menu and
| | 04:19 | way at the bottom, choose Hide Changes
or press Ctrl+7 on a PC or Command+7 on a Mac.
| | 04:25 | So now it is still tracking our
changes and we can tell by looking in the
| | 04:29 | Changes menu that there is checkmark
next to Track Changes in Current Story.
| | 04:34 | But we are not bothered by the markup
in any of the views, so we will say let's
| | 04:39 | change Sometimes to Often, and then
we will add another word. The result is
| | 04:44 | always extremely dense.
| | 04:46 | Let's show our changes again from the
View menu to Show Changes or just press
| | 04:51 | the same keyboard shortcut and you will
see it was tracking your changes there
| | 04:54 | as well. You can print out the Track
Changes Markup and you can also export
| | 05:00 | Story or Galley view to PDF and
include the Track Changes Markup there too.
| | 05:04 | If you want to learn more about that,
make sure and check out the chapter on
| | 05:07 | Outputting Projects from InCopy. Now
if you are looking at this markup and
| | 05:11 | thinking, well, how am I supposed to
remember everybody else's color? Let me
| | 05:15 | expand all the stories again. I'm
going to the View menu and choosing Expand
| | 05:19 | All Stories.
| | 05:20 | For example, who made this change?
Who moved the word Spicy from before the
| | 05:25 | word Bliss to after the word Bliss? I
can tell that it was moved because that's
| | 05:29 | what the default markup is,
to put a box around moved text.
| | 05:34 | Well, the answer is to use another
panel under the Window menu. It's called
| | 05:39 | Change Info. When you click inside of
a change, it will say the name of the
| | 05:43 | user; this is Javier, our managing
editor who made this change, what he did,
| | 05:48 | deleted text, and when he did it. If we
click over here, you can see that Joe,
| | 05:53 | the editor added this
text and removed this text.
| | 05:58 | We have some more stories down here.
Here is one that a lot of people touched,
| | 06:03 | and if you are accustomed to passing
around a paper proof with different
| | 06:07 | editors using different colored inks,
this might feel right at home for you.
| | 06:11 | If I click, here is Javier's color again,
here is the Fact Checker, apparently
| | 06:17 | decided, it's not a stainless steel
truffle scoop, it's a carbonized steel
| | 06:20 | truffle scoop, and got the size right
for the cacao nibs. But look at this;
| | 06:25 | somebody changed the name of the
product from Cacao Nib or Nibs to Nibblers.
| | 06:31 | Who did that? Click in there and check
this out. Sarah, the Designer, changed this.
| | 06:36 | So even though InDesign does not
support Track Changes, if the editor has
| | 06:41 | turned on Track Changes for a story,
when they check in the story, the Track
| | 06:45 | Changes is always there, it's on permanently.
| | 06:48 | So, once you've turned on Track Changes
for a story, you never have to turn it
| | 06:52 | on again. Just check in the story as
normal, save your changes, close the
| | 06:55 | document, Track Changes is turned on
from then on until somebody actually comes
| | 06:59 | up here, checks out the story and
chooses Track Changes in Current Story to
| | 07:03 | turn it off.
| | 07:04 | What apparently happened here is that
the Designer opened up the layout in
| | 07:08 | InDesign, checked out this story here?
Let's look at it in Layout and thought,
| | 07:12 | oh, I like the word Nibblers better,
so she went ahead and changed it.
| | 07:16 | I'm telling all the designers who
happened to be watching this video heads-up,
| | 07:19 | because any edits that you make to a
workflow story, maybe being tracked by the
| | 07:24 | editors. Actually this is quite
useful to be able to tell who made which
| | 07:27 | changes within a story.
| | 07:29 | I'll go back to Story view again with
one last thing to mention, and that is,
| | 07:34 | you also have available to you the
Changes toolbar. So if you prefer to use the
| | 07:40 | menu, go right ahead. If you prefer
to use the toolbar, you can use this
| | 07:45 | instead. So like this little icon
right here, disables and enables Track
| | 07:49 | Changes in the current story.
This one hides and shows changes.
| | 07:53 | Do you remember, if you watched my
Customize Links panel video, that the Links
| | 07:58 | panel in InCopy can tell you which
stories have Track Changes turned on or not?
| | 08:03 | I'm going to close this and open up
the Links panel from the Window menu. If
| | 08:06 | you want to know more about this feature,
you should check out that video about
| | 08:11 | working with the Customize Links panel.
| | 08:12 | What I'm going to do is go to the
Links panel menu, and choose Panel Options,
| | 08:17 | scroll all the way to the bottom, is
Track Changes on or off? I want to show in
| | 08:22 | the top half of the Links panel. So
if Track Changes is turned on, it will
| | 08:27 | appear as on here. If it's turned off,
it will be off. If I decide to turn it
| | 08:32 | off in this story, by clicking once in
this icon, then you will see that it is
| | 08:36 | turned off right here.
| | 08:37 | Now this is the Beta version of InCopy
CS4. Normally the Links panel selects
| | 08:44 | the story that your cursor is blinking
in, and I'm sure that's how it will work
| | 08:47 | once the product is shipping.
| | 08:49 | I love being able to see the status
of Track Changes in the Links panel,
| | 08:52 | because that means I don't have to zip
over to Story or Galley to see if there
| | 08:55 | is any markup there, nor do I have to
click in every single dang story and
| | 08:59 | check the status of this little icon
right here. I can just very quickly flip
| | 09:03 | through here.
| | 09:04 | If I want to see a story where it's off
and it should be on, I could click the
| | 09:07 | little Page icon to link me directly
there. My cursor will be blinking in the
| | 09:11 | story and then I can turn on Track Changes,
and the Links panel immediately keeps up-to-date.
| | 09:15 | So that's how you work with Track
Changes. Basically, you just have to remember
| | 09:19 | to turn it on, and once you turn it on
you can just leave it on. Don't forget
| | 09:23 | to use your helpers, the Links panel
and the Change Info panel, to identify
| | 09:28 | which stories have Track
Changes and who made those changes.
| | Collapse this transcript |
| Customizing the markup| 00:00 | When you are tracking editorial changes
to a workflow story in InCopy, you have
| | 00:06 | to accept the basic markup from the get
go. However, you can customize that to
| | 00:11 | make it work better for
your own particular needs.
| | 00:14 | To see how that works, let's open
up the Chocolate catalog, I love this
| | 00:18 | catalog, in the Chapter 8 Exercise Files.
I'm in Layout view and I have checked
| | 00:23 | out all the stories from the Assignments
panel. So you should too, if you'd like
| | 00:26 | to work with this.
| | 00:27 | I'm looking at Page 4. So this story
has been already edited by various users,
| | 00:33 | and Track Changes is turned on for the
story. If you are not sure how to get
| | 00:38 | started with the Track Changes, be
sure to watch my previous video about it.
| | 00:42 | Right now, let's just select some text
in this story and flip over to either
| | 00:46 | Story or Galley view. I'll just go to
Story view where you could see the Track
| | 00:50 | Changes markup. So by default,
whenever a user adds text, InCopy puts their
| | 00:55 | user color behind the text, just highlights it.
| | 00:59 | When they delete text, they put a
strikethrough through it and sometimes that's
| | 01:03 | useful, I don't know. I prefer to see
added text appear in a different color in
| | 01:08 | Galley and Story, rather than a big
honking highlight behind it, and that's
| | 01:12 | quite easy to do.
| | 01:13 | Go to the Edit menu and choose
Preferences. If you are on a Mac, go under the
| | 01:19 | InCopy menu and choose Preferences,
and go to Track Changes. So in Track
| | 01:25 | Changes Preferences, you can change the
markup for Added Text, Deleted Text and
| | 01:30 | Moved Text. Those are the three
things that Track Changes tracks.
| | 01:34 | Note, by the way, that it does not
track formatting changes. So for added text,
| | 01:39 | deleted text, and moved text, the text
remains in whatever is the current text
| | 01:44 | color and the background is in the
user color. These brackets mean that it's
| | 01:49 | going to switch depending on who the user is.
| | 01:51 | Then on the right, you also have
your choice of what kind of marking gets
| | 01:55 | applied to that text. So None for Added
Text and the only thing that happens is
| | 01:59 | that the Background appears in the
User Color, whereas the Deleted Text gets
| | 02:03 | Strikethrough.
| | 02:04 | Notice, you could also use Underline
or Outline. Outline is also used for
| | 02:07 | marking. But, let's say, for example,
that I want any added text to appear in a
| | 02:14 | certain color, like let's say, I want
added text to appear blue, and I don't
| | 02:18 | want any background behind it. So I'll
just say None. Let's click OK and see
| | 02:23 | what that looks like.
| | 02:24 | Does that look any easier to read to
you? It might, I don't know, it's up to
| | 02:27 | you. So here any added text, all
appears in the same color. What we have lost
| | 02:32 | is the identification of which user
made which change based solely on their
| | 02:37 | color. However, if you watch my
previous video, you will know that you don't
| | 02:40 | have to memorize the colors.
| | 02:42 | You can always tell who made which
change by opening up the Change Info panel
| | 02:46 | from the Window menu. So InCopy still
knows that Mark, the Fact Checker made
| | 02:50 | this change, and Sarah, the Designer
made this change, and Javier, the Managing
| | 02:55 | Editor made this change.
| | 02:56 | I don't know. It's up to you if that's
easier for you or not. You can always
| | 02:59 | change it back. So let's go back to
the Preferences menu and choose Track
| | 03:06 | Changes again, and if you want to go
back, you can say okay well, the Text
| | 03:09 | should remain the text color at
the very top with the parenthesis.
| | 03:14 | You probably by the way would not want
to choose White. That would be a little
| | 03:18 | difficult to read, okay. So then under
Background, you want to change it to the
| | 03:23 | user color, so on.
| | 03:24 | So go ahead and feel free to change
these around, and if you change them around
| | 03:29 | with no documents open, from then on
that's how Track Changes will appear to
| | 03:33 | you on your screen. This is
just a user preference, by the way.
| | 03:37 | If somebody else in my workgroup
opened up the same document, they would see
| | 03:42 | the track changes in the colors that
they said that they prefer, either the
| | 03:45 | automatic ones that InCopy applies or
their customizations that they have done
| | 03:50 | in Preferences. So it's
pretty flexible that way.
| | Collapse this transcript |
| Accepting and rejecting changes| 00:00 | My friends, sometimes in this life, we
must accept change and at other times we
| | 00:07 | must take a stand and reject it. Now
of course, I understand that you all
| | 00:11 | accept the change by moving to the
InDesign and InCopy workflow. Woohoo! But
| | 00:15 | I'm talking about Track
Changes, editorial changes.
| | 00:18 | I want to show you how you accept and
reject those changes that you yourself
| | 00:23 | made or maybe your colleagues made.
To follow along, open up the Choco_cat
| | 00:27 | document from chapter08 folder, and
scroll down to Page 4 here. This is the
| | 00:33 | little Coco Nibblers story that we have
been working on throughout this chapter.
| | 00:36 | And let's switch back over to Story
or Galley to see what the track changes
| | 00:42 | look like. Make sure that you have
checked out the story, that it says Editing
| | 00:46 | in the Story Bar. If not, make a quick
side trip over to Assignments and check
| | 00:50 | it out, or use the File menu command
to check out the stories or just press
| | 00:54 | the keyboard shortcut. Because you
cannot accept or reject Track Changes
| | 00:58 | without first checking out the Story,
just like you couldn't make the changes
| | 01:01 | in the first place without doing that.
| | 01:03 | Everybody's changes appear in their
user color and if you haven't gotten that
| | 01:07 | memorized yet, don't worry about it.
You are not alone. Instead just go to
| | 01:10 | Window, choose Change Info, and
you can see who made which change.
| | 01:15 | Accepting and rejecting changes is
very easy to do. You can do so from the
| | 01:19 | Changes menu, and as you can see there
are keyboard shortcuts for these, and of
| | 01:23 | course you can modify the keyboard
shortcuts by going to Edit > Keyboard Shortcuts.
| | 01:28 | You can also jump from change to
change by pressing Ctrl+Page Up or Ctrl+Page
| | 01:32 | Down. On a Mac that would be Command+
Page Up, Command+Page Down. Or you can use
| | 01:37 | this handy-dandy little
toolbar going across the top.
| | 01:40 | So for example, let's start at the
very beginning of this story. I click an
| | 01:43 | insertion point, and I'm going to use
this icon to go to the next change. And
| | 01:48 | according to Change Info, Sarah made
this change. She added the text. So I do
| | 01:53 | not approve of her change in the name
of our product, so I'm going to use the
| | 01:58 | Reject Change button here.
| | 02:00 | I could also choose Reject Change or
press Shift+Ctrl+Semicolon. Who can
| | 02:05 | remember Shift+Ctrl+Semicolon? I like
this better. So I'm going to reject that
| | 02:09 | change. I so got rid of her added text
and then it immediately went to the next
| | 02:14 | change where she deleted text. I want
to reject that change as well, all right,
| | 02:18 | that was next to it.
| | 02:19 | Now we want to go to the next change.
Sometimes you have to kick-start InCopy
| | 02:23 | and say, go to the next change please.
All right, it highlighted that change,
| | 02:27 | Javier made this change, and oh, he is
the managing editor, so I guess, we will
| | 02:33 | accept this change and I'm going
to click the Accept Change icon.
| | 02:38 | Now there is no way unfortunately to
say, accept all of Javier's changes but
| | 02:42 | get rid of all of Sarah's changes. We
would love to see a more robust feature
| | 02:48 | set in track changes in InCopy.
Please I encourage you to submit a feature
| | 02:52 | request, which I'll show you how to
do in the last video of this title.
| | 02:56 | Well, one thing that can help you with
deciding whether or not a change should
| | 03:00 | be accepted or rejected is to
temporarily hide them. Remember, you can use that
| | 03:04 | View command at the very bottom of the
View menu, which is Hide Changes or to
| | 03:08 | show them, Ctrl+7 or Command+7
toggles change markup on and off, it doesn't
| | 03:13 | turn off the fact that it's
tracking changes, it just hides the markup.
| | 03:16 | You can also have that button available
right here in the toolbar, so I can say
| | 03:21 | turn this off and then I can read a
sentence. Does this seem to make sense to
| | 03:25 | me? If it makes sense to me then I can
turn it back on and say, let's accept
| | 03:29 | this change. Or let's say that you
hide all the markup, you read through it,
| | 03:34 | the whole thing sounds like it makes
sense, so you'd like to just accept all of them.
| | 03:38 | Let's show it again and then we'll say
Accept All. So this is Accept All and
| | 03:42 | Reject All, and it refers to the
particular story where your cursor is
| | 03:46 | blinking, all right. So Accept All, are
you sure that you want to do that, Yes,
| | 03:50 | or Reject All.
| | 03:51 | So now all that track changes is gone
and there is no way to get it back. All
| | 03:55 | right, unless you press our friend,
Command or Ctrl+0. So if you make that
| | 04:00 | mistake and you accepted all when you
didn't mean to, be sure that you undo it
| | 04:04 | first. Because remember when you check
in a story, I'm going to go ahead and
| | 04:08 | accept all the changes; when you
check in a story, I'm just going to
| | 04:13 | right-click, choose Check In, you will
always get this warning that you cannot
| | 04:17 | reverse this change with
the Edit > Undo command.
| | 04:19 | Well, you may be wondering, why does
it keep bugging me about that? Because
| | 04:23 | when you check in a story in InCopy, if
there are any unsaved changes, it also
| | 04:28 | saves those changes. All right, so
there is no way to get back that track
| | 04:32 | changed text, if you check in the stories.
| | 04:35 | That's why whenever you get this alert,
think about it before you just blindly
| | 04:38 | click OK. Are you sure that this is
permanent what you want to save? Because
| | 04:43 | truthfully there is no reason to
always accept all the changes. I'm going to
| | 04:47 | undo with Ctrl or Command+Z. There is
nothing wrong with saving this and going
| | 04:52 | on to the next project. Even with
signing off on how this appears in Layout
| | 04:58 | view for example, where everything
looks accepted, that's great. Now the
| | 05:01 | designer could close out the project,
as I'll talk about in the later video.
| | 05:04 | There is nothing wrong with
keeping the track changes there.
| | 05:09 | I was supposed that if you have a ton
of track changes, it would help everybody
| | 05:12 | out a lot if you could occasionally
clear them out by accepting all or
| | 05:16 | rejecting all. But a few track
changes here and there that you'd like to be
| | 05:19 | able to roll back to at some point,
go ahead and leave them there.
| | Collapse this transcript |
|
|
9. Working with Images in InCopyUsing the Position tool| 00:00 | So InCopy isn't just for text, isn't
just for copy, it's also for images, which
| | 00:07 | not a lot of people realize. And while
there may be designers out there that
| | 00:10 | would rather stick a needle in their
eye, then allow their editors to mess
| | 00:13 | around with the images in their layouts,
there are some publications where it's
| | 00:17 | extremely useful for say the photo
editor to have a copy of InCopy installed,
| | 00:23 | and be able to place images into the
layout while the designer is working on
| | 00:27 | the actual designs of the page.
| | 00:28 | Also I worked with companies where the
editors are doing How To articles, and
| | 00:33 | they have 50 shots and they'd like
to choose the correct shot for the step
| | 00:37 | that they are writing. In all sorts of
situations, it is handy for the editors
| | 00:41 | to be able to work with the images in a layout.
| | 00:44 | The main tool that you use to work with
images is the Position tool. That's the
| | 00:49 | tool that appears directly underneath
the Type tool in the toolbar. Before you
| | 00:53 | can do that though, before you can
actually work with any images, you have to
| | 00:56 | make sure that your designer exported
the images to the InCopy workflow, the
| | 01:02 | same way they exported the text frames.
And you can check by looking in your
| | 01:06 | Assignments panel.
| | 01:07 | In the Assignments panel in InCopy,
and here I have the Bliss_Magazine file
| | 01:11 | opened from the chapter09, Exercise
Files. You will see a list of all of the
| | 01:16 | editable content inside this layout.
And I say content on purpose, I know that
| | 01:21 | I often say, editable stories, but
obviously a picture is not a story. Well, I
| | 01:25 | guess picture could be a
story. I love that song.
| | 01:28 | Anyway, you see these little icons
with the Ts, here that means it's a text
| | 01:31 | frame. The icons with the X in
there means that it's a picture frame.
| | 01:35 | So yes indeed, the designer did
export some images to the workflow, meaning
| | 01:39 | that I can edit them as the InCopy user.
If you click on a picture, even though
| | 01:45 | you have the Type tool selected, note
that I have a Type tool selected, it
| | 01:48 | becomes highlighted in the
Assignments panel. If I scroll down to the next
| | 01:53 | spread where we see some more images
over here on the right, and click on it,
| | 01:57 | you will see that that image becomes
highlighted in the Assignments panel.
| | 02:01 | And just the fact that I clicked on the
picture, automatically switched my tool
| | 02:06 | to the Position tool, so you can see
over here. Now before I start editing this
| | 02:10 | picture though, I need to check it out.
And if I start to try to drag it as I
| | 02:14 | just did, I'll get an alert, that
offers to check it out for me which is also
| | 02:18 | very nice, I love that. So I'm just
going to press Enter or Return to say, yes,
| | 02:22 | please check out this image. And now I
see the Pencil icon here and the Pencil
| | 02:27 | icon above the frame.
| | 02:29 | Now you may be wondering what is this
weird brown frame happening around here?
| | 02:33 | If I click off it say into this text
file, that brown frame goes away, and I
| | 02:38 | just see the regular blue frame.
Remember this blue frame does not print, and
| | 02:43 | if you want to see how this thing is
actually going to appear, go to the screen
| | 02:47 | mode widget in the Application
bar at the top and choose Preview.
| | 02:51 | All right, I can still click on this
image and again that brown frame appears,
| | 02:58 | that is actually the bounding box of
the image. This shows you the entire size
| | 03:03 | of the image, and the blue box that
we had seen in normal view was actually
| | 03:09 | cropping the image to that size. So if
you drag around, you can change the crop
| | 03:17 | of the image within the frame.
| | 03:19 | All right, I'm going to switch back to
Normal view from the widget, and I think
| | 03:26 | that I'm going to hide the guides
which will make it little easier for us to
| | 03:30 | see what's happening. So drag the
image around with the Position tool and you
| | 03:35 | can change the position obviously of
the image. There is the Cropping Frame,
| | 03:40 | all right, and as my image nears the
Cropping Frame it gets cut off of that point.
| | 03:46 | So sometimes, the images are perfectly
fit the Cropping Frame, and moving them
| | 03:50 | would result in empty space, that's
not what you want. Very often though, the
| | 03:54 | images are larger than the Cropping
Frame. And here is a cool tip, if instead
| | 03:58 | of dragging around like what I'm doing
here, you press and hold for a second
| | 04:01 | before you start to drag, then you will
see what is being cropped out of the image.
| | 04:06 | So for example, if you are trying to
arrange a group shot, say, a bunch of
| | 04:10 | members of a panel sitting behind a
desk or the wedding party, sometimes it's
| | 04:15 | easy to get poor old uncle Joe cut off
at the far right, but if you press and
| | 04:19 | hold for a second, you will see what
actually is going to get cropped out to
| | 04:22 | help you make the best cropping decision.
| | 04:24 | When you drag on any of the handles of
the bounding box, you actually scale the
| | 04:30 | image within the frame. So if I drag
this handle, I can make it look quite
| | 04:36 | ugly, all right. So don't do that.
