1. IntroductionIntroduction| 00:00 | Welcome to InDesign CS3 Beyond the Basics.
I'm David Blatner and if you've already watched
| | 00:05 | my InDesign Essential Training title from lynda.com,
you know that I am also the cohost of InDesignSecrets.com
| | 00:12 | and I'm the editorial director of both
InDesign magazine and the InDesign conference.
| | 00:17 | In this title I'm going to start up where I left off
and guide you beyond the basics and into dozens of
| | 00:23 | important features that you need to know
in order to master this incredible program.
| | 00:29 | Over the course of this title we'll tackle techniques for
optimizing your layouts, automating InDesign with data merge,
| | 00:35 | XML, scripts, plug-ins, setting great-looking type,
exporting and printing color managed documents and more.
| | 00:42 | As I always like to tell my students,
the more you know, the better it gets.
| | 00:47 | And after you watch the next hundred or so
movies you're going to know a lot about InDesign.
| | 00:52 | Let's dive in and start exploring, shall we?
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| Using the exercise files| 00:00 | If you are a premium member of the lynda.com online training
library or if you're watching this tutorial on a disc,
| | 00:07 | you have access to the exercise files used throughout this title.
| | 00:11 | Once you downloaded or copied the files to your hard drive,
you'll notice that each chapter in the title has its own folder.
| | 00:18 | The files inside each folder may look similar,
but there are often subtle differences among them.
| | 00:24 | So if you want to follow along, make sure
you're using the correct chapter's exercise files.
| | 00:30 | Also in a few chapters I work a file then continue work
I left off in the next movie. However in most chapters,
| | 00:37 | I choose Revert to Saved between each movie, so you'll need
to do that too to get the file back to its original state.
| | 00:44 | Now, if you open one of these files and InDesign tells
you that you're missing a font, just go ahead and click OK.
| | 00:51 | Or you can use the Find Font Font feature to replace that document's
font with one you do have. In most cases it won't really matter that much.
| | 00:59 | In the same vein, we've done our best to make sure all
the image links are set up correctly for you, but if something
| | 01:04 | goes wrong and InDesign tells you that there's a modified link
or missing link, Just click the fix links automatically button.
| | 01:11 | If it's a missing link, you can try and relink it to the
images inside the Links folder in the exercise folder.
| | 01:17 | Of course, if you're monthly or an annual subscriber
to lynda.com, you don't have access to the exercise files.
| | 01:24 | That's no problem, you can follow along making files
from scratch or just using any files you've already built.
| | 01:31 | OK, let's get started.
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2. Essential ShortcutsControl panel shortcuts| 00:00 | You've heard me say it before, and you'll hear it
again, the best way to get efficient in InDesign is
| | 00:05 | to keep your hands on the keyboard as much as possible.
| | 00:08 | That means learning the keyboard shortcuts.
| | 00:11 | And because the Control panel is one of
the most important tools in InDesign,
| | 00:15 | learning the shortcuts for managing it well is crucial.
| | 00:18 | For example, Command-Option-6, or Control-Alt-6
on Windows, will hide or show the Control panel.
| | 00:25 | Let me show you.
| | 00:26 | Command-Option-6 will hide it, or Command-Option-6
will show it, or Control-Alt-6 on Windows.
| | 00:33 | Now when you show the panel, it actually highlights
the first field in the Control panel, and that's great,
| | 00:40 | but there's actually a faster way to get there
without having to hide and then show the panel,
| | 00:46 | and that's just Command-6, or Control-6 on Windows.
| | 00:50 | Let me show you.
| | 00:50 | If I select this object over here, and I want to move it a
little bit, Command-6 or Control-6 jumps right to the first field
| | 00:58 | of the Control panel always, and that is very helpful.
| | 01:01 | I don't usually use the Command-Option-6
or Control-Alt-6 option for hiding
| | 01:07 | and showing the panel because I almost never hide the panel.