Press Command or Ctrl+Z if you are following
| | 04:40 | along. Instead whenever you scale an
image, unless you are doing it for special
| | 04:44 | effect, but usually whenever you scale
an image, you always want to hold down
| | 04:47 | the Shift key before you start dragging.
So Shift+Drag will keep your scaling
| | 04:53 | proportional as you move it around.
| | 04:54 | Now be careful that you don't drag it
out too much because then you are going
| | 04:59 | to lose resolution. Remember that
the Links panel in InCopy CS4 has been
| | 05:03 | greatly enhanced. So if you go to the
Window menu and choose Links, the image
| | 05:09 | that you are working with is
highlighted in the Links panel and at the bottom
| | 05:13 | in Link Info, you get a lot of
information such as what is its resolution.
| | 05:18 | And if you are doing any scaling of
images in InCopy, you should definitely
| | 05:22 | read up on resolution, otherwise you
have no business messing around with the
| | 05:25 | images. All right, but normally you
want to keep the Effective Pixels Per Inch,
| | 05:29 | that's the resolution, depending on
how you are printing to at least 225 PPI.
| | 05:35 | It's okay if it goes more than that,
but if it goes less than that, like if you
| | 05:39 | place a web graphic at 72 PPI, and then
enlarge it really big, that just makes
| | 05:44 | the pixels bigger, meaning fewer can
fit in an inch, meaning that you are
| | 05:47 | lowering in the resolution to
something like 20 pixels per inch. Then what
| | 05:52 | happens when you print it out is that
it looks all stare steppe and jaggy, and
| | 05:55 | like something out of a law and order
CSI episode, where they can't read the
| | 06:00 | license plate because they are too far away.
| | 06:02 | I'm going to close the Links panel
for now. You can select any image in a
| | 06:08 | layout with that Position tool, even
if it's not been put into the workflow,
| | 06:12 | like this guy right here. All right,
nothing gets selected in the Assignments
| | 06:16 | panel, but if you are curious, you
can see the bounding box around it.
| | 06:21 | You can't drag it around. If you start
to drag you'll see the lock. So if you
| | 06:25 | are working on a story and you do
need to access or move this image around
| | 06:29 | within the frame, you will need to ask
the designer to please export the story
| | 06:33 | to the workflow. The designer can do
that while you have it open and then you
| | 06:37 | just need to refresh the design in
order to gain access to this image.
| | 06:40 | And I'll talk more about that when I
talk about layout in assignments-based
| | 06:44 | workflows, about how things get updated
between the designer and the editor. But
| | 06:48 | that's about it as far as the
Position tool is concerned. It only works on
| | 06:52 | images that have been exported to the
workflow and you have to remember to
| | 06:56 | check out the image first before
you can start dragging it around.
| | Collapse this transcript |
| Using the Object menu| 00:01 |
In Adobe InCopy CS4 which menu do
you think is the loneliest, the most
| | 00:06 |
neglected menu? If you guess
the Object menu, you are right.
| | 00:10 |
Look, it has only a very few
number of commands compared to say, it's big
| | 00:15 |
brother the Type menu, or the Edit menu
or even the Notes menu has more commands
| | 00:21 |
than the Object menu. It's mainly
because you very seldom work with objects in
| | 00:26 |
InCopy. In fact you really can't work
with objects and object is usually a
| | 00:30 |
frame, right, and there is no
selection tool to grab a frame.
| | 00:33 |
However, in InCopy objects refer to
images, an image object, the contents of a
| | 00:39 |
frame and as long as the designer did
export the frame containing the image to
| | 00:45 |
the InCopy workflow then you can check
it out and run some object commands on
| | 00:50 |
it that you will find very useful.
| | 00:52 |
So to follow along, open up the Bliss_
Magazine file inside your chapter09
| | 00:56 |
Exercise Files, and then open up the
Assignments panel and let's just check all
| | 01:01 |
the stories out. The easiest way to
do it is just to select the Unassigned
| | 01:05 |
InCopy Content category and then
click the check out icon at the bottom.
| | 01:10 |
Notice that some of the contents are
text frames and others are image frames.
| | 01:14 |
The image frames are the ones with
the rectangle with the X through it; the
| | 01:18 |
text frames are the ones with
the rectangle with the T in it.
| | 01:21 |
So you want to find an image that also
has a little workflow icon indicating
| | 01:26 |
that it is part of the workflow like
this large image over here and you'll see
| | 01:29 |
that it gets highlighted in the
Assignments panel. Now, as showed in a previous
| | 01:33 |
video that as soon as you select an
image that you've checked out InCopy
| | 01:37 |
switches to the Position tool where
you can drag the image around, and resize
| | 01:43 |
it, or scale it by dragging at any
handle, hopefully holding on the Shift key
| | 01:48 |
as you drag to scale it.
| | 01:49 |
But the Object menu commands give you
a little bit more control, for example
| | 01:54 |
the Transform flyout menu lets you do
things like Rotate. There is no way that
| | 01:59 |
you can rotate with the Position tool,
but you can do so with the Object
| | 02:03 |
Transform commands. So Rotate 90
degrees Counterclockwise for example. It's
| | 02:08 |
niche, I'm going to press Command+Z or Ctrl+Z.
| | 02:11 |
Also this is where you could do
things like flip an image horizontally or
| | 02:15 |
vertically, obviously not a good idea
to do with text, you can also choose
| | 02:20 |
clear all of transformations if you
have been messing around with it too much.
| | 02:24 |
Clear Transformations also cleared the
scaling that the InDesign user gets. Let
| | 02:29 |
me zoom out with Ctrl+Minus or Command+
Minus and you can see the brown bounding
| | 02:34 |
box frame tells you exactly how large
the original image is. So let's scale it
| | 02:40 |
in by going to the Object menu >
Transform and choose Scale, and then you can
| | 02:45 |
turn on the Preview checkbox and use an
actual numeric amount of scale an image
| | 02:50 |
by. This little chain icon means that
the two fields will be tied together, so
| | 02:55 |
you will do a proportional scale.
| | 02:57 |
I'm just going to use the down arrow
on my keyboard, just tap it to have it
| | 03:00 |
automatically scaled. That way you
are positive that it is an even scale.
| | 03:08 |
Another command that you might find
extremely useful is the simple Fitting
| | 03:11 |
command. You can always get an image to
fit proportionally within the frame or
| | 03:16 |
you can get it to fill the frame
proportionally. For example, if I chose Fit
| | 03:21 |
Content Proportionally, let's zoom in
just a little bit so we can see what it did.
| | 03:25 |
It fit the entire image proportionally,
so we see the entire image here within
| | 03:30 |
the frame. However, the frame itself
might not match the same proportion, so
| | 03:34 |
you will get some empty areas.
| | 03:36 |
Now, in InDesign there is another
command called Fit Frame to Content, but
| | 03:40 |
because you cannot manipulate frames
themselves, only the content of frames in
| | 03:44 |
InCopy you don't have that command.
| | 03:47 |
This time I'm going to right-
click and choose Fitting > Fill Frame
| | 03:54 |
Proportionally. This one will always
work for you in InCopy. It will always
| | 03:58 |
fill the entire frame, it will always
scale the image proportionally, and it
| | 04:04 |
makes a cropping decision. So it often
crops to the right or at the bottom, and
| | 04:08 |
then you can drag the image into
position however you would like.
| | 04:11 |
Object Layer options only apply to an
image that has multiple layers, which
| | 04:17 |
this one does. This is a PSD or a
native Photoshop file image that has multiple
| | 04:23 |
layers that you can turn on and off
and see how it affects the layout.
| | 04:28 |
Now some of the changes might be very
subtle, shading, distortion, that kind of
| | 04:32 |
thing, or you might have a layer that
says text, so somebody might have added
| | 04:37 |
some actual text in Photoshop that you
can hide and show within this layout.
| | 04:42 |
Here we have a completely hidden
group of other objects, this is a vector
| | 04:46 |
object. If we turn it on by clicking
the Visibility Column and wait a second we
| | 04:51 |
will see that there is actually a big
fat object right in the middle, obviously
| | 04:54 |
we don't want that.
| | 04:55 |
You have control over layers when you
place a layered PDF file or a layered PSD
| | 05:01 |
file. That's something that you do too
often in InCopy, so we will just cancel
| | 05:06 |
out of there. And the very last
command under the Object menu is Display
| | 05:10 |
Performance, and this lets you change
whether or not InCopy is using a low
| | 05:15 |
quality, medium quality, or high
quality preview display. This has no effect on
| | 05:20 |
printing just on how it looks on the
screen. So right now we are already at
| | 05:24 |
High Quality Display. If I change the
Fast Display, that's not very useful, but
| | 05:28 |
if you have a very slow computer or you
really don't care about the images, you
| | 05:32 |
just want to concentrate on the text
and layout, you might find that useful.
| | 05:35 |
I'm going to go back to Display
Performance > Typical and see it's kind of
| | 05:39 |
jaggy. It's a 72 ppi low res preview
and then go to the one that I like to use
| | 05:43 |
which is High Quality Display, nice and crisp!
| | 05:47 |
| | Collapse this transcript |
| Importing and replacing images| 00:01 | As long as the InDesign user
selected an image frame in the layout and
| | 00:05 | exported it to the InCopy format then
any InCopy user who opens up that layout
| | 00:11 | or assignment can check out
that image and do things to it.
| | 00:14 | For example, here I can see that there
is a little workflow icon on this image.
| | 00:20 | I'm on Page 6 of the Bliss_Magazine
file which you can find in your chapter09
| | 00:25 | exercise folder. I can select this
image, right-click on it and choose Check
| | 00:29 | Out or I can just use that keyboard
shortcut, and I'll do the same thing for
| | 00:33 | these other two images.
| | 00:34 | So these were images that the
designer had already placed and then he/she
| | 00:38 | exported it to the workflow. You can
also see them in the Assignments panel.
| | 00:43 | They are the little icons with the X
inside them as opposed to the T, and I can
| | 00:48 | move them around and I can scale them.
However, in addition to just editing the
| | 00:52 | images that came with this frame, I
can actually replace the images with
| | 00:56 | something else. I won't do this, of course.
| | 00:59 | What I'm doing here is I'm selecting
each one of these pictures that I have
| | 01:02 | checked out and pressing the Delete key
or the Backspace key. Let's zoom in on
| | 01:06 | this a little bit more with Ctrl+Plus.
Let me drag over there. This is an empty
| | 01:11 | image frame and because there is
nothing inside it, I can't select it. However,
| | 01:16 | I can import an image to go in there.
| | 01:19 | To do that go to the File menu and
choose Place. If you've watched any of the
| | 01:23 | other earlier videos you might
remember that File > Place is how you import a
| | 01:28 | text file like a Word document into a
story that you've checked out in InCopy.
| | 01:32 | Well, this is actually also how you
place any image that you have handy. And
| | 01:37 | inside the Bliss_Magazine folder, I
made a folder called incoming with a whole
| | 01:42 | bunch of images there.
| | 01:43 | So just go ahead and select any one
of these, you'll see a preview at the
| | 01:47 | bottom or if you are on a Mac within
this area and click Open. Notice how the
| | 01:53 | image is attached to your cursor, and
when you hover over any image frame,
| | 01:57 | you'll see the cursor change to
indicate, it knows that there is a frame down
| | 02:01 | here and if you click it will place the
image in that frame. Let's go ahead and
| | 02:05 | put it in here.
| | 02:06 | It matches the upper left-hand
corner of the image itself to the upper
| | 02:11 | left-hand corner of the frame. So
when you first click it may look very
| | 02:14 | strange. What you are seeing here is
the bounding box of the entire image, and
| | 02:19 | I can drag and as long as I press and
hold for a second before I drag, I can
| | 02:24 | see the actual image ghosted back.
Through the frame I see it at 100%.
| | 02:29 | So InCopy is giving me a little clue
here about what's not going to fit, what's
| | 02:32 | going to be cropped out. And I talked
about this at length in a previous video
| | 02:37 | about using the Object menu and the
Position tool. But right now I'm just going
| | 02:41 | to right-click on this image,
choose Fitting and then choose Fill Frame
| | 02:46 | Proportionally, which will fill the
image frame scaling the image up or down as
| | 02:51 | necessary. Some might be cropped out
as what this purple line is, but that's
| | 02:55 | okay, I could always move it to the
left if I think it will look better that way.
| | 02:59 | So let me do it one more time, I'm
going to -- let's do it with this one. I'm
| | 03:02 | going to go to File > Place, choose
another image, let's try scoop, oh, no,
| | 03:08 | let's get some candy or something, ooh,
that looks good. If you turn on Show
| | 03:11 | Import Options, you will get an
interim dialog box that depending on the file
| | 03:16 | type might let you choose some
different options before you bring it in.
| | 03:19 | For example, if a Photoshop image has
a clipping path, you can choose which
| | 03:24 | clipping path to use, this one doesn't,
so everything is grayed out. I'm just
| | 03:27 | going to click OK. Again we have the
loaded image and I can scroll up, I can
| | 03:33 | move around to different parts of the
page, and it stays on my cursor. In fact,
| | 03:38 | if you really need to get it off of
your cursor you can press the Escape key.
| | 03:42 | That will kind of shake it off. Don't
try doing this, like shaking off a piece
| | 03:45 | of tape for me here, because that won't
work and I have tried it over and over again.
| | 03:49 | But actually what we want to do is
just place it right within this frame. So
| | 03:52 | I'm going to click once, it places
in the frame, I'll right-click, choose
| | 03:56 | Fitting > Fill Frame
Proportionally and it replaces nice and easily.
| | 04:00 | I want to caution you though about
placing images. First of all you should work
| | 04:04 | very closely with your designers
because how images come into a layout is very
| | 04:10 | important as far as how successful the
print job or the PDF job will be. You
| | 04:14 | should only be placing images from the
server that are already on the server,
| | 04:18 | not from your own local layout, or
from like your external zip drive. You
| | 04:23 | should always copy them to the server
first and then place them, and that's
| | 04:26 | because both InDesign and InCopy need
to have access to the original high-res
| | 04:31 | image in order to print a PDF
successfully, otherwise you'll get an alert
| | 04:36 | saying that you have missing images.
| | 04:38 | All you are seeing here is a preview of
the actual image, the true image can be
| | 04:42 | found by going to the Links panel,
selecting it and then you will see where the
| | 04:46 | path is to the actual image.
| | 04:48 | All right, so it hasn't been completely
imported and contained in this layout;
| | 04:52 | you are only seeing a preview. Therefore,
the original image needs to be on the
| | 04:56 | server, where both the designers and
the editors can get access to it.
| | Collapse this transcript |
| Inserting images into the story| 00:01 | As long as the designer exported images
to the InCopy workflow then the InCopy
| | 00:05 | user can check out those images and
manipulate them or completely replace them
| | 00:10 | with other images, as I have shown
you in previous videos in this chapter.
| | 00:14 | One other thing that you can do as
an editor though, whether or not the
| | 00:18 | designer made those image frames
editable for you, is you can bring in your own
| | 00:23 | images directly inside a text frame,
similar to how you might do it in
| | 00:28 | Microsoft Word. In Word you can go up
to the Format > Insert flyout menu and
| | 00:33 | insert an image into the text and then
the image moves with the text flow, well
| | 00:37 | you can do the same exact thing in InCopy.
| | 00:39 | For example, in this Bliss_Magazine
file that I have opened from the chapter09,
| | 00:44 | Exercise Files, I'm on pages 2 and
3 where we have a little bit of a
| | 00:48 | step-by-step instruction happening.
| | 00:50 | How to turn your kitchen into a
little chocolate factory. That sounds
| | 00:54 | fantastic, and we have some
images that go along with this.
| | 00:58 | The first thing you need to do of
course is you need to check out the story,
| | 01:01 | so I'm just going to do one of my
favorite ways of checking out a story which
| | 01:04 | is start typing, just type any letter.
You immediately get this alert saying
| | 01:08 | you have to check out the story. Should
I check it out now for you master? Why,
| | 01:12 | yes, please do so. So hit Return or
Enter to choose Yes and then it's checked out.
| | 01:17 | Now you might wonder, hey, you just
checked out this story. How come these guys
| | 01:20 | get a pencil too? That's because this
is one single story that is threaded
| | 01:24 | among these three frames. If you click
in any one of these and then go to Edit
| | 01:27 | and choose Select All, you see all the
text gets selected and apparently the
| | 01:31 | text will continue onto this next frame.
So that's why that happened. You only
| | 01:35 | need to check out one frame
in a multi-threaded story.
| | 01:39 | What I want to do here is I want to
insert an image right before step one, all
| | 01:44 | right. So I'm clicking in this
paragraph return right here that has this lone
| | 01:49 | bullet that shouldn't be there, so
I'm going to go to Paragraph Styles and
| | 01:53 | instead of Bullet List I'll choose
Body which seems to make more sense.
| | 01:57 | Now if you would be doing a lot of
inserting images within the text flow, it's
| | 02:02 | probably a good idea for your
designers to create an actual paragraph style
| | 02:07 | called Image. Because they can make it
easier for you to bring them in and size
| | 02:12 | them correctly.
| | 02:13 | Let me give you one hint, is that,
select this paragraph into which you are
| | 02:17 | going to bring the image, so it
floats in between these two paragraphs. And
| | 02:21 | then go to the Character panel and
change the Leading amount to Auto, you'll
| | 02:26 | see why in a minute, and
then we'll close this up.
| | 02:30 | So with your cursor blinking in that
empty paragraph return, go to the File >
| | 02:34 | Place menu, the source of all good
things in InCopy and InDesign, this is how
| | 02:39 | you can bring in images and we'll
choose one of these images. Now actually
| | 02:44 | these makes sense with this story. We
have something called -- actually I think
| | 02:48 | it starts out with the chocolate
warmer, so we don't need to show Import
| | 02:51 | Options turned on, let's turn that off
and just choose Open. Let's zoom out and
| | 02:56 | see what the heck happened here.
| | 02:59 | So this image came in immediately. We
didn't get a chance to click anywhere
| | 03:03 | with the loaded cursor as we did
before when we were working with the checked
| | 03:07 | out image frames. When your cursor is
blinking in a text frame and you import
| | 03:12 | an image it goes immediately into that
location. However, because this image
| | 03:16 | was too large, it jumped to the top of
the next column, it's too high too fit
| | 03:21 | here, and then it overlaps everything.
So that's not a big deal. What we are
| | 03:24 | going to do is we are going to select
this image, which automatically switches
| | 03:28 | to the Position tool, and then we are
going to resize it by Shift+Dragging one
| | 03:33 | of its corners. And let me zoom in.
| | 03:40 | So what happened here? I Shift+Drag the
image, but can you see the frame around
| | 03:45 | the edge? So we just Shift+Dragged the
image contents, but not the frame, and
| | 03:49 | I'm sure that you know by now that you
cannot edit a frame in InCopy. Or can
| | 03:55 | you? Actually you can. If you zoom in
you can see the handles of this frame and
| | 04:00 | you hold down the Shift key and then
drag the actual frame handles in. Now
| | 04:07 | depending on how fast you go, you might
get a weird little preview, but as soon
| | 04:12 | as the image is small enough to fit
within the text flow it will jump to its
| | 04:17 | proper location.
| | 04:18 | See here I can right-click on it and
choose Fitting > Fill Frame Proportionally
| | 04:22 | and it's going to fill this one frame
that I dragged myself, pretty neat. Let's
| | 04:26 | have another one, I'm going to hit
an empty return here and change the
| | 04:32 | paragraph style back to Body, change
the Leading to Auto, and the reason that
| | 04:42 | you want to change Leading to Auto is
that when it is on Auto then the amount
| | 04:46 | of space that this paragraph marker
will take up will change dynamically
| | 04:51 | according to the amount of space
that's necessary to hold this image.
| | 04:54 | If it was on an absolute Leading
amount like you used to be on 15 points then
| | 04:58 | the image would have secured the text
above it. And there would be nothing left
| | 05:02 | too, but to figure out how you can get
your cursor to the left or right of it
| | 05:05 | to change the Leading. Because an
inline image is part image, part character.
| | 05:11 | Like over here, if I click right
before this last character and then I press
| | 05:15 | the Right Arrow key, you will see a
huge cursor blinking to the left of the
| | 05:19 | image as that were just a plain old
character, and at this point I could do
| | 05:23 | something like open up the Paragraph
panel and increase the left Indent of that
| | 05:28 | paragraph and the image moves over to
the right. If it was a small image I
| | 05:32 | could do things like center it.
| | 05:33 | It's kind of strange, it's like a
little Frankenstein kind of object inside
| | 05:37 | your text flow, but still people use
inline images all the time even without
| | 05:41 | InCopy directly in InDesign. It's just a
natural at first so you get used to it.
| | 05:45 | So over here I'm going to place
another image. I think what I'll do, just to
| | 05:50 | keep this video short is I'm going
to put my cursor back in front of this
| | 05:55 | image, can you see it blinking? And
then hold down the Shift key and then press
| | 05:58 | the Right Arrow key one more time. Shift
+Right Arrow selects for next character
| | 06:03 | to the right of the cursor, just as
Shift+Left Arrow does the same thing to the
| | 06:06 | left of the cursor. Now that I have
selected this inline image I'm going to
| | 06:10 | copy it, click in insertion point right
here, and paste it, and there it comes
| | 06:17 | in. Now I can select this image, go to
File > Place, choose a different image
| | 06:24 | and click Open, and because I had an
image selected when I chose Place, it
| | 06:28 | immediately replaced the selected
image and it rescaled itself to match which
| | 06:34 | is very useful. So I'm a big believer
in only working once and then letting the
| | 06:39 | computer take over the rest of it.
| | 06:40 | So after you have gotten an image
scaled correctly the first time and
| | 06:44 | positioned correctly then just copy and
paste it elsewhere wherever you need it
| | 06:48 | and then select each one of those
images in turn, replacing it with a different image.
| | 06:52 | So now as I edit this text, you will
see that the images themselves flow with
| | 06:56 | the text, and this might be exactly
what you want. Now unfortunately you can't
| | 07:00 | do things like add borders around here
or drop shadows. That's something that
| | 07:04 | only the InDesign user can do.
| | 07:06 | But at least you've given the designer
a head start in getting your work done,
| | 07:10 | and that's always great when you are
working together to get a publication out the door.
| | Collapse this transcript |
|
|
10. Using InCopy in Standalone ModeCreating new InCopy documents| 00:01 |
Although most people think of InCopy as,
oh, yeah, it's a program that you can
| | 00:05 |
open up InDesign layouts and let me
edit the text, it can also be used as a
| | 00:10 |
stand-alone word processor just like
Microsoft Word or Nisis Writer or
| | 00:15 |
some other kind of word processor.
| | 00:17 |
Now, admittedly its strength lies in
being able to combine with an InDesign
| | 00:22 |
layout because the text engine is the
same as InDesign because a lot of the
| | 00:26 |
program is shared with InDesign, a
lot of the same scripts and plug-ins can
| | 00:29 |
work with both programs.
| | 00:31 |
So I would say that probably in the real
world if people are using InCopy as a
| | 00:35 |
stand-alone word processor, they are
using it because they are working on an
| | 00:39 |
article that's going to land in an
InDesign layout at some point in the future.
| | 00:44 |
So let's see how that works.
| | 00:45 |
Start up InCopy, don't need to have any
documents available, and let's create a
| | 00:49 |
new document. File > New, Ctrl or
Command+N. In the New Document dialog box you
| | 00:58 |
can finally, new in CS4, turn off Facing
Pages. In previous versions every time
| | 01:04 |
that you would write a long document in
InCopy, instead of just adding one page
| | 01:09 |
right after another like any other
normal program, it would create it in
| | 01:12 |
two-page spreads, why? Who knows? So
I'm going to keep this turned off here.
| | 01:17 |
Text Area Width is what substitutes
for margins. We are just going to leave
| | 01:22 |
this at the default as well as Depth,
because I'm going to be covering that in
| | 01:27 |
more detail in an upcoming video. You
don't really need to set a depth, the
| | 01:31 |
InCopy document can be as long or short
as you would like. This just gives you
| | 01:35 |
a preliminary copy fit.
| | 01:37 |
The page size has to do with how
large do you want the page to appear on
| | 01:41 |
screen. I suppose if you have a printer
that only prints 4"x5" pages, you might
| | 01:46 |
want to change this, I never saw a
reason to change this. Let's just click OK,
| | 01:49 |
and a new blank document opens up. So
you can go ahead and start typing, just
| | 01:56 |
like in any word processor.
| | 01:58 |
And as you are typing the text is not
bound by any frame, it's just wrapping
| | 02:06 |
when it gets to the end of that live
text area, which if you remember by
| | 02:11 |
default was 7.5". If you want to make
this narrower, you can go to the File >
| | 02:17 |
Document Setup command and change it,
all right. So all I only want 6" would be
| | 02:24 |
fine. So now you can see that InCopy
puts like a little thick frame edge there.
| | 02:32 |
I'm going to select all this text,
delete it and instead use one of my favorite
| | 02:36 |
commands to fill something with
placeholder text which conveniently enough is
| | 02:41 |
called Fill with Placeholder Text. So
go ahead and choose that under the Type
| | 02:45 |
menu, and let's zoom in a bit with Ctrl+
Plus couple of times or Command+Plus on
| | 02:49 |
a Mac. You can see it just fills in
the empty space with some sort of lorem
| | 02:54 |
ipsumy kind of thick Latin text. This
is also useful when you are working with
| | 02:58 |
actual managed documents just to get
an idea of how much text you have to
| | 03:01 |
write. I like it better than typing gibberish.
| | 03:04 |
So we are in Layout view but you can
still use Story and Galley view within a
| | 03:11 |
stand-alone InCopy document. They
are probably less useful though in a
| | 03:16 |
stand-alone document because even
Layout view is not complicated by anything
| | 03:20 |
having to do with the layout at all.
It's more like a plain old word processing document.
| | 03:25 |
Now I want you to zoom out a bit, so
that you can see the entire page and the
| | 03:29 |
pace board. Now just click anywhere
inside the text and hit Return or Enter a
| | 03:33 |
few times. Notice that a brief
overset mark appeared and then one away an
| | 03:39 |
InCopy created a new page. Go ahead
and choose Type > Fill with Placeholder
| | 03:45 |
Text again and rinse and repeat, and so on.
| | 03:50 |
So you can see that you can create a
document as long as you would like in
| | 03:53 |
InCopy, there is no limit, when you
are working with a stand-alone document.
| | 03:57 |
Similarly there is no limit to what
you can do in InCopy. Do you remember how
| | 04:02 |
for example Paragraphs Styles, all
these commands were grayed out when we had
| | 04:06 |
checked out a story from the Layout,
but now you can create your own paragraph
| | 04:10 |
styles, just like those crazy
designers can over in their design department.
| | 04:15 |
Your paragraph styles are saved with
this document, same thing for character
| | 04:19 |
styles, table styles, cell styles. If
you want to create your own conditions
| | 04:23 |
for Conditional Text, remember, we did
UK Prices for example, the Conditional
| | 04:30 |
Text feature is for doing
multichannel publishing from a single source, I
| | 04:33 |
covered it in a different video.
| | 04:35 |
But there are so many things that you
cannot do when you are working with a
| | 04:38 |
checked out Story from a layout or
an assignment that you can't do with a
| | 04:42 |
stand-alone document.
| | 04:44 |
When this stand-alone document is
placed into an InDesign layout, much of your
| | 04:49 |
customization also gets placed into
the layout, and gets combined with what's
| | 04:54 |
in the layout. Now I'll be talking
about what happens in that case in a later video.
| | 04:59 |
For now let's save our document by
going to the File > Save Content command,
| | 05:05 |
and you will see that the default
format is icml for an InCopy document. So you
| | 05:11 |
can save it wherever you would
like. I'll just call it Test.icml.
| | 05:17 |
Your other choices when you are
saving a stand-alone InCopy document are
| | 05:21 |
InCopy CS3 Interchange, which would
change the extension to incx, meaning that
| | 05:27 |
somebody who is using InCopy CS3
would be able to read this file.
| | 05:32 |
You can save it as an InCopy Template,
which is the topic for my next video, or
| | 05:37 |
Text Only or Rich Text Format if you
need to share this document with somebody
| | 05:42 |
who doesn't have InCopy.
| | 05:43 |
I'm just going to save it as a red-
blooded InCopy document Test.icml. And
| | 05:50 |
that's about all there is to it. Just
close the document and go on your way.
| | 05:54 |
| | Collapse this transcript |
| Creating InCopy templates| 00:00 | One of the most useful things that
you can do with InCopy is to create a
| | 00:05 | template, an InCopy standalone
template file that writers and editors can use
| | 00:09 | to write stories for an upcoming
publication and get an idea while they are
| | 00:14 | writing the story directly in InCopy,
if the story is going to fit or not and
| | 00:18 | how the lines will break. Of course,
this will only work if you have some kind
| | 00:22 | of idea of what the publication
looks like. If you have a magazine, for
| | 00:26 | example, then you already know, for
example, that the letter from the Editor is
| | 00:31 | a certain column width and usually
has a range of words that will fit.
| | 00:35 | But even if you don't know the length
or even if the layout is driven more by
| | 00:41 | the length of what the writer has to
write rather than a page count or a page
| | 00:45 | limit, it's still useful to be able to
create an InCopy template that has the
| | 00:49 | styles that the InDesign layout will
ultimately be using with that text.
| | 00:55 | So for example, if you create a new
document in InCopy, go to File > New,
| | 01:00 | you see that it's asking for Text Area
Width and Depth, and though you can just
| | 01:06 | leave this at the default as I
mentioned in my previous video by just
| | 01:10 | creating new blank InCopy documents to
write text from scratch in, you can also
| | 01:16 | use the width area to match the width
of the column that the story will flow
| | 01:21 | into in the InDesign document.
| | 01:23 | For example, if you know that the
column will be two inches wide then type in
| | 01:27 | two inches here. 2 space in or an inch
mark. If you know that the length of the
| | 01:33 | story needs to fit within a certain
parameter, for example, it has to be 1500
| | 01:38 | words or it has to be at certain
column inch or a certain number of pages or
| | 01:44 | lines, you can type that in here as well.
| | 01:46 | Of course, it does no good to guess here.
So the best thing you do is to start
| | 01:50 | out with the existing InDesign document.
So let's do that. Let's switch over to
| | 01:55 | InDesign and open up the Bliss_Magazine
from the chapter10, exercise folder and
| | 02:00 | scroll down to pages 4 and 5, and we
will say that the writer or editor wants
| | 02:05 | to begin work on this feature story
that's going to appear in an upcoming
| | 02:09 | issue. And the feature story is
always two pages; one whole spread with the
| | 02:13 | sidebar and some incidental graphics.
| | 02:17 | What the designer can do is let the
writers know the width of the column that
| | 02:23 | the text is going to flow into. So I'm
selecting the column with the Selection
| | 02:26 | tool and taking a look up here and
seeing that it's just about five inches wide
| | 02:31 | for both sides, and then if I just
double-click to switch to the Type tool and
| | 02:36 | then open up my Info panel, I can see
that it's got a word count of about 550,
| | 02:43 | probably more words could fit. If I
want to give the writer a total, I'm just
| | 02:49 | going to hit Return. This story is
part of the workflow, so it's asking me to
| | 02:54 | check it out. I'll say Yes. I'll hit
Return and then choose Type > Fill with
| | 02:59 | Placeholder Text which fills the story
to the end and see that it's about 670 words.
| | 03:06 | Now this is just a rough count
because InDesign and InCopy can count words
| | 03:10 | differently as I mentioned in the
previous video. So just keep that in mind
| | 03:15 | that your character count or your word
count is going to be rough. You might
| | 03:18 | want to go with a line count or
column inch instead, if you need something exact.
| | 03:22 | So with that information, let's close
this document but I don't want to save my
| | 03:26 | changes to this checked out story. So
I'm going to right-click in the story, go
| | 03:32 | down to InCopy and choose Cancel Check
Out, which gets rid of any changes that
| | 03:38 | I made to this story and just it
completely makes InDesign forget I ever
| | 03:42 | checked it up. And now we can close
the document. You don't want to save any changes.
| | 03:51 | So back in InCopy, we go to File > New.
We know that the Text Area Width should
| | 03:58 | be about, do you remember? Did you
write it down? Well, it was 4.994 inches, of
| | 04:04 | course, we will just say 5 inches, and
Column Depth, that was about 670 words,
| | 04:11 | we'll just leave it there.
| | 04:14 | You can say this is a Preset, which
I'll do right here and I'll call it Bliss
| | 04:20 | feature. Any presets that you save
appear in this dropdown list on this user's
| | 04:27 | computer and all these fields are
automatically filled in for them. So I'll say
| | 04:32 | OK, and so I have a Column Width of
about 5 inches here and I can start
| | 04:39 | entering text. I'm just going to
go ahead and choose Type > Fill with
| | 04:46 | Placeholder Text and take a look at
the Copy Fit Progress, it tells me I'm
| | 04:51 | still under 163 words. So you can get
live Copy Fit Progress even when you are
| | 04:58 | working with the standalone
InCopy document, very useful.
| | 05:02 | But there is one thing that we are
still missing and that is the correct styles
| | 05:06 | here. So while this is useful for
getting about the correct number of words, I
| | 05:11 | would also like to be able to proof
things like hyphenation and word breaks.
| | 05:17 | And that is not going to be true if I'm
not using the same type face or font or
| | 05:21 | if my target depth for this document
was number of lines, for example, then you
| | 05:27 | really do need to use the same styles
as what will be used in the InDesign document.
| | 05:32 | So how do I actually get the styles for
this article? Very easily. I can go to
| | 05:37 | the Paragraph Styles panel, click Open
on the panel menu and choose Load All
| | 05:44 | Text Styles. That means import the
text styles that are in another InDesign
| | 05:49 | document. Load All Paragraph Styles
would just show me the paragraph ones; Load
| | 05:54 | All Text Styles would show me the
paragraph and character styles ones, I might
| | 05:59 | as well choose all of them.
| | 06:00 | So you say Load All Text Styles and
then it says, where it that InDesign
| | 06:05 | document? So I'm going to go to the
location on my Server, chapter10, the
| | 06:13 | styles that I want are inside this
InDesign document. I select it and choose
| | 06:17 | Open and I'm presented with the list
of all of the styles that are in that
| | 06:23 | document, and as I scroll down, you
can see that some of them are preceded by
| | 06:28 | the pilcrow and some by the
capital A indicating a character style.
| | 06:32 | I could just pick and choose which
styles I would like to bring over by
| | 06:36 | un-checking all of them, just
clicking on the ones that I want. But in this
| | 06:40 | case I'm just going to go ahead and
bring them all in. If I'm not sure if the
| | 06:43 | style is correct, I can select it and
see the actual specifications here. But
| | 06:48 | in the real world what happens is that,
designers give editorial a spec sheet
| | 06:53 | to help to make decisions
in situations like this.
| | 06:55 | So I'm going to click OK to bring them
all in and I'm going to select all the
| | 07:02 | text just by clicking in here and
pressing Command or Ctrl+A to select all the
| | 07:07 | text and the style that we want to use
is Body. Of course, I'm still under 163
| | 07:18 | words so I'll continue the story, I'm
just going to grab some copy here, and
| | 07:23 | copy it and then paste it, see if we
can get close, under 25 words, that's
| | 07:29 | close enough I think, all right. We
don't want this empty returned. Of course,
| | 07:34 | we could do other things here if we
wanted this to be a subhead, we could
| | 07:39 | format it and I remember now from
seeing the previous issue that the subheads
| | 07:44 | are all small caps with no uppercase
letters, and that looks pretty good, let
| | 07:52 | me press Ctrl+0 to fit in window.
| | 07:55 | What's happening here is that as I
added another page, InCopy put the second
| | 08:00 | page on the left because it just really
loves to create two page spreads, and I
| | 08:06 | really hate that. So I'm going to go
to File > Document Setup and turn off
| | 08:10 | Facing Pages, a new feature in CS4.
That's a little easier to deal with.
| | 08:16 | So now I know that my article will fit
and it's using the same styles and same
| | 08:20 | column width. Now I could save this
and then just give it to the designer or
| | 08:24 | place it on the server for placing
into the upcoming issue. But at the same
| | 08:30 | time what I want to do is save it as a
template so that the next time I create
| | 08:34 | a feature, I'll have the styles good to
go, I'll have the column width good to
| | 08:38 | go and the target depth.
| | 08:41 | So to do that I'm going to select all
this text and cut it to the Clipboard so
| | 08:48 | that it's empty and it got rid of the
extra page and then do a File > Save As.
| | 08:56 | Put it on the Server, probably put
them in a new folder dedicated to InCopy
| | 09:02 | templates and I'll call it bliss
templates for editors. And I'll save this as
| | 09:16 | feature, InCopy Template, which
is icmt, and click Save. All right.
| | 09:23 | So now the next time that I want to
write a feature article, I'll go to File >
| | 09:28 | Open, find the bliss templates for
editors folder, find the template that I
| | 09:35 | want, feature story. It opens as an
untitled document with the correct text
| | 09:41 | area, all the styles that I need and
if I check out File > Document Setup, it
| | 09:48 | already has the target word count, good
to go. So I still have that text that I
| | 09:54 | had written in my Clipboard.
| | 09:56 | I'm going to press Paste and it says
it's under 25 words. That's fine. Now this
| | 10:02 | file I'll just save as a regular InCopy
document, and it's going to go into an
| | 10:13 | upcoming issue. And probably users
will have setup folders on the server to
| | 10:19 | hold these incoming stories just like
you have folders right now that hold your
| | 10:23 | word stories that need to be placed,
and I'll call this the Pastilles feature
| | 10:31 | for next issue.
| | 10:36 | Now let's see how that works in InDesign.
If I switch back to InDesign and I've
| | 10:41 | opened up the upcoming issue with the
page spread for the more pastilles story,
| | 10:49 | and now I want to place the file
that my Writer created from that InCopy
| | 10:53 | template. I go to File > Place,
select the folder on the Server for the
| | 10:58 | upcoming issue, there is the story, the
ICML file, the standalone document. I'm
| | 11:02 | going to turn this off for now,
Replace Selected Item, that's never a good
| | 11:06 | thing to have unless you really want it.
| | 11:09 | Now I have the loaded text cursor and
these are my guides for placing the story
| | 11:15 | when I put a part of it here and then
continue it onto the next page, up here,
| | 11:21 | I don't want to go inside, there are
other text frames there, just about like
| | 11:32 | that. There you go.
| | 11:33 | So the article perfectly fits in here,
and the reason that it looks like it's
| | 11:38 | checked out is because I left it open
in InCopy, all right. So it's currently
| | 11:42 | checked out to the user, and notice
that as soon as you place an InCopy
| | 11:45 | document into an InDesign document, it
becomes linked to that file. If you look
| | 11:50 | in the Links folder, you will see that
it automatically became linked. So you
| | 11:54 | don't need to export the text frames
after you place an InCopy file. That step
| | 11:58 | is already taken care of for you. So
it's another reason for the editors to use
| | 12:02 | InCopy documents instead of Word
documents because it saves the designers a
| | 12:06 | step as well.
| | 12:07 | Come up with a list of InCopy
templates for most of your publications and
| | 12:12 | your time savings will be incredible.
| | Collapse this transcript |
| Opening linked InCopy stories directly| 00:00 | In the usual InDesign and InCopy
workflow, editors use InCopy to open up
| | 00:05 | Assignments or InCopy Packages or
Layouts. They don't actually open up linked
| | 00:14 | story files, the ICML files that the
designers export, and let me show you why.
| | 00:20 | I'm the editor, I'm sitting here in
InCopy and I go to File > Open. And let's
| | 00:26 | say that I'm a new hire, right and
they tell me, hey this InCopy is really
| | 00:29 | cool. You are able to open up the story
and see the layout and write to fit. So
| | 00:35 | okay, well I'm right now working on
the Bliss magazine and if you want to
| | 00:40 | follow along, you can look inside Bliss
magazine in Chapter 10 Exercise Files.
| | 00:46 | And I see a bunch of folders and files
here and I say, oh! Stories, right. I'm
| | 00:49 | an editor so I'm working on a story. I
think that I'll open up, this looks like
| | 00:53 | my story right here. And these are all
native InCopy files, right? So they are
| | 00:57 | all available to be opened. So I'll
click Open, and what the heck is this? All
| | 01:05 | I see is the plain text. I'm not
seeing anything in the layout and I have got
| | 01:09 | many technical support calls from
clients who say, I don't understand this
| | 01:14 | whole thing. I have got an assignment
open but I'm not seeing anything in the
| | 01:17 | layout. And I'm like, I bet that you
don't have an assignment open. What is the
| | 01:21 | file extension in the Title Bar? It is
icml or incx for CS3. And I go, no, you
| | 01:32 | actually have opened up a story file directly.
| | 01:34 | Now actually there is nothing wrong
intrinsically about opening up a story file
| | 01:39 | directly in InCopy because it's
completely editable. Notice a couple of things
| | 01:45 | that as soon as I open it, it gets
checked out to me, all right. And also I can
| | 01:51 | edit the text here. I'm going to
press Command or Ctrl+Plus to zoom in, A
| | 01:57 | Norwegian favorite and I can apply
styles and so on. Of course, the only style
| | 02:04 | that is inside this document is the
one that has been applied to it which is
| | 02:08 | called Sidebar-tt. So I don't have
all the styles available to me that have
| | 02:13 | been saved in the InDesign document
just in this external ICML file. I do have
| | 02:19 | Story and Galley available. I can do
things like track changes. I can insert
| | 02:25 | tables. And because it is a standalone
InCopy file, I can add paragraph styles.
| | 02:34 | I can modify the existing style. So
it's kind of like a hybrid between the
| | 02:39 | checked out story and a standalone
document that I created from scratch. So
| | 02:45 | there are some advantages to opening
up a linked content file directly; they
| | 02:50 | are smaller, they are faster to open
over the network, I could take them home
| | 02:55 | with me and work on them at home like
individual word documents. Of course, in
| | 02:59 | that situation, it would make much more
sense to do an e-mail based assignment
| | 03:04 | which I'll be covering in the Remote
Work flow Chapter because if you took this
| | 03:09 | document home then you still have a
copy of it at the office that somebody
| | 03:14 | could ostensibly be working on, you
don't want to have that versionitis. So
| | 03:19 | that's probably not a good idea.
| | 03:21 | So I'm just telling you this because
it will definitely happen to you or a
| | 03:26 | friend of yours or a colleague of
yours that you will hear them say, what the
| | 03:30 | heck? When they open up a file and
they expect to see a full magazine or book
| | 03:35 | or newspaper surrounding their story
and all they see is this very lonely
| | 03:39 | looking story in the window. You will
know exactly what they did and you tell
| | 03:43 | them, look just close the document,
if you don't want to save your changes,
| | 03:47 | don't save the changes. You don't
have to check in the story as soon as you
| | 03:50 | close it, it automatically checks
itself in and say, you will never, never open
| | 03:55 | up the files in the stories folder.