| | 01:10 | I like having that panel open most of the
time, but I use that Command-6 or Control-6
| | 01:15 | on Windows every day, probably 500 times a day.
| | 01:19 | I'm constantly jumping to the Control panel, and
then once I'm there, I can press Tab to jump forward
| | 01:26 | through the fields, or Shift-Tab back through the fields.
| | 01:31 | So Tab and Shift-Tab are very helpful for
moving through the fields in the Control panel.
| | 01:36 | Note that when you press Tab - when I
was pressing Tab here, do you see this?
| | 01:40 | Right here it actually highlights the button in there.
| | 01:44 | So you can actually highlight buttons,
as well as fields, where you can put text
| | 01:49 | or numbers, and that turns out to be very useful indeed.
| | 01:52 | For example, I'll do a Shift-Tab back, and I'll Shift-Tab
back to this reference point here, or proxy point,
| | 01:59 | or whatever you want to call it, and when that's
highlighted, this reference point, of course,
| | 02:03 | shows what these coordinates are referring to.
| | 02:06 | The X and Y coordinate right now
is the center of this text frame,
| | 02:10 | and when that's highlighted, I can
use the arrow keys to move around it.
| | 02:15 | For example, up arrow, left arrow, will move over to
the top left, or I can move down to the lower right,
| | 02:22 | however I want to refer to just by keeping my
hands on the keyboard and using the arrow keys.
| | 02:27 | If I have a numeric keypad, like I do on my current
keyboard here, a numeric keypad off to the side
| | 02:32 | of the keypad, I can use the numbers there, too.
| | 02:35 | So 7 is in the upper left of the keypad, and so if
I press 7 on the keypad, it jumps to the upper left.
| | 02:42 | The 3 is in the lower right, so if I hit 3, it jumps
down to the lower right of the reference point.
| | 02:48 | So very handy little things that you can do in the
Control panel by keeping your hands on the keyboard.
| | 02:54 | I'll tab forward, and I want to show
you something else which is handy.
| | 02:58 | I mentioned those buttons - that
you can select the buttons as well.
| | 03:01 | Well, you can turn a button on and off by pressing Enter.
| | 03:05 | So if I press Enter here, it will actually be exactly
the same as if I clicked on that button with the mouse.
| | 03:13 | Now there's nothing wrong with clicking on the button with
the mouse, but it just often will take longer to move it
| | 03:17 | around the screen than it does for me to type something quickly.
| | 03:21 | So that's why I like typing and using the keyboard shortcuts.
| | 03:25 | OK, let me show you something else about
the Control panel which is pretty clever.
| | 03:28 | Normally, if I jump to the Control panel, in this
case I'll do a Command-6, or Control-6 on Windows,
| | 03:33 | or I'll tab over here to the width field, and I'm going
to change this - maybe I'll change it to 12 picas.
| | 03:39 | So I'll say 12p.
| | 03:41 | Normally I would press Enter to activate that, to tell InDesign
that I'm done, and take the focus out of the Control panel.
| | 03:49 | This whole idea of where the focus is, which is basically
where ever the cursor is, whatever is highlighted,
| | 03:54 | the focus right now is in the Control panel, and if I'm
done and I want to take the focus out of the Control panel,
| | 04:01 | I would normally just hit Enter, and it makes
it 12 picas wide from the lower right corner.
| | 04:07 | Well, I don't really like that, so I'll do a Command-Z
or Control-Z in Windows to go back to where I was.
| | 04:12 | I want to show you a different way of doing this.
| | 04:14 | I press Command-6 on the Mac, or Control-6 on Windows,
and then I press Shift-Tab and use the arrow keys
| | 04:21 | to move the reference point over here to the upper left
corner, then tab over here, and now I'm going to do 12 picas,
| | 04:27 | but instead of pressing Enter, I'm going to do a Shift-Enter.