You open up the actual INDD file, the
| | 04:01 | layout file or the actual assignment
file that we will be talking about later.
| | 04:06 | And that's why I always tell
designers please when you export your InCopy
| | 04:10 | files, stick them into their own little
folder separate from the files that you
| | 04:14 | want the InCopy user to actually open;
it will just make life easier for everybody.
| | Collapse this transcript |
| Opening Word files in InCopy| 00:00 | So if you have seen any of the previous
videos in this chapter so far, you may
| | 00:05 | have already discovered that Microsoft
Word can work with the Adobe InCopy. In
| | 00:10 | an InCopy document you can cut and
paste from the Microsoft Word document, of
| | 00:14 | course, but you can also import the
entire document. You can place it. Well,
| | 00:19 | not only that, but you could even
convert a Word document to a standalone
| | 00:24 | InCopy file, simply by choosing File > Open.
| | 00:29 | So go to your File menu in InCopy,
choose Open and navigate to the Chapter 10
| | 00:37 | exercise files. Inside the 10_Bliss
folder, you will see another folder called
| | 00:44 | external files and that contains a
Word document. So this was that feature
| | 00:50 | article that we have been working
with, only this time it was written in
| | 00:53 | Microsoft Word.
| | 00:54 | Notice that you can select it and open
it. As soon as you choose Open, you will
| | 00:59 | get the Microsoft Word Import
Options dialog box which you can turn on
| | 01:04 | optionally if you are importing this
document into a checked out story or into
| | 01:09 | a standalone document. But if you
just want to convert it to a standalone
| | 01:12 | document because then you are going to
do something else with it, just choose
| | 01:15 | Open and you can choose
what to include or not include.
| | 01:20 | The main thing you need to worry about
is right here under Formatting. Do you
| | 01:23 | want to strip off the styles and
formatting from the text and tables? Or do you
| | 01:28 | want to preserve the styles? And if you
want to preserve the styles, what about
| | 01:32 | those styles that you do want to
preserve. For example, you seldom want to
| | 01:34 | Preserve Page Breaks. So you want to
change that to No Breaks and since really
| | 01:39 | Page Break doesn't make
that much of a difference.
| | 01:42 | Once the InCopy file gets placed or
imported into the layout, right because
| | 01:47 | it's going to go into it's own column
width and break accordingly, according to
| | 01:51 | whatever the page design, the
designer came up with. Check out that you can
| | 01:55 | include track changes for InCopy. So
if the word document has track changes,
| | 02:00 | you can access much of that from within
InCopy as well. What do you want to do
| | 02:04 | with automatic bullets and numbers, so on?
| | 02:08 | Let's just click OK for now and see
how it does the conversion. So this was a
| | 02:14 | Microsoft Word document, now it's an
InCopy document. We haven't saved it yet
| | 02:19 | and if we look at the paragraph styles,
you will see that the paragraph styles
| | 02:23 | have little disk icons meaning, they
weren't created here buddy, they came in
| | 02:26 | from somewhere else. So this is normal,
our friend, the Word Normal Style and
| | 02:31 | these are heading with
apparently some over writes.
| | 02:35 | So from here I could choose File > Save
Content As, give it a name with an ICML
| | 02:43 | meaning InCopy Document and then go
ahead and save it. And now this document
| | 02:47 | could be placed into an InDesign layout
and it would automatically be linked to
| | 02:52 | that external file as I
showed you in a previous video.
| | 02:54 | Now let me show you how you can put
this on turbo charge a little bit. Go ahead
| | 02:58 | and close this document, you don't need
to save it, if you haven't yet. Before
| | 03:02 | we open up that Word document, I
want you to open up a standalone InCopy
| | 03:06 | template. Now if you were following
previous videos in this chapter on working
| | 03:11 | with standalone documents, you may have
your template already saved. And if so,
| | 03:15 | go ahead and open up that one.
| | 03:16 | If not, you can open up one that I
saved for you in your Chapter 10 exercise
| | 03:21 | files. Go to 10_Final and you will see
a feature template in which I swept you
| | 03:30 | through in creating in a previous lesson.
Now we know that that Pastille story
| | 03:36 | goes into our Bliss_Magazine, it's one
of the feature stories and what we have
| | 03:40 | here is a template for the feature
story. We have all of the styles that we
| | 03:44 | might be using in the feature story. We
have a target word count and we have a
| | 03:50 | text area or column width that this
text will appear once it's placed.
| | 03:55 | This time let's place the Word file
with File > Place, navigate back to that
| | 04:01 | Word file. That was in the external
files folder. We want the Word document,
| | 04:09 | not the ICML one that you just saved.
Turn on Show Import Options so when you
| | 04:18 | place the Word file into the template,
you get a chance to not just retain this
| | 04:23 | information but also to customize the
style import, so that you can map the
| | 04:28 | Word Styles to the ones that
your InCopy document already has.
| | 04:32 | So I click Style Mapping and I say, I
know that the writer used normal when I
| | 04:39 | would have used Body, the Body Style.
So I'm going to choose Body here and I
| | 04:45 | know that they used Heading 1 when I
would have used Subhead. And let's say
| | 04:52 | that I get this kind of article from a
Word author all the time. After I click
| | 04:57 | OK and I have setup my style mapping
and chosen my other options, I can save
| | 05:01 | this as a preset and so I'll
call this Jane's feature stories.
| | 05:09 | And that way I don't have to go
through the same style mapping all the time
| | 05:12 | because I know Jane and I know she
always uses normal when she means to use
| | 05:16 | Body text and whenever she has got to
do a Subhead, she styles it with Word's
| | 05:20 | built-in Heading 1 feature. I'll say
OK and now I'll go ahead and bring it in
| | 05:27 | and as you can see after I press Ctrl
or Command+ a few times, it comes in
| | 05:31 | automatically formatted with the
correct styles. How about that?
| | 05:37 | It even maintained the italics that she
had applied to her normal styles. So I
| | 05:42 | don't have to redo that either. Then if
we move over to Story mode or a Galley
| | 05:48 | mode, we also see some change bars on
the left and if you watch my video on
| | 05:53 | tracking changes, then you will know
that these are picking up the changes that
| | 05:58 | we told InCopy to retain from the Word file.
| | 06:02 | The only problem is that it doesn't
know who the Word user is so it can't
| | 06:06 | assign them a color. In that case, you
need to go to Preferences, which on a PC
| | 06:12 | is under the Edit menu, and go down to
Track Changes; on a Mac, that's under
| | 06:17 | the InCopy menu and change the Mark Up.
| | 06:21 | So for added text, let's just make
this really stand out. We will say Forest;
| | 06:27 | we will make the background color be
forest. So the letters that are colored
| | 06:31 | forest will be added and a background
of forest will be deleted letters with a
| | 06:37 | strike through.
| | 06:37 | Do you see that? And if I choose Change
Info and click inside these changes, I
| | 06:46 | can see that the user Jeremy Smith
which was the user in Microsoft Word because
| | 06:51 | Microsoft Word has an Identity
Preference, this is what they did; they added
| | 06:56 | this text, they removed this
text, they added this text.
| | 06:59 | So everybody who had committed markup
to that Word document, they do get the
| | 07:05 | same color but at least you can tell
who did what and I think it's pretty neat
| | 07:09 | that it supports that. Unfortunately
you can't export to RTF and have it
| | 07:13 | retain InCopy's track changes. It's not
a roundtrip; it's only a one-way thing.
| | 07:18 | But I thought I would bring that up.
| | 07:20 | So Adobe is quite aware that Microsoft
Word is the standard with most writers
| | 07:25 | and editors and that's why they make sure
that InCopy plays with it like a nice citizen.
| | Collapse this transcript |
|
|
11. Outputting Projects from InCopyExporting stories to Word and RTF| 00:00 | As wonderful as Adobe InCopy is, it does
have one tragic flaw and that is it is
| | 00:08 | not given to every newborn babe as soon
as they arrive on this planet. In other
| | 00:12 | words, you may have Adobe InCopy, but
your colleague who needs to edit the text
| | 00:18 | file that you created or that you
are editing in InCopy, they don't have
| | 00:21 | InCopy. So you could tell them to go
to Adobe's website and download the free
| | 00:26 | trial. It's good for 30 days, fully
enabled, for either Mac or PC. Of course,
| | 00:31 | they can only do that once. From then
on, after those 30 days, they can never
| | 00:35 | re-download the trial unless they
buy a new computer or something.
| | 00:38 | Luckily, there is a way to be able to
share your actual editable text files
| | 00:42 | with people who don't have InCopy. The
answer is to export it. So let me show
| | 00:47 | how this works.
| | 00:47 | Open up the Chocolate Catalog file
from the Chapter 11 exercise folder, which
| | 00:54 | has a bunch of exported stories,
and go down to the first spread, the
| | 00:58 | introductory spread. I'm going to
click inside that first frame here, about
| | 01:03 | 'four new flavors are extraordinary.'
My cursor is blinking inside here.
| | 01:07 | Now, you do not have to check out the
story before you export it, all you need
| | 01:15 | to do is click inside the story so that
InCopy knows which one you are talking
| | 01:18 | about. Then go to File > Export.
| | 01:21 | All right. Your choices as far as
file formats are concerned when exporting
| | 01:28 | text from within InCopy is Adobe
InDesign Tagged Text, which a very few people
| | 01:35 | use, its a plain text file with
proprietary codes, little tags, kind of like
| | 01:41 | HTML tags, that describe all of the
style sheet formatting and character style
| | 01:47 | formatting. Useful in some workflows,
not really used that much these days.
| | 01:51 | You can export as Adobe PDF, which I'll
be covering in upcoming videos in this
| | 01:55 | chapter. You can export the page as an
EPS file, which isn't that useful. If
| | 02:01 | you can export as PDF why would
you ever want to export as EPS?
| | 02:04 | The one that we want is Rich Text
Format, which is a generic text format that
| | 02:10 | retains styling information,
even style sheet names.
| | 02:15 | Then there is Text Only, which could
be useful if, for example, your web team
| | 02:19 | says, we need your text for the website.
It's a lot of work for them to clean
| | 02:24 | up Rich Text, but Text Only might help out.
| | 02:26 | But let's say that you are sharing
this document with somebody who only has
| | 02:29 | Microsoft Word. Then Rich Text Format
is your answer. RTF files can be opened
| | 02:35 | by Word and saved as RTF. In fact,
that's the default behavior when you open up
| | 02:39 | an RTF file in Microsoft Word.
It saves it as an RTF file.
| | 02:43 | Now, I don't want to call this 11_
Choco_cat.rtf, I would probably give it a
| | 02:47 | name like intro paragraph or intro page.
Then I would store it someplace where
| | 02:54 | I could give it to the Word User to use.
| | 02:56 | I'm just going to say Save here in
exports, and let's jump over to Microsoft
| | 03:02 | Word and open up that RTF file. So I'm
in Word 2007. I'll go to Open, navigate
| | 03:10 | to where I saved it in my Chapter 11
exercise folder, and there it is, intro
| | 03:15 | page.rtf. Select it and choose Open.
| | 03:17 | All right. So you can see it's
retaining the same fonts, and it also has the
| | 03:24 | same styles, if I open up the Styles.
Here I'll go ahead, so I'm the outside
| | 03:28 | author who doesn't have InCopy and
I'm like, oh yes, this editor did a
| | 03:32 | wonderful job. Except instead of
Mexican Chocolate I'm going to call it Choco
| | 03:38 | Latte Mexicano. There, that's my saved.
| | 03:43 | So then I'm going to do a Save As with
this document, and I'll call it intro
| | 03:49 | page edited by amc rtf. Then I'll
email it back to the person who sent it to
| | 03:59 | me, the editor using InCopy.
| | 04:00 | So that's me again. Here I am, and I
just got a letter from Anne-Marie saying,
| | 04:06 | I have edited the story, here you go.
| | 04:08 | So how do I update my InCopy document
with that story? Well, what I do is I
| | 04:13 | just check out the story, and if I
trust the author I can just delete
| | 04:18 | everything in here, and then replace it
by importing the RTF file. Now, I don't
| | 04:23 | trust the author quite that much, so I
think what I'll do is I'll hit Return a
| | 04:28 | couple of times and I'll import his file
at the begging, and then I can compare them both.
| | 04:33 | Alternatively, I could just turn on
track changes for this story, bring in his
| | 04:38 | file to replace mine, and then I'll also
be able to go back, but I'll just do it this way.
| | 04:43 | So I go to File Place, locate the
edited RTF story. I don't need to show any
| | 04:51 | Import Options, click Open, and it
brings it in exactly where my cursor was.
| | 04:57 | Now, because I didn't have any text
selected it didn't replace text. So here
| | 05:00 | is my old text and here is the text we
just brought in, Choco Latte Mexicano.
| | 05:04 | I can look at this in any one of these
views. I can see that in my old version
| | 05:09 | there is a bunch of notes and track changes.
| | 05:12 | But that's how you use Export to RTF in
a way that's most useful to workflows
| | 05:18 | where not everybody is lucky enough to
have their own copy of Adobe InCopy.
| | Collapse this transcript |
| Exporting galleys and stories to PDF| 00:00 | InCopy has a really powerful built in
PDF export engine. You don't need Adobe
| | 00:06 | Acrobat, for example, to create a
secure PDF, in case you are sending a PDF to
| | 00:11 | somebody and you don't want them to be
able to lift out text or even print out
| | 00:16 | the pages. Maybe it's very hush, hush,
secret plans, or something like that, or
| | 00:20 | just nondisclosure. You can export
either Galley or Story view to PDF or you
| | 00:26 | can export the layout to PDF, which is
more than you can do than in InDesign.
| | 00:31 | In InDesign all they can do is export
the layout to PDF. They do have something
| | 00:35 | akin to Story view, but that can't be
exported. So there is another instance
| | 00:39 | where InCopy has more features than InDesign.
| | 00:42 | I want to start out by talking about
exporting Galley or Story to PDF, and then
| | 00:46 | in the next video I'll talk
about exporting layout to PDF.
| | 00:50 | So to follow along, open up the
Chocolate Catalog in your Chapter 11 exercise
| | 00:55 | folder, scroll down to the first spread.
Once again, you don't actually have to
| | 01:00 | check out stories in order to make
your printouts or to export things to PDF,
| | 01:05 | but I'm going to go ahead anyway.
| | 01:07 | In the Assignments panel, I'm going
to select the name of the category,
| | 01:11 | Unassigned InCopy Content; which has
all of my exported stories. Then with that
| | 01:16 | one selection, when I click the Check
Out icon, bang, the pretty little pencils appear.
| | 01:21 | It's this Story that I want to look at.
I'm pressing Ctrl+Plus a few times to
| | 01:26 | zoom in. It's just the introductory
Story for our catalog. I'm going to swipe
| | 01:31 | over it and switch over to Story, and
you will see, oh, my goodness! It's quite
| | 01:34 | busy, it's quite busy.
What's happening here in Story?
| | 01:38 | Well, we have a couple of notes from a
couple of different people, and if you
| | 01:41 | don't happen to remember who is green
and who is this beautiful iris color, we
| | 01:47 | can open up the Notes panel and see
that Javier, our Managing Editor, wrote, Is
| | 01:54 | this the strongest endorsement we could
get, these flavors are amazing? Yeah, I
| | 01:58 | guess its kind of weak.
| | 02:00 | Who wrote this one? Joe. Oh, that was
something that I wrote, apologizing to my
| | 02:04 | boss, yes, yes, Javier, I'll find
something better. Then we also have some
| | 02:10 | dueling corrections to where Bliss
should go before or after Spicy. These are
| | 02:15 | track changes, and to see who wrote the
track changes, I can open up this, and
| | 02:21 | you can see that, oh, Joe
moved both of these around.
| | 02:27 | You can see other track changes in
other notes buried elsewhere in this Story.
| | 02:30 | Like this one has a whole bunch of then.
Here is the change that Sarah made,
| | 02:35 | here is something that Javier is saying,
Sarah changed the name of her product;
| | 02:39 | the designer, Javier wants to talk
about during their editorial production
| | 02:42 | meeting and so on.
| | 02:44 | So there is lot of communication going
back and forth, and that's one of the
| | 02:47 | great uses for exporting Story or
Galley to PDF, because it's a way they record it.
| | 02:55 | You could print it out as well, but why
waste tress. Just export it to PDF and
| | 02:59 | save it in some archive folder, and you
could call it, here is the state of the
| | 03:03 | catalog at this certain date, or
before you accept changes or delete notes or
| | 03:09 | anything like that, why not save it
as a PDF. So let's see how that's done.
| | 03:13 | I'm going to close these panels, and
go right to File > Export. So the export
| | 03:22 | choice or format that we want to
choose right now is PDF; we have a few other
| | 03:26 | choices, but right now we are just
going to go with PDF, and save a location
| | 03:30 | where you would like it to go. I'm just
going to call it test.pdf, which I was
| | 03:34 | already doing, so you can see I have
one there already and I'll replace that.
| | 03:38 | When you export to PDF you have your
choice of exporting either Galley & Story
| | 03:44 | view or Layout view. So it doesn't
make any difference which view you start
| | 03:49 | out, and you can always switch to the
other one. But as I said, I just want to
| | 03:52 | concentrate on Galley & Story view.
| | 03:55 | It's going to export it at Acrobat 5
compatibility. You have your choice of
| | 03:59 | other ones. This is a reasonable one
that just about everybody should be able
| | 04:03 | to read either with Reader or Acrobat.
| | 04:05 | Now, here is something interesting.
Under Stories, which Story will it export
| | 04:11 | to PDF? The default choice is actually
All. All these stories will be exported.
| | 04:16 | However, you can say just the
Current Story, meaning where your cursor is
| | 04:20 | blinking. You could also say only the
Expanded ones, and of course you would
| | 04:24 | have to make that decision before you
came here, because you have to expand
| | 04:28 | them. You can't expand them
while this dialog box is open.
| | 04:31 | Expanded means the Story bars, are they
collapsed so that you only see the bar,
| | 04:36 | or are they expanded so that you see
the bar as well as all the text contained
| | 04:40 | in that Story? I'm going to
say All. Let's see what happens.
| | 04:44 | You can overwrite the Font that is used.
So right now we have Letter Gothic, 12
| | 04:49 | Point, which is the default font for
Galley & Story. You may have chosen a
| | 04:54 | different one in your Galley & Story
Appearance toolbar. Whichever is the
| | 04:58 | current one will appear here and you
can overwrite it. So I might say, well, I
| | 05:02 | don't want it to come out as Letter
Gothic, I think that's hard to read, I'm
| | 05:06 | going to export it as Times New Roman.
| | 05:09 | You can also change the Type Size
and the Line Spacing. So may be on a
| | 05:13 | printout, I actually do 150% line spacing.
| | 05:17 | You want to Include Page and Story
information; that's information at the
| | 05:20 | bottom of the printout that identified
when this was printed and what document
| | 05:25 | it belongs to. I don't think that
that's very important, I usually don't
| | 05:28 | include that, but I do always turnoff
Include Paragraph Styles, because who
| | 05:34 | cares what the paragraph
styles are in a printout.
| | 05:36 | I do want to Include Inline Notes,
and here you have your choice of All the
| | 05:41 | Inline Notes, meaning even the ones
that you collapsed by clicking on either
| | 05:45 | side of their frame, or just the
visible one. So you could hide the notes that
| | 05:49 | you don't want to include in the
printout by clicking on them to collapse them,
| | 05:53 | and then just the ones that
are visible will be printed.
| | 05:55 | Do you want to show the notes
backgrounds in color? I have found that it makes
| | 05:59 | no difference whether this is turned
on or turned off. Notes are always shown
| | 06:03 | Inline, just as they appear here,
along with the color to the left and right.
| | 06:09 | Now, Include Track Changes, All or
Visible. You can hide track changes markup,
| | 06:14 | and if it is hidden you can say, I
wanted to appear on the printout anyway, or
| | 06:19 | you could just say, Include All the
Track Changes, and we will leave that on.
| | 06:23 | Now, Show Track Changes Backgrounds
in Color. This is very helpful, because
| | 06:28 | without it on all you see is like a
strike through, you don't see who made the
| | 06:33 | strike through, and there is no such
thing as a change inflow panel in a PDF.
| | 06:38 | So you do need a little
color coding going on over there.
| | 06:42 | Include Accurate Line Endings. This
just means print it like Galley not like
| | 06:46 | Story. So Accurate Line Endings meaning
accurate to the layout. If you do want
| | 06:51 | accurate line endings, if you do want
to print it like the Galley, then you
| | 06:55 | also have your choice of, do you want
to Include the Line Numbers, and if its a
| | 06:58 | very thin column, instead of having one
column per page and wasting a whole lot
| | 07:03 | of paper -- well, I guess that's not
that big of a deal with the PDF, but it is
| | 07:07 | a little more unwieldy to work with.
You could say, Fill up a single page with
| | 07:11 | multiple columns, but actually I don't
want to print a Galley, I just want to
| | 07:15 | print Story.
| | 07:16 | I do want to see the PDF after
Exporting, and here is where you can set
| | 07:20 | Security Settings. So you can set up a
password that would be required to open
| | 07:24 | the document in the first place, and
if you do set up that then you can also
| | 07:28 | include a different password required
to change the other passwords, such as No
| | 07:34 | Printing, No Changing the Document.
You can't extract any copy. You can't
| | 07:38 | change anything in the Form Fields.
This is normally something you can only do
| | 07:43 | in Adobe Acrobat. So I think it's cool
that it's included in InCopy, because I
| | 07:47 | do know a lot of publishers who are
sending PDFs around, that they want to keep
| | 07:51 | secure until the product is actually published.
| | 07:54 | Now, I'm going to Cancel out of there,
and we will just go ahead and export and
| | 07:57 | see what this look like. That was
pretty fast. So here we are in Adobe Reader,
| | 08:04 | and you can see all the Story bars,
and it takes up all the room from left to
| | 08:08 | right, because I said, I did not want
to see styles. We can see all the notes
| | 08:12 | and all the track changes.
| | 08:14 | We can also see all the over set text.
So it's a really neat way to keep a
| | 08:18 | record of a project in its current
state as viewed in Galley & Story. I think
| | 08:24 | the two views that give you the most
information about the state of the text in
| | 08:28 | your publications.
| | Collapse this transcript |
| Exporting layouts to PDF| 00:00 |
Sometime the easiest way to share an
InCopy layout with somebody who doesn't
| | 00:04 |
have InCopy is to send them a PDF,
and you can easily do that directly from
| | 00:10 |
InCopy's File > Export menu. To see
how and to learn some tips with the
| | 00:14 |
technique, open up the Chocolate
Catalog file inside your Chapter 11 exercise
| | 00:19 |
folder and follow along.
| | 00:21 |
That's what I have opened here. There
is actually no reason to check out any
| | 00:27 |
stories if all you need to do is
export it or print it. So I'm not even going
| | 00:32 |
to bother with that. But let's take a
quick look at Galley Story because I
| | 00:35 |
want to show you that some of the
stories have multitudinous number of
| | 00:41 |
track changes and notes, especially up here.
| | 00:44 |
Now, when you export to PDF you can't
include any track changes markup, however
| | 00:51 |
you can include notes as comments. So
InCopy will convert the notes into those
| | 00:56 |
little yellow stickies that appear
in a PDF, that anybody with Reader or
| | 01:02 |
Acrobat Pro can read as comments. It's
a fantastic feature, one that InDesign
| | 01:07 |
does not have. You can add notes in
InDesign, but when you export to PDF, it
| | 01:12 |
doesn't have that cool little
feature to include notes as annotations.
| | 01:17 |
So you have this document open, and
just go to File > Export. We want to choose
| | 01:24 |
PDF from the Export Type, and let's
save this as catalogproof.pdf, and click Save.
| | 01:36 |
Now, this doesn't actually save the
PDF at this point, you still have to go
| | 01:39 |
through the dialog box with 1,000
questions. So if you cancel your mind and you
| | 01:44 |
click Cancel, it doesn't actually
create the PDF. There's not 1,000 questions,
| | 01:49 |
its may 995, fewer than that, but
basically up here under the View menu you
| | 01:55 |
have your choice of Layout or Galley & Story.
| | 01:58 |
Now, I talked about Galley & Story in
a previous video; you can make a PDF of
| | 02:02 |
what Galley & Story show. We
are concentrating on Layout.
| | 02:06 |
The Compatibility of the PDF, leave it
right there at that default of PDF 1.4,
| | 02:11 |
this will be accessible to the widest
variety of users, regardless of which
| | 02:16 |
version of Reader or Acrobat they have,
and it will be the smallest file size.
| | 02:21 |
Believe it or not, often if you save it
back to the earliest version, the file
| | 02:25 |
size gets bigger.
| | 02:27 |
You have your choice of pages, of course,
which all the pages or just a range.
| | 02:33 |
This is important. Do you want the PDF
to appear as facing pages spreads? Like
| | 02:37 |
this document isn't facing pages. You
want them to appear like that or do you
| | 02:41 |
want this page to be above this page,
to be above this page and so on? It's up
| | 02:46 |
to you. I'm going to say
facing pages. I like that.
| | 02:49 |
You don't have to worry about the font.
It's going to always include the fonts,
| | 02:52 |
any characters that it needs in order
to render it accurately, even if the user
| | 02:58 |
does not have that font installed.
That's a basic premise of PDF.
| | 03:02 |
Here is the magic Option, Include
Notes As Annotation. It means comments. Why
| | 03:07 |
they say annotation, who
knows, but turn that on.
| | 03:10 |
Include Page Information will put a
little blurb at the bottom or top of the
| | 03:14 |
pages indicating when you printed
it and what was the file name of the
| | 03:17 |
document. I never bother with that.
Never bother with Interactive Elements,
| | 03:21 |
which is kind of strange. I suppose
if you have some Flash files that the
| | 03:26 |
designer placed in here,
the PDF would play them.
| | 03:29 |
The only other thing that I have always
turned on is View PDF after Exporting.
| | 03:33 |
If you want to secure this PDF you can
do so directly from InCopy. Just click
| | 03:38 |
the Security Settings buttons, and you
can enable a password that you will have
| | 03:43 |
to tell the person in order for them to
be able to open up the PDF, which might
| | 03:47 |
be good if you are passing around a
PDF that is on the QT or is under a
| | 03:52 |
nondisclosure agreement or something like that,
you want to add some control over it.
| | 03:55 |
You can also include a password that's
required for somebody to turn these kind
| | 04:00 |
of things off, because you can say,
this person can open up the PDF but Reader
| | 04:04 |
or Acrobat won't allow them to print it.
They won't allow them to change it or
| | 04:08 |
grab content out of it or change any
comments or form fields, all sort of fun
| | 04:13 |
security stuff that you can do directly
from within InCopy, which is neat. I'm
| | 04:17 |
going to click Cancel here because I
really don't care about it at this point.
| | 04:21 |
So we are going to make a PDF of all
the pages and we are going to view it when
| | 04:25 |
it's done. It's reminding us that
there is overset text on these pages. Why,
| | 04:30 |
thank you InCopy, but I
really don't care, so click OK.
| | 04:35 |
Here we are in the catalogproof.pdf.
It's opened up in Reader 9, and there is
| | 04:39 |
our beautiful front cover. Let's
go to the next page. So it came out
| | 04:45 |
beautifully, and look at the great
resolution of those images. From here we
| | 04:49 |
could save it and send it to somebody.
| | 04:50 |
But what about the comments? Well,
normally you would see the little stickies
| | 04:54 |
appear up here for the comments, but
I believe this is a glitch, since I'm
| | 04:58 |
using a very late beta of InCopy CS4
for this, and a very new version of
| | 05:03 |
Acrobat 9 and Reader 9, but you can
see them for sure down here in the little
| | 05:09 |
comments pane.
| | 05:10 |
So here we see the note that Javier left,
along with the time, and here is the
| | 05:15 |
one that I left Joe; sorry, we will
find something better. If you just click on
| | 05:20 |
the comment, it will bring you to the
page where it is, and normally you would
| | 05:23 |
see the actual little
comments icon appear there.
| | 05:27 |
Let's go back to InCopy, because I want
to show you that actually you can make
| | 05:31 |
a PDF out of any InDesign file you can
get your hands on. It doesn't have to be
| | 05:36 |
one that has stories in the workflow.
| | 05:38 |
Go to File > Open, and you will find
in your Chapter 11 exercise folder one
| | 05:45 |
called Sell Sheet. So 11_Sell_Sheet
does not have any stories exported. If you
| | 05:52 |
click Open, you will get that little
obnoxious dialog box. It tells you because
| | 05:57 |
there is no InCopy stories, Galley view
& Story view are not available, I'm so
| | 06:02 |
sorry. Okay, yeah, fine. So
all you have is the Layout.
| | 06:04 |
But you can still export this to PDF.
In fact, you can still print it. Of
| | 06:09 |
course, you can't Export or Print the
Galley & Story view -- I mean, let's try
| | 06:13 |
it. If you go to File > Export, you
have PDF; we will just leave this as the
| | 06:18 |
name, and you say, oh, I would like to
change it to Galley & Story. Well, it
| | 06:23 |
doesn't even appear as an option. So
there is no magical way to print or export
| | 06:29 |
to PDF Galley & Story when there are
no workflow stories in the document.
| | 06:33 |
But it is I think very useful for
editors to know that they can grab any
| | 06:37 |
InDesign document from their archive or
publications and print it or export it
| | 06:41 |
to PDF, and then when it exports to PDF
of course it would look great. It looks
| | 06:45 |
just as it would in Preview Mode;
remember Preview Mode shows you the document
| | 06:51 |
in full living color.
| | 06:52 |
So the next time you are wondering,
gee, I wish I could print out this
| | 06:55 |
beautiful PDF to show it to my husband
at home, or to send it to the client, or
| | 07:01 |
to send it to the author and show him
how the article looks as laid out in the
| | 07:04 |
publication. Don't worry about having to bug
the designers about it. You can do it yourself.
| | 07:10 |
| | Collapse this transcript |
| Printing from InCopy| 00:00 | So if you watched either of the two Export to PDF videos that
I did in this chapter, Exporting the Layout or Exporting Galley
| | 00:07 | and Story to PDF,
| | 00:09 | and then you're already miles ahead
in how to print from InCopy
| | 00:13 | because everything will look very familiar.
| | 00:15 | Otherwise, let me step you through all the
choices you have in InCopy's Print dialog box.
| | 00:21 | To follow along, open up a document that has a
layout and some stories exported to the workflow
| | 00:27 | so that you can see all the choices, such as a
choco catalog in the Chapter 11 exercise folder
| | 00:33 | and then go to File > Print.
| | 00:38 | When the Print dialog box opens it's going to show you the
options for printing the view that's currently showing in your
| | 00:44 | document window.
| | 00:45 | In my case it's a layout so I'm
seeing the options for the Layout view.
| | 00:49 | I can print a certain number of copies.
I can choose my printer up here of course.
| | 00:54 | I can choose the pages and the range of pages. Why
I would ever want to choose reverse order I don't know.
| | 01:02 | However, this is important. Sometimes the designers are
designing over documents whose pages are larger than 8.5 x 11
| | 01:09 | and if in the editorial department you just have a letter-
sized printer, you'll often need to turn on Scale To Fit, in order
| | 01:15 | to fit entire pages within a
single page in your printer.
| | 01:19 | So don't forget this part right here.
| | 01:21 | By default when you print a layout from InCopy,
| | 01:23 | it does not print the images,
which is kind of strange.
| | 01:26 | Instead when it encounters an image,
it puts an empty placeholder box there.
| | 01:31 | So what you want do is turn on Print
Images, if you'd like to see the images.
| | 01:35 | I suppose they figure why waste all that color toner
on images. If an InCopy user's printing, they probably just
| | 01:42 | want to be able to mark up text. But what if you're
trying to write a caption for picture? I mean, it's crazy.
| | 01:47 | When you export to PDF, it always includes
the images so I think this is kind of weird,
| | 01:52 | So just make sure and turn on Print Images.
| | 01:54 | Now, if you want to print spreads
so if you have a really big printer,
| | 01:58 | and you want to print facing pages
spreads, you have room for that
| | 02:01 | go-ahead and turn that on.
| | 02:02 | I guess even if you don't have a
big enough printer, you can turn this on
| | 02:06 | and Scale To Fit will make little, tiny baby spreads
on your letter-sized printer. I'll turn that off and then
| | 02:13 | Print Page Information will put a little line of text in an
out-of-the-way corner of each page indicating which document
| | 02:20 | was being printed
| | 02:21 | and what time it was being printed.
| | 02:23 | Now you can save these settings by clicking this one
button, but these are the only settings you can save.
| | 02:28 | So from then on, you'll have the
same settings the next time you go to print.
| | 02:32 | If you need to save some other settings for your
particular printer, then you click the Setup button.
| | 02:37 | Otherwise, you just go ahead and print. But right now, I'll
cancel because I want to show you printing out of Galley and
| | 02:43 | Story view.
| | 02:44 | So I'm going to switch to either Galley
or Story view and you're going to see that we have
| | 02:49 | a lot of interesting mark-up here.
| | 02:51 | Go back to File > Print.
| | 02:55 | And now we can print in Galley
or Story view or Layout view.
| | 02:59 | So I think it's kind of strange and it might
be a bug that when you're in a Layout view,
| | 03:03 | you can't go to Galley and Story, but when you're in Galley
and Story, you can go back to Layout. I don't know why that is.
| | 03:08 | It's been like that for a while.
| | 03:10 | As with exporting to PDF, you have your choice in
Galley and Story view about what exactly you want to output.
| | 03:16 | The default is the current story, meaning where your
cursor is currently blinking. Just that one single story.
| | 03:22 | Not the entire thing.
| | 03:24 | If you want to print every single story choose All. If you
just want to print the stories that you've expanded their
| | 03:30 | story bars for
| | 03:31 | and not the ones that are
collapsed into just a bar,
| | 03:34 | click All Expanded.
| | 03:36 | Or Reverse Order again. Why? I have
never been able to figure it out.
| | 03:41 | If you want to use the current settings like typeface and
the fact you can see the paragraph style names on the left,
| | 03:47 | then just leave that turned on,
| | 03:49 | click Print and you're good to go.
| | 03:50 | But I almost always choose Override Current Galley
Settings, because for example I really don't care what the
| | 03:56 | paragraph styles are. I need more choices over whether or
not I want to include in-line notes and Track Changes in my
| | 04:02 | print out.
| | 04:03 | Now this is a very good way to keep a record, a paper
record, of Track Changes before you accept them all, for example,
| | 04:10 | or notes before you delete them. I personally think it's a
better idea to export this as PDF, which you can do and which
| | 04:16 | I showed in a previous video, only
because I think is kinder to the environment.
| | 04:20 | But you could make a printout if you'd like.
| | 04:23 | Print Inline Notes, the visible notes, the ones you can see
that are expanded, or all the notes, whether or not they're expanded.
| | 04:29 | Track Changes,
| | 04:30 | because you can hide track changed markup. All of them or just the
visible ones and I always recommend that you turn on Show Track
| | 04:38 | Changes Backgrounds in Color, because otherwise you're
not going to be able to tell, for example, when something was
| | 04:44 | added, if you're using the default markup style.
| | 04:47 | If you really want to print out an old-fashioned Galley
with accurate line endings that reflect what's in the layout
| | 04:53 | so that you can proof things
like hyphenation breaks and column breaks,
| | 04:57 | turn on Print Accurate Line Endings.
| | 04:59 | So this is like make it look like
Galley. Everything else is Story mode.
| | 05:04 | Once you turn on Accurate Line Endings, you can choose
whether or not you want to print line numbers as well. If you have
| | 05:10 | very thin columns and you want to fill up each piece of
paper with multiple columns, you can say Fill Page
| | 05:16 | and then you can override
| | 05:18 | the fonts, the size and the leading amount. The line spacing,
which I think is a very good idea. Very often people are
| | 05:25 | editing on-screen at a very large size,
| | 05:27 | but they want to print at
a smaller size for example.
| | 05:30 | Or they want to increase the line spacing in a printout
so that they do have room to write in between the lines.
| | 05:38 | If you want to include page information or story information just
a little line of information in an out-of-the-way corner of the
| | 05:43 | page indicating when you printed it out
and what document this belonged to, turn these on.
| | 05:48 | Otherwise you're good to go. You can click Print. If you
think you're going to be using the settings over and over
| | 05:52 | again, click Save Settings.
| | 05:55 | Unfortunately we only have this one set of saved settings.
I would love to see InCopy have print presets like
| | 06:01 | InDesign does. I think it needs it even more than InDesign
does. That's a feature request you can make to Adobe.
| | 06:06 | In the meantime, you have just this one set of settings you
can save. So, there you go. It's a very strong print engine
| | 06:13 | with lots of fun choices to play with.
| | Collapse this transcript |
|
|
12. Managing the Workflow from InDesignExporting stories from the layout| 00:00 | Hello, designers. So you skipped over
all the boring InCopy chapters, eh, and
| | 00:06 | joined me here in the chapter that
is specifically for the InDesign user,
| | 00:11 | Managing the Workflow from InDesign. Welcome.
| | 00:15 | I have open here a typical InDesign
document. It's just a two page Sell Sheet
| | 00:20 | and if you would like to follow along
go ahead and open it from the Chapter 12,
| | 00:24 | Exercise folder in the 12_01
subfolder, 01 for the first lesson in this
| | 00:29 | Chapter. Let's scroll through and you
can see it's just a two-page document
| | 00:33 | with some items on the Pasteboard.
| | 00:37 | And as I often find designers do, I
have turned off Frame Edges, hidden them
| | 00:42 | and may I suggest that you stop doing
that. At least when you are working in a
| | 00:46 | document that has managed stories,
because little icons appear on the frames
| | 00:51 | indicating which stories have been
exported to InCopy and what their status is,
| | 00:56 | if they are out of date, is
somebody is working on them and so on.
| | 00:59 | So, you are missing a lot of feedback
by hiding Frame Edges, thus I'm going up
| | 01:04 | to the View menu and choosing Show Frame Edges.
| | 01:07 | Now, this document has no stories in
the workflow, it's just a normal InDesign
| | 01:11 | document with regular text frames. If
an InCopy user open this and they can, it
| | 01:17 | would be read only to them, they
wouldn't be able to edit any stories.
| | 01:21 | The InCopy user cannot make a story
editable, only you the InDesign user can do
| | 01:26 | so. There are many ways to export
stories to InCopy format, so that they are
| | 01:31 | editable for the InCopy user. And in
this video, I'm going to show you a few of
| | 01:35 | my favorites.
| | 01:36 | The most basic way is to just select
any text frame and then go up to the Edit
| | 01:41 | menu, go down to InCopy and choose
an Export command. Now, all these with
| | 01:48 | assignment in their name have to do
with an assignment based workflow, which
| | 01:52 | I'm not covering right now, I'll
cover in depth in an upcoming chapter. So,
| | 01:56 | just skip pass those, go down to just
to planar Export command and I have the
| | 02:01 | frame selected, so I want
to export the Selection.
| | 02:04 | You want to export InCopy stories to
the project folder where the InDesign
| | 02:09 | layout lives and normally you do that
to the server because you need to work
| | 02:13 | directly off the server, so that all
the links remain intact. Now, it is
| | 02:17 | possible to keep your layout local and
then export assignments to the server,
| | 02:23 | if you need to work locally on your
local hard drive in InDesign then pay close
| | 02:27 | attention to the Assignment chapter.
| | 02:30 | But for now we are assuming that your
project is sitting on the file server and
| | 02:34 | so I'm dwelling down to the 12_01
project folder and I want to create a new
| | 02:39 | folder in my project folder to hold all
my exported InCopy stories. So, I just
| | 02:44 | call it stories and I'm going to
call this story, call it headline.
| | 02:51 | The file format for an InCopy story is
ICML. You could also choose an earlier
| | 02:57 | version of InCopy if you have users
that are still on CS3, you could choose
| | 03:01 | InCopy CS3 interchange. So the INCX
format was the data one for InCopy CS3,
| | 03:08 | otherwise, just stay
with InCopy CS4 format ICML.
| | 03:13 | You always get this warning every
time that you export a new story to the
| | 03:17 | InCopy format, reminding you that you
need to save the change in the InDesign
| | 03:21 | document for the editor to be able to
edit the story. This dialog box, if you
| | 03:25 | read all the way through, offers to
save it for you, which I love. So whenever
| | 03:29 | you see this just hit OK.
| | 03:32 | Now, you can see the little icon on
this frame, if you look on your server,
| | 03:36 | you'll see that inside your project
folder, inside the stories folder, you have
| | 03:40 | an ICML file; this is a native InCopy
file. Now, the editor seldom open this
| | 03:46 | file directly, they are always going to
be opening up the Layout file or if you
| | 03:49 | are using assignments, the assignment
file and from within there, they are
| | 03:53 | going to check out the story.
| | 03:54 | I'll be getting into that in more detail,
later on in this chapter. So, I just
| | 03:58 | want to show you that you did
actually create an external file and that
| | 04:01 | external file is linked to this text
frame. If you open up the Links panel, for
| | 04:06 | example, you'll see that the ICML
file is actually linked to this.
| | 04:10 | Now, what can editors actually edit,
when they open this up in InCopy, all they
| | 04:14 | can edit is the contents of this linked
text frame. They cannot change the size
| | 04:19 | of the text frame, they can't move it
around, they don't even have a Selection
| | 04:23 | tool in InCopy. All they have is this
Type tool and a few other tools for navigating.
| | 04:28 | They can't add pages or remove pages
and so on. All they can do is edit the
| | 04:32 | contents of this text frame. So,
unless you export all the text frames they
| | 04:37 | need to, they are going to get
frustrated. So you have to make sure that you
| | 04:39 | export all the text
frames that they need to edit.
| | 04:42 | Let's export a couple of ones. I'm
going to select this one as well as this
| | 04:47 | one. You can export empty text frame
placeholders for the editors to type in
| | 04:51 | from scratch, when they open this up in InCopy.
| | 04:54 | This time I'm going to export it by
right-clicking and choosing InCopy which is
| | 04:57 | always the last menu item in the
Contextual menu and choose Export Selection.
| | 05:02 | Right, it remembers the same folder,
stories and the server. This time I'm just
| | 05:07 | call it page 1. Now, the name that I
enter here will be used as the prefix for
| | 05:13 | all of the file names that InDesign
exports with this selection, it will be
| | 05:17 | clear after we take a look on the server.
| | 05:19 | So, these two frames also have the
little adornments in their corners meaning
| | 05:23 | that they are workflow story and this
particular icon, the globe in the piece
| | 05:28 | of paper means that the story is
available to be worked on. If we look at in a
| | 05:32 | Links panel, now you see one, two,
three stories ICML stories. If we look at it
| | 05:38 | in the server, you see three stories
in the stories folder. And it used that
| | 05:42 | name that I entered as a
prefix to name the ICML files.
| | 05:46 | I always tell my clients do not worry
too much about what name these things
| | 05:49 | get. You don't have to say this is
the body, this is the caption, this is a
| | 05:53 | headline, this is a deck because users
in their real world really don't use the
| | 05:57 | file names to locate stories, they
just scroll through the layout in InCopy,
| | 06:01 | find the story they want to work on,
click in it, check out, start typing. Just
| | 06:05 | like you do now in InDesign. You don't
need a list of the story names, do you?
| | 06:09 | You just scroll to the layout. They
are going to be doing the same thing.
| | 06:11 | Now, we are going to go back to
InDesign and close the Links panel. Now there
| | 06:15 | are faster ways to export stories. You
know with the selection method you are
| | 06:19 | limited to once spread at a time
because InDesign limits you to a single
| | 06:23 | spread, when you are making a selection.