| | 04:31 | Shift-Enter means keep the focus in the Control
panel cause I'm not sure if I'm done yet.
| | 04:37 | Right? So I did 12 picas, but maybe I want it to be 13 picas.
| | 04:41 | Let's try 13 picas.
| | 04:43 | Shift-Enter, and you see how it applies it to the text
frame, but it doesn't pop out of the Control panel.
| | 04:48 | It's still highlighted up there.
| | 04:50 | So that can be very handy as well.
| | 04:52 | That also works with buttons, so I
can tab over to this Link button,
| | 04:57 | Shift-Enter turns the button off, but
the focus is still in the Control panel.
| | 05:02 | So now I can change the width to, let's say, 15 picas.
| | 05:06 | Shift-Enter, well, that was too short, so maybe make it 20
picas, and you've a lot of control over here without having to go
| | 05:14 | into the panel, out of the panel, into
the panel, out of the panel, and so on.
| | 05:17 | Shift-Enter will keep the control in
the panel, which is very, very handy.
| | 05:23 | This works for text as well.
| | 05:25 | Let's go ahead and select some text here,
and I will jump to the Control panel now.
| | 05:30 | Of course, the Control panel is context sensitive, so it changed
because it's text that's selected now, and I'll tab through
| | 05:37 | and I'll say, "Well, let's make this 30 points."
| | 05:39 | Shift-Enter to keep the focus up there,
Tab, Tab, and here's some buttons,
| | 05:44 | the various styles like all caps or small caps and so on.
| | 05:48 | I'll do a right arrow button to go over to
the superscript, and I'll Shift-Enter to apply
| | 05:56 | that without taking the focus out, and look around.
| | 05:59 | I'm still using my arrow keys here.
| | 06:01 | Now I can tab forward and I can shift the baseline shift
with the arrow keys, up and down, or I could type something.
| | 06:09 | Let's say 10 points, Shift-Enter, and when
I've got it looking just the way I want,
| | 06:13 | now I can take the focus out of the control panel
at any time just by pressing Enter or Escape.
| | 06:19 | Enter or Escape - either one does the same thing at this point,
it pops right out of the Control panel and I'm good to go.
| | 06:26 | Now I can start working on my layout some more.
| | 06:29 | Now I'm going to show you one more feature
having to do with the Control panel,
| | 06:34 | one more little shortcut that you should
know, and that is the duplicate option.
| | 06:39 | Now I'm going to go back to the selection
tool here, and I've selected this text frame,
| | 06:44 | and I'm going to transform it and duplicate it at the same time.
| | 06:47 | Let me show you what I mean.
| | 06:48 | Normally, if I want to rotate this, I would
select the Rotation field here and type 20.
| | 06:54 | I could have pressed Command-6 on the Mac, or Control-6 on
Windows, and then just pressed Tab a bunch of times to get
| | 07:00 | over here, but in this case it was just faster to
simply select the field with the mouse and type 20.
| | 07:06 | Now if I hit Enter here, or Shift-Enter, it will
apply it to this particular text frame, right?
| | 07:13 | But if I Option-Enter, or Alt-Enter on
Windows, it will apply it to a duplicate.
| | 07:21 | Got it? The Option key on the Mac, or
Alt key on Windows, means duplicate this.
| | 07:26 | So Option-Enter, or Alt-Enter on
Windows, means rotate it and duplicate it.
| | 07:32 | Let's do that again.
| | 07:33 | This time, I'll just use the keyboard shortcut and jut tab over
here, but this time I'm going to set it to, say, 40 degrees,
| | 07:42 | and instead of holding down the Option-Enter
on the Mac, or Alt-Enter on Windows,
| | 07:46 | I'm going to press Option-Shift-Enter on
the Mac, or Alt-Shift-Enter on Windows.
| | 07:52 | Now what in the world does that mean?
| | 07:54 | Well, we know that the Option or Alt key will duplicate it, and
Shift means keep the focus in the field, so put 'em together.
| | 08:01 | Option-Shift-Enter on the Mac, or Alt-Shift-Enter on
Windows means duplicate it and keep the focus up there.
| | 08:08 | Now I can do 60 degrees, then 80 degrees, and you can see that
I'm rotating, and duplicating, and keeping my cursor up there.
| | 08:16 | I can get all kinds of wacky effects like this.
| | 08:19 | And when I'm done, I just press Return on the Mac, or Enter
on Windows, and it takes the focus out of the Control Panel.
| | 08:26 | Now that you know how to get around the Control panel,
| | 08:28 | let's take a look at a few other important
shortcuts, including how to manage your other panels.
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| Managing panels| 00:00 | In the last movie, we looked at how to manage your Control panel.
| | 00:03 | Now let's look at InDesign's other panels.
| | 00:06 | First of all, how do you open and close your panels to see them?
| | 00:10 | Well, typically you have to use your mouse to go over here
and say, "Click on the Pages panel," and then you see it.
| | 00:15 | I want to really encourage you to learn
the keyboard shortcuts for your panels.
| | 00:20 | Now you don't have to learn all the
keyboard shortcuts for all the panels.
| | 00:23 | Pick five of your favorite panels, the ones that
you use all the time, and learn those shortcuts.
| | 00:28 | So for the Pages panel, it's going to be
Command-F12 on the Mac, or Control-F12 on Windows.
| | 00:36 | And, of course, pressing that again will close the panel.
| | 00:38 | You really want to get in the habit
of using those whenever possible.
| | 00:42 | Similarly, the Swatches panel, F5, and F5 again will close it.
| | 00:47 | How do you learn those?
| | 00:48 | Just look in the window menu.
| | 00:50 | Just click on the Window menu, scroll down
here, and you can see the Layers panel is F7.
| | 00:55 | The Links panel is Command-Shift-D on
the Mac, or Control-Shift-D on Windows.
| | 01:01 | All of these are listed here for you.
| | 01:04 | Now, of course, you can edit these, as we
learned in the InDesign Essentials title.
| | 01:07 | You can edit these to anything you want.
| | 01:09 | Just go to the Edit menu and choose Keyboard shortcuts,
and you can change these panels to anything you want.
| | 01:14 | Just go to the product area window menu, and
they're all listed here in this product area.
| | 01:20 | You can change Links from Command-Shift-D
to something different, and it will change.
| | 01:25 | So I won't do that right now cause I want
to work with the defaults, but in general,
| | 01:29 | you can change those to whatever you can remember.
| | 01:31 | And pick the five panels that you open and close
all the time, and learn those keyboard shortcuts.
| | 01:37 | It really will make you more efficient in InDesign.
| | 01:41 | Note that if you do have something selected, for
example, this black bar up here, when you open a panel,
| | 01:47 | let's say the Swatches panel, it will highlight
whatever field is appropriate in that panel.
| | 01:52 | In this case, it highlighted the first field available,
and the only field in here, which is the Tint panel.
| | 01:56 | I don't have to go in there and click on
it myself, it automatically highlighted it.
| | 02:00 | Let's say I change that to 80 and hit Enter,
it will change to 80% tint, and I'm done.
| | 02:05 | Hit F5 again and it closes.
| | 02:07 | So you have a lot of control there over those.
| | 02:10 | By the way, there's some secret features there, too.
| | 02:12 | If I do an F5 to open the Swatches panel,
now I can hit Tab, and did you see that?
| | 02:18 | The highlighted area jumped from the tint to this area
that's kinda got a little bit of a black bar around it.
| | 02:25 | Now I can jump to something else.
| | 02:27 | Let's say I want to make that paper.
| | 02:29 | All I have to do is press P for paper and it jumps to that.
| | 02:33 | Or if I hit 2, it'll jump to some other, or
if I jump to 8, it'll jump down to this color.