So, faster way might be to go the Edit
| | 06:28 | menu, go down to InCopy, go down to
Export and choose one of these options.
| | 06:33 | If you had put all your text on a
text layer, for example, as long as that
| | 06:37 | layer was currently active, you
could say Export Layer and InDesign would
| | 06:41 | export all of the text frames on that
layer. If a stories has already been
| | 06:45 | exported to the InCopy format, it will
look ignore it, it is smart enough not
| | 06:48 | to re-export something that's already exported.
| | 06:51 | I'm going to cancel out of there and
take a look at this other one, All Stories
| | 06:57 | or All Graphics, or All Graphics and
Stories, every last thing except for the
| | 07:01 | kitchen sink, unless of course you
have the graphic of the kitchen sink.
| | 07:04 | All stories will export every single
text frame within the document, except for
| | 07:09 | ones on a master page that have not
been overwritten on the document page, for
| | 07:14 | example, Page Folios. You put Page
Folios on the master page; you leave them
| | 07:19 | alone on the document page those will
not be exported. However, if you override
| | 07:24 | them, if you Shift click them on a
document page, then InDesign will export
| | 07:28 | those as editable stories,
probably not something you want.
| | 07:31 | So, be little careful this command,
but usually it works just fine. All
| | 07:35 | graphics that's useful if you have say
a photo Editor on hand, who has a copy
| | 07:40 | of InCopy and they need to be able
to replace the images with the actual
| | 07:44 | images, they need to be able to judge
the background colors of an image against
| | 07:49 | the colors of the InDesign page,
that's useful for them or if you want to
| | 07:53 | export all the graphics and
all the stories choose this one.
| | 07:56 | In any one of these cases InDesign
will put up a single dialog box, the name
| | 08:01 | that you enter here becomes the
prefix for each one of those separate
| | 08:04 | individual linked ICML files. By the
way, there is one more way to export a
| | 08:10 | story and that is using the
Assignments panel, and I might be going into the
| | 08:14 | Assignments panel in depth in a next
video, but let me show you that really
| | 08:18 | quick. If you go to the Window menu and
choose Assignments, you'll see it open
| | 08:21 | up and if you have been following
along and Exporting Stories you'll see that
| | 08:25 | the Assignments panel lists the three
stories that you have exported so far.
| | 08:29 | So the Assignments panel is kind of
like called Mini Links panel except that it
| | 08:33 | only lists InCopy content. So, for that
reason if you are a designer working in
| | 08:39 | an InDesign, InCopy workflow, it would
probably be a good idea for you to add
| | 08:42 | the Assignments panel to a custom
workspace, because you are going to
| | 08:46 | constantly be going into an out of here,
to check things out, to export stories
| | 08:50 | and to run various commands.
| | 08:52 | But one of my favorite ways of
exporting story to InCopy format is just to by
| | 08:56 | dragging and dropping directly from
the page onto this category Unassigned
| | 09:01 | InCopy Content, that's because we are
not using an assignment base workflow so
| | 09:05 | these are all free agents, if you will.
| | 09:07 | So I drag and drop one, I get the
same dialog box, I'll call this back
| | 09:12 | headline, yes, yes I click OK. You
see how this text frame is threaded, and
| | 09:19 | then you turn on Show Text Threads to
the next one. When you have a threaded
| | 09:23 | story could be a book it's a 100 pages
long, right, you don't have to export
| | 09:26 | every single frame, I get that question
a lot. You just have to export one of them.
| | 09:30 | So, if I drag this guy over and I gave
it a name. Story I'll just call it. Then
| | 09:35 | notice how both frames get the
little icon. So let's see how our friendly
| | 09:39 | little server folder is doing, it's
going very well, this is exactly what you
| | 09:42 | want to see. That all of your exported
InCopy stories are in their own folder,
| | 09:46 | separate from the InDesign layout,
because what frequently happens is that you
| | 09:51 | export all these stories at the same
level as the Layout and since InCopy users
| | 09:55 | can open both file formats, they
are not sure which ones to open.
| | 09:58 | You could make it easier for them by
suddenly hiding the content that they
| | 10:03 | really don't need to be opening. They
can open this but then they won't see the
| | 10:06 | Layout, so it can defeat the purpose
of the whole workflow. You want them to
| | 10:09 | open up either the actual layout or
the Assignment, which is a different file
| | 10:14 | format that I'll be talking about later.
| | 10:15 | It may sound a little tedious having
to do this exporting stories InCopy
| | 10:19 | format, but seriously how long can it
take, may be ten minutes at the most and
| | 10:23 | you only have to do it ones at
the beginning of the project.
| | 10:26 | From then on it's off you plate, and
it's up to the InCopy users to start
| | 10:31 | checking out stories and adding
contents and updating and tracking changes and
| | 10:34 | all that kind of stuff and you can go
on to other projects, or refining the
| | 10:39 | design on this project.
| | Collapse this transcript |
| Working with the Assignments panel in InDesign| 00:00 | In the InDesign and InCopy workflow
the Assignments panel is like the hub of
| | 00:06 | all the shared contents
between the two applications.
| | 00:09 | InCopy has it own Assignments panel and
InDesign has its own Assignments panel.
| | 00:14 | Let's open up InDesign's Assignments
panel right now from the Window menu and
| | 00:18 | its number one in the alphabetical
order. The Assignments panel lists all of
| | 00:23 | the managed content in the active
document. That's it in a nutshell.
| | 00:27 | Managed content is a frame that you
the designer have exported to the InCopy
| | 00:33 | workflow and I covered exporting
content in a previous video in this chapter.
| | 00:39 | So in this document that I have opened
up in 12_02_Sell_Sheet that's in your
| | 00:44 | 12_02 exercise folder. You can see that
we have exported five text frames. See
| | 00:49 | the little Ts? That stands for text
frame. To the workflow. When we exported
| | 00:54 | them we gave them a name.
| | 00:55 | And sometimes if you export more than
one, InDesign will add its own automatic
| | 01:00 | name. The Assignments panel also
tells you the status of all the stories.
| | 01:05 | Currently the status of these stories
is available. What does that mean? That
| | 01:10 | means that the story is
available to be checked out.
| | 01:13 | I can't really edit a story until I
check it out. I'll be talking about
| | 01:17 | checking stories out to edit them and
updating the stories that your editors
| | 01:21 | have checked out and updated in
an upcoming video in this chapter.
| | 01:25 | Now what about this weird thing here?
Unassigned InCopy Content. Well, as I
| | 01:30 | said in the beginning of this series
and I have repeated numerous times. We are
| | 01:33 | using layout-based workflow to
learn the InDesign and InCopy workflow.
| | 01:38 | A layout-based workflow is one where
the layout is opened by the InCopy user
| | 01:42 | directly. And then they check out stories
that the designers exported to InCopy within it.
| | 01:47 | So everybody is working of the same
layout that is sitting on the server, on a
| | 01:52 | shared files server. The other
kind of workflow possible is an
| | 01:55 | assignments-based workflow, which I
cover, in an upcoming chapter. And that's
| | 01:59 | the reason why this panel is called
an Assignments panel, because normally
| | 02:03 | underneath the name of the layout
you would see a listing of various
| | 02:07 | assignments, and inside each
assignments you see various stories associated
| | 02:11 | with that assignments.
| | 02:12 | A story that has been exported to the
workflow that has been attached to an
| | 02:16 | assignment is like a free agent. And
so it ends up in this Unassigned InCopy
| | 02:21 | Content category. There really is no
other significance beyond that. It's not a
| | 02:26 | bad thing to have content in the
unassigned InCopy content category. That is
| | 02:30 | just when things end up when you
are using a layout-based workflow.
| | 02:33 | At the bottom of the assignments panel
is your user name, in case you forget
| | 02:36 | who you are and your user name if you
remember, you assigned yourself when you
| | 02:40 | first installed the program from the
file, User menu. You can always change
| | 02:46 | your user name and your user color
as long as you don't have any stories
| | 02:50 | checked out to yourself in the active
document. So will remain as Sarah, the designer.
| | 02:55 | At the bottom of the Assignments panel
are icons for creating new assignments,
| | 03:00 | for checking a story out, for updating
out-of-date content and for unlinking a story.
| | 03:06 | Unlinking a story is this -- if I click
inside or select a story in the layout,
| | 03:12 | the same story gets highlighted in the
Assignments panel. And then if I click
| | 03:16 | the Trash icon, you don't get any
warning. It does not trash the story; nothing
| | 03:20 | gets deleted, which is weird, because
it's a trashcan icon. It should be a
| | 03:24 | broken chain in my opinion. Notice
that what happened to the frame is that it
| | 03:28 | reverted to a normal InDesign text
frame. There is no more workflow icon.
| | 03:32 | That does not however delete the
story on the server. The story that was
| | 03:37 | exported from this frame still exists,
because Adobe software seldom as ever
| | 03:42 | deletes files that it created. You
actually have to go on to the server in
| | 03:47 | Window Explorer or the
Finder to delete them manually.
| | 03:50 | I'm going to undo with Ctrl+Z or
Command+Z on the Mac. And then in the
| | 03:56 | Assignments panel menu, we have various
commands having to do with dealing with
| | 04:00 | remote workflows giving a small
information about a selected assignments or
| | 04:05 | selected story. For example, if I
select one of these stories, I can go to the
| | 04:10 | Assignments panel menu and say, show me
where the story is on my server? Reveal
| | 04:14 | in Finder or I can even reveal it in
Bridge. So I shows Reveal in Finder and
| | 04:19 | you can see here it is sitting on the server.
| | 04:23 | A big advantage of using the
Assignments panel is that if you are the type of
| | 04:27 | designer that likes to work with frame
edges hidden, then you go up to the View
| | 04:30 | menu, and choose Hide Frame Edges. You
lose a little status icons in the layout
| | 04:37 | but you can see them in the Assignments panel.
| | 04:39 | So when you click in a story, if you
see an entry highlight in the Assignments
| | 04:43 | panel you know that it is workflow
story. If I click here, nothing highlights
| | 04:48 | in the Assignments panel. Maybe you
are thinking, well, that's because it's a
| | 04:50 | group. No, it makes no difference.
| | 04:52 | If I click with my Type tool inside of
a story, it becomes highlighted. If I
| | 04:56 | click on my Type tool inside this
little story it does not become highlighted.
| | 05:01 | So having the Assignments panel open
will help you as the designer figure out
| | 05:05 | what's happening with the document.
Even if frame edges are hidden and you are
| | 05:09 | not seeing those visual queues.
| | 05:11 | I'm going to turn Show Frame Edges
back on. That's why you think it's a good
| | 05:14 | idea if you are a designer in this
workflow then you should create a custom
| | 05:18 | workspace. Add the Assignments panel to
the panel dock at the right. I usually
| | 05:23 | keep mine at the very top and then
save the workspace. From the workspace
| | 05:27 | switcher here in the Applications bar,
I'm choosing New Workspace and
| | 05:31 | I'll just call it InCopy Workflow,
and click OK. That way it is always
| | 05:36 | available to me as a choice
from the very top, InCopy Workflow.
| | Collapse this transcript |
| Editing and updating files| 00:01 | As the designer after you've exported
stories and images to the workflows so
| | 00:05 | that the editors can work on the
InDesign layout in InCopy, 90% of the rest of
| | 00:11 | the time that you'll spent on a
project will be spent editing and updating
| | 00:15 | content in the layout or the layout
itself. And it helps to see what a project
| | 00:19 | looks like from the editor's
perspective at the same time that you are working
| | 00:24 | on the project in InDesign.
| | 00:26 | So that's why I have opened up this
12_03_Sell_Sheet in your 12_03 Exercise
| | 00:31 | folder to show you that the editor
might be working in this crazy view that
| | 00:35 | they have called Galley view, kind of
like your Story Editor except that it
| | 00:39 | shows every single story that's
editable in the layout and it's showing
| | 00:43 | accurate line endings.
| | 00:44 | In the Layout view though it looks
very similar to what you see in InDesign.
| | 00:49 | Items that they are working on are
checked out to them and here they can just
| | 00:53 | go ahead and start editing copy. As
they save changes, as they are editing,
| | 00:57 | they have a regular Save command just
like everybody else. It's called Save
| | 01:00 | Content, because every story that
they are editing is a separate piece of
| | 01:03 | content within the layout.
| | 01:05 | Then you are notified that the story is
out of date and you have the option of
| | 01:08 | updating it to see what they have
changed. So let's take a look at this layout
| | 01:12 | in InDesign.
| | 01:13 | Start up InDesign and then go to
InDesign's File Open menu and open up that
| | 01:18 | InDesign layout in 12_03. But when you
are prompted to update, don't update. So
| | 01:23 | I'm choosing File > Open there is 12_03
_Sell_Sheet, click Open and right here
| | 01:28 | click Don't Update Links, just so that
we can see what it looks like, let me
| | 01:32 | close that Links panel for now.
| | 01:34 | All right, so I have opened up a layout
that an editor is currently working on,
| | 01:38 | and we can see some different icons
in our layout. You can see them in the
| | 01:43 | Layout view and also in the Assignments panel.
| | 01:45 | This story here, the one with an
Available icon and Out of Date icon indicates
| | 01:51 | that an editor changed something in
this story and we are not seeing the latest
| | 01:55 | version of the story.
| | 01:56 | However, they are not currently working
on it. They have checked in the story.
| | 01:59 | So it is available for someone else to
check out. To update the story you can
| | 02:03 | just right-click on the Story, go down
to InCopy and choose Update Content, or
| | 02:08 | you can do it right from the
Assignments panel and choose Update Content. Aha!
| | 02:13 | They made a very big change.
All right. So it's now up to date.
| | 02:16 | This story down here with the pencil
with a slash through it means that they
| | 02:19 | are currently editing the story. You
can still update it though. They have
| | 02:23 | saved changes as they are working on it.
| | 02:25 | If you want to see the latest version
of the story you can update that one too.
| | 02:28 | I'm just going to right-click and
choose, Update Content. Doesn't look like
| | 02:31 | very much has changed yet. So you can
use the Assignments panel to view the
| | 02:35 | status of all of your stories whether
they are checked-out, checked-in, in need
| | 02:39 | of update or not.
| | 02:40 | Now what if you want to edit a story?
Let's go to page 2 of this layout. If I
| | 02:44 | want to change something here like,
let's say I want to make a capital C and
| | 02:47 | capital S, I can't just start typing
here, because it's a workflow story. And
| | 02:52 | if you try to start typing you'll get
prompted that, you have to check out the
| | 02:55 | frame first in order to edit it. And
what's nice is that InDesign offers to
| | 03:00 | check it out for you, so I'll say Yes.
| | 03:02 | And now the icon looks like a pencil
without a slash through it. That means
| | 03:06 | that you are currently editing the story.
You have editing privileges over the
| | 03:10 | story. Now I can go ahead and
type a capital C and a capital S.
| | 03:16 | If you want to make changes to a story
that don't involve editing the actual
| | 03:20 | content then you don't have to
worry about checking out the story.
| | 03:23 | For example if I switch to my
Selection tool and I want to move these two
| | 03:29 | frames elsewhere, I can just Shift-
click them and then drag them downward or
| | 03:34 | upward. I could even delete a frame;
these two are threaded together and let's
| | 03:41 | select the second one and delete it
and then bring this one out and then turn
| | 03:45 | it into two columns in Text Frame options.
| | 03:50 | All right, so all these changes are
considered making changes to the geometry
| | 03:54 | of the file. You are not really editing
the contents. So even if some editor is
| | 03:59 | already working on a story like this one,
I could still move it around. Now are
| | 04:04 | they going to realize the story is in a
different position or I can even change
| | 04:07 | the size of it? No, they are not. They
are not going to realize that something
| | 04:11 | is different in the layout until you
save your changes and they update their design.
| | 04:16 | So whenever you make a change that
requires you to save changes and you can
| | 04:21 | tell in CS4, because right before the
name of the layout you'll see a little
| | 04:24 | asterisk appear, if there are unsaved
changes. You save the change and any
| | 04:29 | editor who have this layout open will
be notify of that. I'm back in InCopy on
| | 04:34 | the PC and I'm going to choose Fit in
Window. And you see in the Title bar how
| | 04:39 | it says, Out of Date, that's what
let's the editors know that you have saved
| | 04:42 | changes to the layout.
| | 04:44 | And in the Assignments panel, they
will also see an out of date icon here in
| | 04:48 | their Assignments panel. They can
choose to update the design if they like. So
| | 04:52 | they can choose it from the File menu
> Update Design or they can choose it
| | 04:56 | right from the Assignments panel menu
down here or they can just right-click.
| | 05:02 | And when they update the design they
don't have to check in any stories but
| | 05:05 | they do have to save any unsaved
changes. And this dialog box tells them that
| | 05:10 | and offers to save the changes for
them anyway, Yes please. InCopy quickly
| | 05:17 | closes that layout snapshot and then
opens up a new one with the latest version
| | 05:21 | of the layout.
| | 05:22 | So you see there is our larger text
frame on page one and there is our two
| | 05:26 | columns text frame on page two,
let's go back to InDesign.
| | 05:30 | The editors will only be notified when
the design is changed if they currently
| | 05:34 | have it open. If they are not working
on the layout and you are saving changes,
| | 05:38 | you are doing your own job, and then
they come in to work and they open up the
| | 05:41 | layout, they will always see
the latest version in InCopy.
| | 05:45 | It's only when you are doing the
parallel workflow thing. When you are both
| | 05:47 | working on the same file at the same
time that you'll need to keep an eye on
| | 05:51 | the little icons and on the
Assignments panel to know when things should be
| | 05:55 | updated or not.
| | 05:56 | When you are done working on a layout
you can just go ahead and close it. It is
| | 05:59 | good etiquette to check in any
stories that you might have checked out to
| | 06:03 | yourself like this Back headline. I'm
going to double-click to jump to it,
| | 06:07 | because if you close the layout and
leave it checked out for yourself no one
| | 06:11 | else will be able to edit that text.
| | 06:13 | That might be what you want but
happens if you go out to lunch and you win a
| | 06:17 | lottery, you never come back to work.
How are they every going to change the
| | 06:19 | content of their text frame? Well,
actually there are some workarounds, but for
| | 06:24 | that reason normally people will check
in stories so that they are available
| | 06:28 | again whenever they are done working.
And InDesign will do that for you. If you
| | 06:31 | just close the layout you will get a
prompt that says, you have one or more
| | 06:35 | items that have not been checked in.