| | 02:39 | It's not very sophisticated, but it looks for similar
matches in there, and it will jump right to that.
| | 02:44 | In this case, I want it to be black,
so I'll just hit B for jumping there.
| | 02:48 | I could also use the arrow keys to move up and down.
| | 02:52 | Arrow keys will move through these just as well.
| | 02:54 | I'll just hit B again to jump back to
black, Shift-Tab to move back to the tint.
| | 02:59 | I'm going to set it back to my 80%, hit enter, and I'm done.
| | 03:04 | F5 will close it, and now I can move on.
| | 03:07 | So you can use keyboard shortcuts to move
through your panels very efficiently,
| | 03:13 | and that is much better than having
to use your mouse all the time.
| | 03:16 | So let's look at a couple other cool
shortcuts that you should know about.
| | 03:20 | The Tab key, just press Tab and all of your panels go away.
| | 03:24 | Shift-Tab again, and they all come back.
| | 03:26 | The Tab key can be very useful when you
want to have a nice clean looking screen
| | 03:30 | if you're showing your document to a client or something.
| | 03:33 | The Command-Option-Tab, or Control-Alt-Tab on
Windows, will hide or show all of your side panels.
| | 03:43 | Did you see that?
| | 03:43 | Let me do that again.
| | 03:44 | All these side panels, the ones that are minimized in the dock
so that you can see the icon and the name, or just the icon,
| | 03:51 | all these panels expand out when you press
Command-Option-Tab on the Mac, or Control-Alt-Tab on Windows.
| | 03:57 | It's basically the same thing as clicking on this
little double-headed arrow at the top of the dock.
| | 04:02 | Command-Option-Tab, or on Windows, Control-Alt-Tab.
| | 04:07 | Another one, Shift-Tab.
| | 04:08 | Shift-Tab will hide and show all your panels
except for the Tool panel and the Control panel.
| | 04:15 | I don't find that one very useful, so I usually
forget about it, but I thought I'd at least pass it
| | 04:19 | on to you just in case you need that sort of thing.
| | 04:21 | So that's kind of handy.
| | 04:22 | Earlier I was pointing out that you can use the arrow keys
to move up and down the Swatches panel, that was pretty cool.
| | 04:28 | Those arrow keys also work in other areas as well.
| | 04:31 | For example, any time you have a numeric field, or someplace
that you can type a number, or letters, or anything,
| | 04:38 | something like that, you can use those up and down arrow keys.
| | 04:41 | So the up arrow key here in the X field will
move this whole object over one point at a time,
| | 04:48 | and if I do the down arrow, it will
move it back one point at a time.
| | 04:51 | So that's kind of handy.
| | 04:52 | If I had the Shift key, it does a larger increment.
| | 04:56 | So in this case, because we're in picas
mode, it'll do it in one pica at a time.
| | 05:00 | It does - the Shift key adds in whatever
the next logically large increment is.
| | 05:05 | It's not always 5 times, or 10 times as much,
but it's whatever the larger increment is.
| | 05:10 | So in this case, it's one pica instead
of one point, so that's kind of handy.
| | 05:14 | And now, finally, I want to give
you my favorite keyboard shortcut,
| | 05:18 | and that is "Return to the last used
panel field," whatever field I last used.
| | 05:24 | Let me give you an example.
| | 05:26 | I'll select this graphic in here, and I'm going to go ahead
and rotate this, let's say 10 degrees, I'll hit Enter.
| | 05:32 | Now, of course, I could have used the
keyboard shortcuts to get to the Rotate field,
| | 05:35 | but in this case it was faster just
to use my mouse, so there we go.
| | 05:39 | So I rotated that 10 degrees based on the upper left corner.
| | 05:43 | And I say, "Well, that looks pretty good, but I
really wish it were maybe 12 degrees instead."
| | 05:48 | How do I get back to the same field?