Shall I check in all the content for you
| | 06:39 | now, master? And of course you say, yes
please. Just hit the Return key or the
| | 06:43 | Enter key. And it's asking to save any changes
to the layout. Yes, go ahead and that's it.
| | Collapse this transcript |
| Using inline notes in InDesign| 00:00 | One of the ways that designers and
editors can communicate with each other in
| | 00:04 | this workflow is by the use of Inline
Notes. You can embed a non-printing note
| | 00:09 | inside any text frame. You may have
notice that InDesign has a Notes tool over
| | 00:15 | here in the toolbar, and under the Type
menu, there is a Notes flyout menu. In
| | 00:22 | InDesign CS3 this should
be an actual Notes menu.
| | 00:25 | It really was never that important
to rate its own menu, so I think it's
| | 00:28 | better over here along with its
friends, the Footnotes and the Hyperlink and
| | 00:31 | all kinds of stuff.
| | 00:32 | After you open up a document you can
do a quick check by going down to Type >
| | 00:37 | Notes, and if Previous or Next Note is
enabled, that means that somewhere in
| | 00:42 | this document there is a note. But
before we go hunting for other people's
| | 00:46 | notes let's make one of our own.
| | 00:48 | If you want to make a note inside of a
workflow story, you have to check it out
| | 00:52 | first. So I'm just going to click
inside this story and then check out the
| | 00:57 | story by right-clicking and
choosing InCopy > Check Out.
| | 01:01 | Now to edit a note you don't really
need to use the Notes tool. You just go to
| | 01:06 | the Type menu, go down to Notes and
choose, New Note. And if you are going to
| | 01:09 | be adding a lot of notes I suggest that
you create a keyboard shortcut for this
| | 01:13 | in Edit > Keyboard Shortcuts.
| | 01:15 | So you add a note and then add to this
large, because this type is large, it's
| | 01:20 | the only reason the icon as large. It
adds an icon indicating that the note is
| | 01:24 | here. And the icon appears in your user
color. Also immediately the Notes panel
| | 01:29 | opens up. But you didn't even know you
have a Notes panel. Why? Yes, you do.
| | 01:32 | Your user name the one that you enter
under File > User appears there and the
| | 01:35 | date and then you can write a notes say,
I thought we weren't going to use the word Spicy.
| | 01:47 | If you want to add a note elsewhere,
again you have to check it out. Let's say
| | 01:50 | that we want to add a note in this
story. So if I go up to Type > Notes, why?
| | 01:56 | Wouldn't it let me? Of course you are
paying attention, excellent! You have
| | 02:00 | check out the story first, right-click
InCopy, Check Out. Let's zoom in a bit
| | 02:05 | with Command+Plus or Ctrl+Plus. Oh look!
There is somebody else's note here.
| | 02:11 | Instead of entering our own note let's
go ahead and find out what their note is.
| | 02:14 | How do you read that note? Hover your
Type cursor over the top half of the
| | 02:18 | little Note icon and you'll see the
tooltip tells you who wrote the note? When?
| | 02:23 | And what the content of the note is?
You don't even have to click it. But if
| | 02:26 | you do want to see it in the Notes
panel just click it and then you'll see that
| | 02:29 | the Notes panel updates to show you that.
| | 02:31 | You can reply in this note. Though I
don't suggest that you do, because it
| | 02:35 | doesn't change who the author is and Joe,
the editor might not realize that you
| | 02:40 | updated the note. Instead, I would
always just click right after it and then
| | 02:44 | add a new note. So Type > Notes >
New Notes, you can see why a keyboard
| | 02:49 | shortcut would be so useful here.
I'll just say, of course I'll look for an
| | 02:55 | image for you.
| | 02:57 | Now once you start loading up a
document with notes, they are kind hard to see,
| | 03:01 | you see how I can barely see Joe's
next to mine. And the reason that they are
| | 03:05 | right on top of each other is because
there is no way that InDesign can show
| | 03:09 | you them right next to each other
otherwise that would add white space and you
| | 03:12 | wouldn't be able to see the characters
in the story. The Note icons are a zero
| | 03:16 | white space characters.
| | 03:17 | So a better way to read notes actually
and to work with them in my opinion is
| | 03:21 | to use the Story Editor. Click inside
any story that has notes, go to the Edit
| | 03:27 | menu, choose Edit in Story Editor or
press Command+Y or Ctrl+Y and you'll see
| | 03:32 | the notes appear inline. All right, so
here is the note that I just added and
| | 03:36 | then here is Joe's note. But Joe's
note is currently collapsed. If I click on
| | 03:41 | it, it will expand.
| | 03:42 | So here is the total content of his
note. I think it's a lot easier to read
| | 03:45 | this way. Let's go ahead and add
another note here while we at it, I'm just
| | 03:48 | going to click here, choose Type >
Notes > New Notes and you see a frame
| | 03:53 | automatically appears, here is the
frame and it just keeps going and going and
| | 03:59 | going. I could write a
very long note if I wanted to.
| | 04:01 | In fact I can even convert text to a
note. I can take this text right here and
| | 04:06 | then go up to the Type menu > Notes >
Convert to Note. And there are other
| | 04:10 | commands too, you can expand and
collapse all the notes in the story, meaning
| | 04:13 | Show and hide them. You can remove all
of them; you can remove all the notes
| | 04:17 | from the entire document. Of course you
can only remove notes from the stories
| | 04:20 | that we have checked out, all
right, if they are workflow stories.
| | 04:23 | You can never edit the contents of
workflow story unless you checked it out; I
| | 04:26 | think you understand that by now. And
you can split a note into two notes. In
| | 04:30 | think it's probably I believe the least
used command in the entire program. Why
| | 04:33 | would you ever want to split a note? I
have no idea. So, notes are quiet useful
| | 04:37 | and the difficult part though is that
because they can only be embedded with
| | 04:41 | any text frame but sometimes you lose
the ability, like you would have on a
| | 04:45 | printout to write a note that covers
the entire spread or that has to do with
| | 04:49 | an image for example.
| | 04:51 | So in a linear workflow, when you are
working with printout that are being
| | 04:54 | passed back and forth, there are
lots of ways to write notes. But in the
| | 04:57 | InDesign, InCopy one if you want to
reuse the My Notes features, you are
| | 05:00 | limited to the text frame.
| | 05:02 | That's why a lot of users have
created what I called quasi note frame and I
| | 05:07 | believe I covered this already in a
different video but it was more for the
| | 05:10 | editors. What you do as a designer is
you create a text frame in the pasteboard
| | 05:14 | of every spread or at the first spread
or something, and then you export those
| | 05:19 | to the workflow to our Unassigned
InCopy Content, and we want to make sure that
| | 05:23 | they are going into the correct
stories folder as usual we'll just call them
| | 05:27 | Side Notes. All right. So
they appear as little frames.
| | 05:31 | Now what a lot of users can do then is
-- let's say that you want to write a
| | 05:35 | note about this entire spread, you
want to talk with each other. Anybody can
| | 05:39 | just check out the story I just
started typing to get that alert and then hit
| | 05:42 | Return to say yes, check it out for me
and say, hey what do you think of this
| | 05:48 | spread in general? And then sign your
name, all right. And then you can check
| | 05:54 | the story back in and when an Editor,
Managing Editor or another designer even
| | 05:58 | opens up this layout, they can check
out the same story and then reply to you,
| | 06:02 | I love it, signed Javier Managing Editor.
So you can talk with each other that way.
| | 06:11 | So there are a couple of
different ways to work with communicating
| | 06:13 | electronically with your editors.
The Notes tool and panel themselves are
| | 06:18 | great, because they are very
convenient. But also, because the editors can
| | 06:22 | print the contents of their equivalent
of the story editor but designers can't.
| | 06:28 | Designers cannot printout the Story
Editor unfortunately, a wonderful feature request.
| | 06:33 | In addition editors can export this
layout to PDF and have InCopy automatically
| | 06:38 | convert the notes, the inline notes,
not the ones on the side, the inline notes
| | 06:42 | to comments in the PDF which I think is
incredibly convenient and I would love
| | 06:46 | to see Adobe add that to InDesign as well.
| | 06:48 | In the meantime I think now you have a
very good understanding of how notes are
| | 06:51 | used, how to find notes and ways to
work around some of their limitations.
| | Collapse this transcript |
| Workflow features in the Links panel| 00:01 | InDesign CS4 supports a completely
revamped Links panel. Well, it looks similar
| | 00:06 | to what it's looked like in previous
versions but it's so much more powerful,
| | 00:10 | so much more useful for any kind of
publication, but especially for workflow
| | 00:16 | publications. To see what I mean open
up the Chapter 12 layout. It's inside
| | 00:21 | 12_05, since this is video number five
in Chapter 12, called 12_05_Sell_Sheet
| | 00:27 | in InDesign. So I have it right here.
But when you open it do not update the
| | 00:33 | links, all right? So click Don't
Update Links. You'll see two modified links.
| | 00:38 | Whenever you open up a layout in
InDesign and there are out-of-date links, the
| | 00:43 | Links panel immediately opens. So
the two out of date links in this file
| | 00:48 | are the two stories, and if you look
at the Links panel you can see that the
| | 00:52 | stories that you have exported from the
layout to InCopy format also appear in
| | 00:57 | the Links panel. I mean also in
addition to the Assignments panel. Let's put
| | 01:01 | that side by side with the Links panel.
| | 01:04 | If I open up the Assignments panel,
you'll see that when you select a story
| | 01:09 | that's part of the workflow, it gets
highlighted twice, once in the Assignments
| | 01:13 | panel and once in the Links panel. In
both places if the story is out of date,
| | 01:18 | you'll see the out of date icon, and
if a story is missing unfortunately,
| | 01:22 | because somebody maybe moved it around
on the server, you'll see the same stop
| | 01:26 | sign sort of icon that you
would see if a link was missing.
| | 01:29 | You can treat these exported ICML
files just like any other link. You can
| | 01:33 | relink them. So if I select this I
could go to Relink, I could choose Update
| | 01:38 | Link, I could choose Go To Link. Let's
go ahead and choose Go To Link. That's
| | 01:42 | this little guy right here. So it
jump to that link or you could select the
| | 01:46 | link up here in the Links panel and
click the Page number that it's on, like
| | 01:49 | let's try this one right here, and
it jumps to that page and centers the
| | 01:53 | selection on the screen.
| | 01:54 | If you want to see more about all the
cool new features in Links panel you
| | 01:58 | should watch my InDesign CS4 New
Features video where I go into great depth
| | 02:02 | about it. But I'm going to go into
little bit of depth right now just to show
| | 02:06 | you how you can customize the links
panel. To help you manage stories and other
| | 02:11 | content that's in the workflow.
| | 02:12 | One other thing I want to mention
about the relationship between the Links
| | 02:15 | panel and the Assignments panel. If you
recall my videos about the Assignments
| | 02:19 | panel I said it's the hub at the
workflow and it shows only managed contents
| | 02:24 | for the active layout by managed -- I
mean stories and images that has been
| | 02:28 | exported to the workflow.
| | 02:30 | I have a whole chapter on working with
images in InCopy. If you would like to
| | 02:33 | learn more about how that works. As
with text frames editors cannot change the
| | 02:38 | size of image frames but they can
change the contents of the image. They can
| | 02:43 | scale the contents so that it has a
different crop, they can rotate it, they
| | 02:47 | can even replace it.
| | 02:48 | If you exported that image to the
InCopy workflow, only the designer can do
| | 02:52 | that remember. So if you don't want
your editors messing around the images,
| | 02:55 | don't export the images to InCopy. But
in this case I did export this one image
| | 02:59 | down here, let me select it, so that
you can see that when you select an image
| | 03:04 | that's part of the workflow, three
things get highlighted in the interface.
| | 03:08 | In the Assignments panel you see that
the name of this exported link's content
| | 03:12 | is called choc_tin and it's currently
available to be checked out and it is an
| | 03:17 | image okay, and it's up-to-date. In
the Links panel you'll see it appears
| | 03:21 | twice; one for the actual image that's
selected, two for the fact that it is
| | 03:25 | exported in part of the workflow. So
there is an ICML file that is linked to
| | 03:29 | this layout as well as the actual PSD
file. So don't think that the Links panel
| | 03:34 | is confused when it highlights two
things and you have only selected one item
| | 03:38 | in the layout.
| | 03:39 | So in addition to seeing a simple
listing of all the linked InCopy content in
| | 03:44 | your Links panel, you can't of course
use things like the Sort menus that sorts
| | 03:49 | by status and notice that every ICML
file if it's up-to-date has a special
| | 03:55 | status called Content, and that
means it's not a linked file, it's not an
| | 03:59 | embedded file, it's something in
between what Adobe calls content, which is
| | 04:03 | kind of a convenient because they'll
always have these little checkmarks. Let's
| | 04:07 | go ahead and update these two stories.
I'm just going to Shift-click both of
| | 04:09 | them and then right-click and choose
Update Link, which is the fast way to
| | 04:14 | update everything.
| | 04:15 | There is more information that you
can see about your InCopy linked files.
| | 04:19 | Let's close the Assignments panel
to get it out of the way, and now I'm
| | 04:23 | widening the Links panel so we can
see it. If you select one of these ICML
| | 04:28 | files and look down here in Link Info,
this is a new feature that has been
| | 04:32 | integrated with the main Links panel
and scroll down in the Link Info, you'll
| | 04:35 | see some information that's specific to
InCopy files, such as does it have any
| | 04:40 | notes, is the story status modified or
not, is track changes on and off. That's
| | 04:44 | an InCopy feature.
| | 04:46 | Track changes isn't supported in
InDesign but if an editor left the story with
| | 04:50 | track changes turned on and checked in
the story, then you as a designer, if
| | 04:54 | you make any edits to that story your
changes will also be tracked in your
| | 04:58 | users color just to FYI, and if it's
part of an assignments workflow, you'll
| | 05:02 | see it appear over here, the name of
the assignment that it's assigned to or in
| | 05:05 | a layout workflow that in fact that
it's unassigned. And its status available,
| | 05:10 | checked out, your editing and so on.
| | 05:12 | I think it's very useful to be able to
add this kind of information to the top
| | 05:17 | part of the links panel, so that
instead of having to select every story, for
| | 05:21 | example, let's see which one has a
note, you could just see a listing of it
| | 05:24 | right here. So to do that go to the
Links panel flyout menu, choose Panel
| | 05:29 | Options, and down here in Show Column,
scroll the way to the bottom and check
| | 05:34 | off things that you are interesting in
seeing as far as your workflow stories
| | 05:37 | are concerned, such as Notes and
Track Changes, even those two things.
| | 05:40 | All right! So you can easily see if
track changes is on or off and how many
| | 05:45 | notes there are available. So the
another fast way to find notes for example,
| | 05:48 | you can just click that one page and
you know that there is a note somewhere in
| | 05:52 | here and there it is.
| | 05:53 | I like working like this, because it
takes a much less screen real estate than
| | 05:57 | having link info open all the time.
It's nice and neat that way and then you
| | 06:00 | can sort by like number of notes and
if track changes is on or off or story
| | 06:04 | status or however you would like to
look at it. Let's go back to page number.
| | 06:09 | I'm just clicking here. After you get
it customized how you would like it to
| | 06:11 | look, save it as part of your custom
workspace that you will use with InCopy.
| | 06:15 | You can customize the Links panel to
show any kind of information up here and
| | 06:19 | then every time you save it as a
workspace, that customization is saved as
| | 06:23 | well. So you can have different kinds
of custom links panels for different kind
| | 06:26 | of projects for prepress, for InCopy,
for writing and so on. I think I'll just
| | 06:30 | do that right now. I'm going to say
New Workspace and we'll call this one,
| | 06:37 | InCopy Workflow, we'll get an alert.
Yes, I want to replace that one with this
| | 06:41 | one, and there we go.
| | Collapse this transcript |
| Placing new InCopy files| 00:00 | Sothrough out all the videos so far,
you have seen how it gets started in
| | 00:05 | InDesign by exporting frames to InCopy
format. The frames may be full of text
| | 00:11 | like these guys or this one here that
you need to export or they may be empty
| | 00:17 | frames that you export. Either way, it
always starts from within InDesign. Well
| | 00:21 | that's not always how it works in the
real world though, is it? Very often, you
| | 00:25 | haven't gotten a chance to start
working on a layout and all of the writers and
| | 00:29 | editors are working on content
already for that upcoming publication.
| | 00:32 | So you could continue accepting their
Microsoft Word files and placing them
| | 00:36 | into the layouts as you get to them.
But you will probably find yourself
| | 00:40 | getting more and more native InCopy
files, ICML files. I spent a whole chapter
| | 00:45 | in this title on working with the
editors and how to use InCopy instead of
| | 00:50 | Microsoft Word to write stories for
scratch for an upcoming publication. It
| | 00:54 | offers a whole lot of benefits. One of
them being, for example, that they can
| | 00:57 | use the actual styles that will be
used in the InDesign layout within InCopy.
| | 01:01 | So in this lesson, I'm just going to
show you what it's like placing one of
| | 01:05 | those InCopy files into an existing
layout. Open up 12_06_Sell_Sheet in your
| | 01:10 | 12_06 Exercise folder and scroll down
to page two where you see we have a big
| | 01:15 | empty space where we can put a Text
frame for text. But instead of putting a
| | 01:20 | text frame, we are just going to go
ahead and place a prepared InCopy file.
| | 01:25 | So I go to File > Place and inside the
12_06 folder, you will a folder called
| | 01:31 | incoming with a story that the editor
wrote for this part of the publication
| | 01:36 | called caramel_sticks. I'm going to
turn off Replace Selected Item which is a
| | 01:40 | good habit to get into so that you
don't accidentally replace something
| | 01:42 | elsewhere in the publication and turn
on Show Import Options, are you sitting
| | 01:47 | back? You are ready for these import
options? Yeah, little under whelming, it's
| | 01:51 | kind of weird that there are
absolutely no import options for bringing in
| | 01:55 | InCopy files. Basically you have to
take them however they are. You can't like
| | 01:59 | strip styles or anything like that.
They should gray it out in the Place dialog
| | 02:02 | box but I guess they can't be bothered,
fine. Anyways, they don't bother trying
| | 02:06 | to give Show Import Options to
work for InCopy files they want.
| | 02:09 | However, you do see the little preview
as normal when you have a loaded text
| | 02:14 | cursor and you can go ahead and click
inside an existing text frame to place it
| | 02:18 | in there or you can drag one out on the
fly like we are going to do right now.
| | 02:21 | So I'm hovering in a likely corner
and I'll drag down, I'm using my Smart
| | 02:27 | Guides which I'll cover in detail in
my new features in CS4 video, if you not
| | 02:31 | sure what the heck these guides are
that are flashing on and off. I love the
| | 02:34 | Smart Guides. And then I'll continue
that story into another frame, let's just
| | 02:39 | do it right there and make them exactly
the same width. There you go, all right.
| | 02:45 | So that's close enough. The main thing
that I want to show you, besides that
| | 02:48 | you can't have options, is that as
soon as you bring in an InCopy file it is
| | 02:53 | linked. You see a little icon here
and it appears, of course, in the Links
| | 02:57 | panel; there is caramel_sticks and in
the Assignments panel. So I just save you
| | 03:01 | a step as well. If you can get your
editors and writers to give you InCopy
| | 03:06 | files instead of Word files, makes it
a little faster. The one thing that you
| | 03:10 | should watch out for though is before
you bring them in make sure they are in
| | 03:13 | the right folder. At least put them
in the project folder. Do you remember?
| | 03:18 | When I brought them in, they were in
an incoming folder. So all the other
| | 03:22 | linked InCopy files are in this
stories folder but this incoming folder has a
| | 03:26 | caramel_sticks one. So that's okay, as
long they are in the same project folder
| | 03:31 | for 12_06, that's good. But for example,
if the ICML files are on some random
| | 03:37 | editors folder on the server and then
you place them in here, it's probably not
| | 03:42 | good because who knows what that
editor will do with the content of that
| | 03:45 | folder. So before you bring them in,
you should move them on the server via the
| | 03:50 | Finder or Windows Explorer; move them
to the correct folder, move them to the
| | 03:53 | stories folder or to a special incoming
folder or you know, something like that
| | 03:57 | within the project folder. And then in
InDesign, place those InCopy files.
| | 04:02 | In that way, you will have
control over all the files.
| | Collapse this transcript |
| Closing out of a project| 00:00 | So the end of an InCopy/InDesign
workflow project is a lot like the end of any
| | 00:05 | other publishing project. You want to
make sure that you got all your ducks in
| | 00:09 | a row, everything is updated then you
are going to wrap it all up in a pretty
| | 00:12 | package for the printer or
output provider or whoever.
| | 00:15 | So to see how this is done with the
workflow, open up in InDesign, the 12_07
| | 00:23 | InDesign layout in the 12_07
Exercise folder. However, do not update any
| | 00:29 | stories when prompted. So I'll just
click Don't Update Links. This is what the
| | 00:38 | layout looks like to you after it's
been signed off. However, there are still
| | 00:42 | some stories that are out-
of-date. That's not good.
| | 00:48 | You know, in the Links panel, if you
see any yellow triangles for other things
| | 00:52 | like for artwork, you know that the
layout is not yet ready for packaging and
| | 00:56 | the same is true for stories. So step
number one in closing out an InDesign
| | 01:01 | publication when you are working in
the workflow, is to bring everything
| | 01:04 | up-to-date and a fast way to do that
is just go to the Assignments panel and
| | 01:09 | select the name of the layout and
choose Update Content. So doing so will
| | 01:16 | update all the content
throughout the publication.
| | 01:19 | The other thing to make sure is that
all of the stories are checked in; they
| | 01:23 | should all show the happy globe and
piece of paper. If you have stories that
| | 01:26 | are checked out like this headline is
checked out, you need to contact the
| | 01:30 | editor and ask them to check it in. If
you hover over the Status icon, you will
| | 01:35 | see who is using it. This is in use by
Joe. You can also see it if you hover
| | 01:39 | anywhere over the frame itself in the layout.
| | 01:41 | So you could call up Joe or send him
an email or complain about him at the
| | 01:45 | staff meeting, Joe never turns in his
stuff on time, he never checks in the
| | 01:48 | stories and so on. What happens though
if Joe was not available and this job
| | 01:52 | has to get out to the press? What do
you do? That's not that big of a deal,
| | 01:56 | okay. As long as it's not out of date
and if it is, you know you could still
| | 02:01 | update out-of-date content
when somebody has checked it out.
| | 02:03 | So as long as it's just a pencil with
slash through it, here is what you do, is
| | 02:07 | you unlink it. So you select it and
then go to the Assignments panel menu and
| | 02:12 | choose Unlink Content. What does that do?
That just makes that text frame into
| | 02:17 | a normal InDesign text frame; it's
no longer linked to the external file.
| | 02:21 | The only thing that you could possibly
lose is it if Joe was actually in Tahiti
| | 02:27 | working on the story and haven't saved
any changes yet, maybe he was coming up
| | 02:32 | with the fantastic new name for this
headline and he made it already on his
| | 02:37 | end. If he hasn't saved changes yet,
you are not going to get the out-of-date
| | 02:41 | icon. That's about the only thing you
can lose. So as long as he saves changes
| | 02:44 | then you will be able to update those changes.
| | 02:47 | So that's how you take a story out of
the workflow and in fact, this is what
| | 02:49 | you should do for all the stories
because these stories that are available to
| | 02:53 | be checked out, these are like
walking time bombs. Imagine a two year old
| | 02:57 | walking around with the fork in a room
all full of outlets. Because any editor
| | 03:02 | could open up this layout, check out a
story and think, oh, this hasn't gone to
| | 03:05 | press yet. I can still make changes.
| | 03:07 | You want to stop that, you want to
take them out of the workflow so that it's
| | 03:11 | read only and then if you get a phone
call saying, hey, I can't check out the
| | 03:15 | story where I need to change a word or
add a URL. You can say, I'm sorry, it's
| | 03:20 | already gone to bed. It's already
gone to press. So obviously communication
| | 03:23 | helps. I'm sure that your editors will
know as of this Friday no more changes
| | 03:28 | to the stories are allowed. So that
Friday at noon, you know, that's when you
| | 03:32 | are starting to prep the file. You are
going to take them out of the workflow.
| | 03:35 | So they will already know, we don't
like to have unpleasant surprises, whether
| | 03:38 | you are a designer or an editor, right.
| | 03:41 | So they will know that they are not
going to be able to edit the stories. Just
| | 03:44 | in case, you want to make it impossible
for them to edit the stories. What you
| | 03:47 | do is you just select all of the
workflow stories and you might have many, many
| | 03:51 | more, okay. Just Shift-click them all.
We are doing this in the Assignments
| | 03:55 | panel; you can just as well do in the
Links panel. You choose Unlink Content,
| | 03:59 | there you go. So now this is a read
only layout for them, it is though it had
| | 04:04 | never seen the light of the InCopy workflow.
| | 04:07 | Now, unlinking stories does not
actually delete anything. So if you look on the
| | 04:12 | server, after you have taken stories
out of the workflow, you will see that the
| | 04:16 | ICML files still exist and you might
see some strange looking files too in case
| | 04:21 | you have to force a story out of the
workflow when somebody have it checked out.
| | 04:25 | So that's a lock file and after you do
that, you can go ahead and delete that.
| | 04:28 | I'm just going to right-click and
choose Move to Trash. That's no longer
| | 04:31 | necessary. If for some reason you
ever want to archive these, you should go
| | 04:35 | ahead and do that. I would always be
compelled to just select this and toss it.
| | 04:40 | They really not that usable anymore
and if you ever do need to make those
| | 04:43 | stories editable again for the editors,
you probably going to want to change
| | 04:47 | the name of the InDesign layout
and save it in the new location.
| | 04:51 | However, that new name for the
InDesign layout will still be linked to these
| | 04:54 | old stories, which, you know, can lead
to a lot of confusion down the line. So
| | 04:59 | I strongly recommend that when you
finish out a project, you not only unlink
| | 05:04 | all of the workflow content but you
also delete or at least archive or move out
| | 05:09 | of the way all of those ICML
files left behind on the server.
| | 05:13 | But that's about it. You see how simple
that was. All you need to do is unlink
| | 05:16 | the stuff and then you are good to go
and we can go ahead and do a package or
| | 05:20 | export it to a press ready PDF.
| | Collapse this transcript |
|
|
13. Using a Layout-Based WorkflowLayout workflow overview| 00:01 | I have been using a layout-based
workflow throughout all these video lessons
| | 00:04 | because it's the easiest one for new
users to get their head around. The fact
| | 00:08 | that everybody is working on the same
file makes it simple to understand what
| | 00:13 | you are supposed to do.
| | 00:14 | The InDesign user opens up the
InDesign layout, the InCopy user opens up the
| | 00:18 | InDesign layout. The one requirement
of a layout-based workflow is that the
| | 00:23 | layout itself, the INDD file, has to
be on a shared file server and everybody
| | 00:28 | works directly off the file server.
Nobody copies this thing locally to their
| | 00:32 | local computer and then puts the file
back on the server at the end of the day
| | 00:36 | or anything like that.
| | 00:37 | If for some reason, it is impossible
for someone to work directly off the
| | 00:41 | server, there are a workarounds in the
workflow. There is a workaround if the
| | 00:45 | designer can't work off the server. The
designer could use an assignment-based
| | 00:49 | workflow, which I'll be talking about
in the next chapter. If an editor can't
| | 00:54 | work off the server, the designer can
create an email-based assignment for them
| | 00:58 | and email it to them.
| | 01:00 | And I'll be talking about that when I
talk about remote workflows a couple of
| | 01:03 | chapters from now. But I would say the
vast majority of people that I know who
| | 01:07 | are using the workflow are using
what you see right here, a layout based workflow.
| | 01:12 | In order to understand exactly what
happens when you are sharing a layout with
| | 01:15 | everybody off of the server and find
out the best way to make it work for your
| | 01:20 | type of publication, watch the
rest of the videos in this chapter.
| | Collapse this transcript |
| Basic principles of a layout-based workflow| 00:00 |
So we are at that stage right now where
you are very excited about yes, yes!
| | 00:06 |
You think you could do it, you can
integrate InCopy into your workflow and you have
| | 00:09 |
decided to go ahead with the layout
based workflow since Anne-Marie said that's
| | 00:13 |
the easiest one to get started with.
The best one to get your head around and
| | 00:17 |
everybody can understand that one, of course.
| | 00:19 |
However at this point, I know many
users are ack! a little bit frozen and not quite
| | 00:24 |
sure, exactly how to get started, where
do things go. So that's what this video
| | 00:29 |
is all about. The basics of getting
started. The basic principles. First of
| | 00:32 |
all, as you know, the project folder
containing the InDesign layout needs to be
| | 00:37 |
on a central file server.
| | 00:38 |
It needs to be in a location where
both the designers and the editorial staff
| | 00:43 |
have read and write access to that
folder. Whether the designers and
| | 00:47 |
editors are on Macs or PCs or mixed
platforms is immaterial. They all need
| | 00:52 |
read/write access to the same server.
Se here we have a sample file called
| | 00:57 |
13_02_Bliss_Magazine.indd inside of a
Project folder on the server and if you
| | 01:03 |
like to follow along, you have one
in your Exercise files as well in the
| | 01:06 |
Chapter 13 Exercise Files.
| | 01:08 |
Inside this Project folder, as in
many project folders, we have other sub
| | 01:12 |
folders like one for incoming files
that might have the results of the photo
| | 01:17 |
shoot, articles that authors have
written that haven't been placed yet into the
| | 01:21 |
layout. These are like the to-do list
for the designer and then we also have a
| | 01:25 |
folder called Links that contain all
of the images that have already been
| | 01:29 |
placed in here and you might have many
other folders as well and so you should
| | 01:33 |
have a series of project folders on
your server, you very likely already do.
| | 01:38 |
To get started then, the designer opens
up the existing layout of the server or
| | 01:42 |
if one doesn't exist yet, they create a
new layout and save it to a new project
| | 01:46 |
folder on the Server. So I have opened
this up in Adobe InDesign and as you can
| | 01:50 |
see this is not a completed layout
at all. Usually the designer starts
| | 01:54 |
exporting stories to InCopy format
from a partially completed or barely
| | 02:00 |
completed layout, because the sooner
you can get the editor writing to fit and
| | 02:04 |
applying styles in InCopy, the
faster you turn around will go.
| | 02:08 |
You don't have to wait to the very
end nor do you have to completely ignore
| | 02:11 |
Microsoft Word. As you can see, this
designer has already placed some stories
| | 02:15 |
from Microsoft Word or he has copied
and pasted some things, all right. So you
| | 02:19 |
don't have to start from scratch with a
blank slate, you can, sort of, mix and
| | 02:22 |
match whatever is easiest for you.
Some of the spreads might be completely
| | 02:26 |
empty with just some placeholders
like this lonely little pull quote there;
| | 02:30 |
others might have a lot of text already written.
| | 02:33 |
Let me turn off that horrible greeking.
Two points, that's better. So let's say
| | 02:38 |
that you have placed the story that a
writer gave from a Word document and you
| | 02:42 |
styled it and as you can see there is
probably some things here that the editor
| | 02:46 |
will want to fix. You don't have to
worry about that, you just export it to
| | 02:50 |
InCopy and let's them worry about it.
| | 02:52 |
So we are going to export this story.
Now this story is threaded and I'm going
| | 02:56 |
to double-check that by going to View
> Show Text Threads and you can see the
| | 03:00 |
connecting lines, all right. This part
is not threaded, if you want the editor
| | 03:04 |
to be able to edit this one, you are
going to have to also export this frame.
| | 03:08 |
But with the threaded story, you only
need to select one of the frames in the
| | 03:12 |
thread and then when you export it to
InCopy format, the entire story will go.
| | 03:16 |
Now I mentioned in managing the
workflow from Adobe InDesign, in that video
| | 03:20 |
chapter, all the different ways that
you can export stories to the workflow. So
| | 03:24 |
I'm not going to go into that in a lot
of detail, I'm just going to export this
| | 03:28 |
story by dragging and dropping onto
the category Unassigned InCopy Content,
| | 03:33 |
which is the category that we use when
you are not using an assignment based workflow.
| | 03:37 |
See the panel is called an
Assignments panel but we are not dealing with
| | 03:41 |
assignments. So we are relegated to
this Gecko Unassigned InCopy Contents, its
| | 03:45 |
okay we don't care. As soon as you drag
and drop a text frame or an image frame
| | 03:50 |
on to that category, you are going to
get a Save As dialog box and this part is
| | 03:55 |
critical. You need to make sure that
you save these linked ICML InCopy format
| | 04:01 |
files to the right location. What is
the right location? The Project folder. So
| | 04:05 |
find the Project folder, there it
should be and you want to export this ICML
| | 04:10 |
file, this guy up here, to the same
folder. You don't want it just let it to be
| | 04:14 |
at the same level as the InDesign
layout because the editors will get confused
| | 04:19 |
over which file they should be
opening. This is probably one of the most
| | 04:22 |
frequent text support questions I get
is that, editors open up the ICML files
| | 04:27 |
instead of the INDD file because
InCopy can open both; the ICML file is the
| | 04:33 |
native format so it make sense in their
heads that they should be opening that
| | 04:37 |
and actually that's not so.
| | 04:38 |
A good thing to do is to segregate
this ICML files into their own sub folder
| | 04:43 |
and I'm going to do that and I almost
always create a folder called stories or
| | 04:47 |
you could call it articles or text,
whatever you like. And then save it in
| | 04:51 |
here. Now the name of the ICML file
doesn't make that much difference. InDesign
| | 04:55 |
always suggests the name of the layout.
Because it has a pea size brain, so I'm
| | 04:59 |
just going to call this page7, all right.
| | 05:02 |
It really doesn't make that much
difference with the name of the ICML file is.
| | 05:06 |
I just don't to have everything
named with the layout for when I'm doing
| | 05:08 |
searches in Windows Explorer or the
Finder. You always get this reminder that
| | 05:13 |
you have to save the layout after you
export a story to InCopy and after about
| | 05:16 |
the nine or tenth hundred time you want to
click, Don't show again and it has been saved.
| | 05:21 |
Now let's check on the server. Here
we are back at the server there is the
| | 05:25 |
stories folder and if I twirl that open,
you can see the page7.icml file there.
| | 05:31 |
This by the way, the IDLK is the
temporary InDesign lock file which you may not
| | 05:36 |
have noticed before but it has
always been there as part of InDesign, it
| | 05:39 |
appears when the designer has this
file opened in InDesign and it's what
| | 05:43 |
prevents other InDesign users from
opening up the layout at the same time.
| | 05:47 |
Back in InDesign, let's just export a
couple more stories, we will just do this
| | 05:51 |
one right here and I'm going to make a
selection by Shift-clicking on the Story
| | 05:56 |
Frames on pages 2 and 3. This time
I'll just right-click and choose InCopy >
| | 06:01 |
Export Selection and make sure that
they are being saved to the correct place.
| | 06:05 |
Project folder, Stories, and
I'll save page 2-3, save it, Yes.
| | 06:13 |
And now let's flip back to the Finder
and you can see the additional stories
| | 06:17 |
have appeared. So that's the
responsibility of the designer to make sure that
| | 06:21 |
the layout is on the server that it's
inside a Project folder and when they
| | 06:25 |
export stories to the layout that they
go on to the server in the same project
| | 06:29 |
folder, preferably in a sub folder.
| | 06:32 |
As soon as a layout is on the server,
the InCopy user can open up that layout.
| | 06:37 |
So I'm the editor using InCopy on
Windows in this case, I go to File > Open,
| | 06:45 |
navigate to the Server. There is the
Project folder and I want to open up this
| | 06:50 |
file. Now I always tell editors
that when you are using a layout based
| | 06:55 |
workflow, you want to open up the INDD
file from InCopy's File > Open menu, not
| | 07:00 |
by double-clicking on it in
Windows Explorer or even the Finder.
| | 07:04 |
What usually happens is that, Windows
yells at you and tells you that you do
| | 07:08 |
not have the correct program to open up
that file. So unless you know what you
| | 07:13 |
are doing with mapping, file
extensions or you have a friendly IT guy who can
| | 07:17 |
do that for you, it's a just a lot
easier to open them up from the File > Open
| | 07:21 |
menu from within InCopy. So as soon as
I do that InCopy opens up the layout and
| | 07:27 |
any story that the designer exported
to the workflow is available for me to
| | 07:31 |
check out and work with.
| | 07:33 |
Now the default view, by the way,
for InCopy is this view. So if you are
| | 07:37 |
following along and may be like, how
to get to that layout. It's a little
| | 07:41 |
disconcerting and as I showed in an
early video when I was talking about
| | 07:44 |
working with InCopy, that you can
change the default view to layout. I think
| | 07:49 |
it's a lot easier for editors to locate
the stories that I want to work on this
| | 07:52 |
way. So let's say that I want to work
on this little deck up here. I'm going to
| | 07:55 |
zoom in with Command or Ctrl+Plus,
check out the story for my Assignments
| | 08:00 |
panel, which I talked about
earlier, and then change something.
| | 08:03 |
So I'm going to change this to, let's
try vanilla. Change it from chocolate,
| | 08:09 |
something easy to remember. Now I'm
not going to save changes yet because I
| | 08:13 |
want to show you something. I want to
switch back to InDesign and go to that
| | 08:16 |
same exact page. Remember we left it
open in InDesign. Because Joe has checked
| | 08:21 |
out the story, I can't and that is
the simple check in, check out system in action.
| | 08:26 |
Though multiple people can have the
same layout open, not just one InDesign
| | 08:31 |
user but multiple InCopy users can
open up this layout at once. The system
| | 08:35 |
prevents more than one person from
editing the same story at once and actually
| | 08:40 |
this is true not just for layout based workflows
but also for assignment based workflows.
| | 08:45 |
It's just a little bit more important
or critical to layout-based workflow
| | 08:49 |
because you usually have many people
working on the same pages at once or they
| | 08:54 |
are able to. Whereas with an
assignment based workflow, it split up among
| | 08:58 |
multiple editors so they can't even
see other pages in the layout other than
| | 09:02 |
the once that they have responsible for.
| | 09:04 |
As soon as Joe checks the story back in,
so I have switched back to InCopy and
| | 09:12 |
I'm going to check the story back in
and I get an alert saying that you can't
| | 09:16 |
undo this, yeah that's fine. I'm
positive. Then anybody else with that layout
| | 09:20 |
opened will be notified that the story
is now available and it's out of date
| | 09:24 |
because checking in story, whether you
have the designer or the editor, always
| | 09:29 |
saves any changes to the story.
| | 09:30 |
So now I'm back in InDesign and I can
choose to update that content. So the
| | 09:38 |
basic lesson here is that as long as
all the editors and all the designers are
| | 09:43 |
working from the same page, so to speak,
are opening up the same layout on the
| | 09:47 |
server and checking stories out that
also exist on the server because the
| | 09:51 |
designer was careful to put them there,
then the system works actually fairly flawlessly.
| | 09:56 |
| | Collapse this transcript |
| Updating stories and designs| 00:00 | I think something that will help all
users, editors and designers understand
| | 00:05 | what's happening in an InDesign/InCopy
workflow is to understand exactly what
| | 00:10 | is being shared between the two
programs, what gets updated and how both
| | 00:15 | programs understand that something needs to
be updated within their respective layouts.
| | 00:20 | So let's start out with InCopy. I have
opened up the 13_03_Bliss_Magazine file
| | 00:26 | from your Exercise folders in the
Chapter 13 Exercise folder and I'm here on
| | 00:31 | pages 2 and 3. I'm the editor and I
want to edit this story, the one in the
| | 00:36 | upper right-hand corner. I'm going to
zoom in on it with Command or Ctrl+Plus a
| | 00:40 | few times, so we can see it better. And
if we open up the Assignments panel, we
| | 00:45 | can see that the file name of the
story is page 2-3 and it starts with 'When
| | 00:49 | you can't' probably and I'm
going to check out the file.
| | 00:53 | I'll just right-click and choose Check
Out. I'm going to go ahead and make a
| | 00:57 | change. I'm going to change vanilla to
strawberry but not save a change yet.
| | 01:04 | When I go to InDesign, which has
the same layout open, as expected it
| | 01:09 | immediately tells us that there is a
lock file on the server for this story,
| | 01:13 | which means that this story is
currently locked out to me. If I wanted to edit
| | 01:18 | it, I couldn't. I could move the frame
around in InDesign but I can't actually
| | 01:23 | edit the contents of it.
| | 01:24 | However, how come I'm not seeing
strawberry here? What's that about? Let's take
| | 01:28 | a look at that server. On the server,
here is the story, page 2-3. When you
| | 01:34 | can't deprive, I guess and look at
the last modification date, 2:15. That
| | 01:39 | is all that both InDesign and InCopy
check when they are deciding whether or
| | 01:43 | not a file is out of date. So if I go
back to InCopy, it's a strawberry here
| | 01:49 | because I made the change. However,
as I said I haven't saved it yet. When
| | 01:53 | anyone checks out a story from a
layout, editors or designers. They are not
| | 01:58 | really changing the layout; they are
changing that external file that ICML file
| | 02:04 | on the server. Understanding that is
key to understanding, how this whole
| | 02:07 | workflow works. It's as though, I was
able to open up Photoshop and edit this
| | 02:13 | image, right with an InDesign or InCopy.
| | 02:16 | You are actually editing an external
file through the window of the layout. So
| | 02:21 | when I choose Save for this content in
InCopy or if I choose Save in InDesign,
| | 02:27 | that doesn't change the INDD file. That
changes the external story file. Let's
| | 02:34 | look at the Finder and you'll see now
that the modification date says 2:34. Now
| | 02:40 | that I have saved the change, which
saves the change to that external ICML
| | 02:44 | file, if we go back to InDesign,
InDesign sees, oh! That linked file has a
| | 02:50 | later modification date then what
I'm aware of, therefore, there must be
| | 02:54 | something new there.
| | 02:55 | So it's out of date. So I'm going to
right-click on this story, choose InCopy >
| | 02:59 | Update Contents and there we see
strawberry. The same sort of thing happens, if
| | 03:04 | the designer changes the design. If I
decide as the designer, you know, I think
| | 03:10 | that this frame should be on the other
side of the page. The editor has no idea
| | 03:16 | that I did that. We are not seeing any
indication that anything is in miss or
| | 03:20 | anything is out of date; not anywhere
in the interface, not anywhere in the
| | 03:24 | Assignments panel and that's
because InCopy is constantly checking the
| | 03:28 | modification date of the layout as
well as the stories on the server and
| | 03:33 | according to InCopy, the layout has not
been updated since 2:20 p.m. When I go
| | 03:38 | to InDesign and I choose File > Save
then the modification date on the server
| | 03:44 | for the layout changes. Here it says 2:
37. If we look at it in InCopy, you can
| | 03:50 | see that the Title Bar says Out Of
Date and the top of the Assignments panel,
| | 03:54 | it says Out Of Date. So it has
checked it's version of the snapshot of the
| | 03:59 | layout against the modification date
of the actual layout on the server and
| | 04:03 | when they disagree that tells the
InCopy user, hmm! The designer save some
| | 04:08 | changes to this.
| | 04:08 | So they can choose File > Update Design
and get a fresh looking copy. Now they
| | 04:14 | will always get this alert if they
have any stories checked out, that it's
| | 04:18 | telling them t |
|
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