| | 05:51 | Well, I could use the mouse button, but it's
a lot faster to use a keyboard shortcut.
| | 05:55 | What I use is Command-Option-Grav Accent,
or Control-Alt-Grav Accent on Windows.
| | 06:01 | And the Grav Accent is the key that's on the U.S.
keyboard, it's just to the left of the number 1.
| | 06:07 | So Command-Option-Grav Accent, or Control-Alt-Grav Accent
on Windows, will return you to the last used field.
| | 06:16 | So now I can type 12, hit Enter, and it's done.
| | 06:19 | Now if you don't use a U.S. keyboard, or if
you're not sure what that key is, no big deal.
| | 06:24 | Go to the Edit menu, choose Keyboard shortcuts, go
to the product area called Views and Navigation,
| | 06:32 | and select "Activate last used field in panel."
| | 06:35 | This is the feature that I'm talking
about, "Activate last used field in panel,"
| | 06:40 | and you'll see that it's Command-Option-Grav
Accent on my keyboard, on my system.
| | 06:45 | Yours might be different if you're using a non-U.S. system.
| | 06:48 | So figure out what that is and commit that one to memory,
cause it's really, really handy, and it'll jump to any field
| | 06:55 | in any panel, whatever you used last, it'll jump
right back to that, and I use that, again, 50,
| | 07:01 | 100 times a day just to go back cause I'm
forever making little tweaks to things.
| | 07:06 | OK, now you're getting the hang of it.
| | 07:08 | Keep your hands on the keyboard as much as possible,
and you are bound to boost your productivity.
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| Letting InDesign do the math| 00:00 | If I select these three objects, I can see that currently
their left edge is 16 pica 5 from the left edge of the page.
| | 00:08 | Well, that's great, but what if my art director told
me to move these all over, let's say, a quarter inch?
| | 00:13 | What's 16 pica 5 plus a quarter inch?
| | 00:16 | I could figure out the math, but it would
probably take a few minutes to find my calculator.
| | 00:20 | Aw, forget it.
| | 00:21 | Let InDesign do the math for you, every
field in every panel, or every dialogue box,
| | 00:28 | any place that you can type a number, it can do math for you.
| | 00:32 | For example, if I want this field to be a quarter inch larger,
I just click to the right of the 5 and say plus .25 inches.
| | 00:41 | And inches could be "in" or it could be the double quote marks,
either one, InDesign is smart enough to know that means inches.
| | 00:48 | Now when I hit Return, or Enter, it
moves over exactly a quarter inch.
| | 00:52 | It did all the math for me.
| | 00:54 | So this is very handy, much better than you having to try and
do stuff in your head, or trying to find a calculator to do it.
| | 01:01 | Let's look at some other ones.
| | 01:02 | We could go to the Y field, and we could say, "Let's subtract."
| | 01:07 | So we did addition before, let's do a minus 10 millimeters.
| | 01:11 | Notice that I'm mixing and matching my measurement systems.
| | 01:14 | I'm doing picas plus inches, I'm doing picas
minus millimeters, it doesn't matter as long
| | 01:19 | as you specify what value it is, it'll do the math for you.
| | 01:22 | So minus 10 millimeters - in this case I'll do a
Shift-Enter, and that will move those up 10 millimeters,
| | 01:29 | but it keeps the focus still in the Control panel,
so if I want to make further tweaks, that's OK.
| | 01:34 | In this case, I'll tab over to the Width field, and I'll say,
"You know, let's make these half as wide as they currently are."
| | 01:41 | But what's 11 pica, you know, whatever, what's half of that?
| | 01:46 | Don't do the math yourself, just
type /2, and that's divided by 2.
| | 01:52 | The / key means divided.
| | 01:53 | Hit Return or Enter, and now these
are exactly half as wide as they were.
| | 01:58 | This kind of math can really speed you up a lot.
| | 02:01 | I really like doing these kinds of things.
| | 02:03 | Now, we can also do percentages, and this is kind of handy.
| | 02:08 | Let's say I want this text frame to be larger.
| | 02:12 | Well, we can go up here and say, "Make it larger here."
| | 02:16 | We could just scale this up to 140%.
| | 02:18 | We could also go to just the Height
or the Width field and change it here.
| | 02:23 | We could say, "Let's replace this width with 140%."
| | 02:28 | Now this is kinda weird.
| | 02:29 | When you replace an absolute number, an actual measurement,
with a percentage, InDesign is smart enough to know
| | 02:36 | that what you really mean is multiply this
percentage by whatever value was already there.
| | 02:41 | So now this frame is 140% wider.
| | 02:45 | We could also select the text in here
and go up to the text size value.
| | 02:49 | So it's currently 49 points, let's say, "Let's make it 80%."
| | 02:52 | Eighty percent (80%) times whatever value was already there.
| | 02:56 | So that's a fast way to do percentages inside
any dialogue box or any pane that has a number.
| | 03:03 | That can be very handy.
| | 03:04 | This percentage thing also works the other way.
| | 03:07 | You can replace a percentage by a number.
| | 03:11 | What does that mean?
| | 03:12 | Well, let's say I want this image to be
100 millimeters wide, something like that.
| | 03:19 | We could go up here and try to figure out what percentage
this should be in the scaling field, or we could try
| | 03:24 | and figure out the value, you know,
what's 100 millimeters, and so on.
| | 03:28 | But again, it would take too much math.
| | 03:30 | Instead, we're just going to go up here
and replace the 100% with 100 millimeters.
| | 03:36 | And when you replace the scaling percentage with an absolute
value, a measurement, InDesign does all the math for you.
| | 03:44 | I'll hit Enter, or Return, and now I know
that that's exactly 100 millimeters wide.
| | 03:49 | It filled that space perfectly.
| | 03:52 | We can check this by right clicking
on the ruler, choosing millimeters,
| | 03:57 | and we can see that this object is,
in fact, 100 millimeters wide.
| | 04:01 | As I said, you can mix and match your measurement systems.
| | 04:04 | Now here's a list of all the measurements
in InDesign, plus their codes,
| | 04:08 | and also some examples of how you can
put them together in math equations.
| | 04:12 | You know, letting InDesign do this kind of
math for you means you get to have more time
| | 04:16 | to focus on what you do best, design and layout.
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| Understanding Selection tool options| 00:00 | As we saw in the InDesign Essential Trainings title, if
you have the Selection tool chosen in the Tool panel,
| | 00:07 | that's the black arrow, and you double-click anywhere on top
of a type frame, it changes to the type tool automatically
| | 00:13 | and places the cursor exactly where you double-clicked.
| | 00:17 | That's just a little way that Adobe is trying
to make it easier and reduce the work it takes
| | 00:22 | to get from where you are to where you want to go.
| | 00:25 | Now in CS3, they've added a few other little
shortcuts involving the Selection tools, too.
| | 00:30 | Let me show you what I mean.
| | 00:32 | First, if you have the Type tool selected, and the cursor isn't
already inside of a type frame, let's say here it is flashing,
| | 00:39 | or here it has selected some text, if I want to go back to the
Selection tool, the black arrow, I just hit the Escape key.
| | 00:47 | The Escape key does the same thing as moving my cursor over to
the Tool panel and clicking on that black arrow Selection tool.
| | 00:54 | So that's very handy as well.
| | 00:56 | OK, now if I double-click on a graphic frame, an image
frame, instead of a type frame, what's going to happen?
| | 01:03 | It changes to the Direct Select tool.
| | 01:05 | Let me show you what I mean.
| | 01:07 | I'll double-click on this graphic frame, and you see that it
went from the Selection tool to the Direct Selection tool.
| | 01:13 | That's the white arrow tool, and it selected the frame itself.
| | 01:17 | The frame, this outside frame is selected, so I could change the
shape, or do whatever I would normally do to the frame itself.
| | 01:24 | If I click once more with the Direct Selection
tool, I select the image inside the frame,
| | 01:30 | and now I can move that separately from the frame.
| | 01:33 | Right? If I double-click, I go back to the Selection tool.
| | 01:37 | So double-click on this, and I get the
Direct Select tool with the frame selected.
| | 01:42 | Click once more, and I get the image.
| | 01:44 | Double-click again, and I go back to the Selection tool.
| | 01:47 | These aren't life-changing shortcuts, but even if they speed
you up just a little each day, it's really worth using them.
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| Quick Apply shortcuts| 00:00 | In the InDesign Essential Training title, I covered one
of my favorite InDesign features, called Quick Apply,
| | 00:06 | and this let's you apply a style to either text or an
object quickly, keeping your hands on the keyboard.
| | 00:12 | And here's a quick refresher.
| | 00:13 | Let's say I want to apply an object style to these three objects.
| | 00:17 | I could go to the Object Styles panel and
look for the style that I want to apply,
| | 00:22 | but I want to do it with my hands on the keyboard.
| | 00:24 | How do I do it?
| | 00:25 | Command-Return on the Mac, or Control-Enter on Windows
opens the Quick Apply window, this panel, a floating panel,
| | 00:33 | and it places the cursor up in this empty field here.
| | 00:36 | Now all I have to do is type "mid," and it guesses,
"Oh, you want the mid drop shadow object style."
| | 00:43 | Yes, that's exactly what I want.
| | 00:44 | And when I hit Return or Enter, it applies
that style to these selected objects.
| | 00:49 | So that's cool.
| | 00:50 | I can do the same thing with text.
| | 00:52 | Let's go ahead and select this word down
here, and I'll apply a character style to it.
| | 00:56 | Command-Return on Mac, or Control-Enter on
Windows, and now I'll just type bold italic,
| | 01:02 | or bold i, and it guesses, "Yes, you want bold italic."
| | 01:05 | Perfect. Hit Enter or Return and it applies
that bold italic character style to the text.
| | 01:13 | OK, that's cool, but what many Quick Apply users don't know is
| | 01:17 | that you can use secret modifier keys
to make Quick Apply do even more.
| | 01:22 | For example, I'll deselect all of this by pressing
Command-Shift-A, or Control-Shift-A on Windows.
| | 01:27 | That just deselects everything on the page.
| | 01:29 | And I'm going to edit that object style.
| | 01:33 | I want it to be more than just the drop shadow.
| | 01:36 | How do I do that with keeping my hands on the keyboard?
| | 01:39 | Command-Return, or Control-Enter on Windows, opens Quick Apply.
| | 01:43 | I'll type "mid" for the mid drop shadow.
| | 01:47 | Now instead of pressing Enter or Return, I'm going to
do another Command-Return, or Control-Enter on Windows.
| | 01:54 | Right? Do the same keyboard shortcut.
| | 01:56 | Now when I do that, it won't apply the style, it edits the style.
| | 02:01 | Command-Return on it again, or Control-Enter on Windows,
| | 02:04 | opens the Style Options dialogue box,
and now I can make changes to this.
| | 02:08 | For example, I'll give it a bevel and emboss,
that's kind of crazy, but you get the idea.
| | 02:14 | Click OK, and now I can see that I have
applied a bevel and emboss to the object style,
| | 02:19 | which ripples through the rest of the document.
| | 02:22 | So Command-Return or Control-Enter means edit the style.
| | 02:26 | Let me show you another secret modifier key.
| | 02:29 | I'm going to place my cursor down here in this paragraph,
and I'll do a Command-2, or a Control-2 on Windows,
| | 02:34 | to zoom into 200%, and I can see that this
paragraph, while most of it is in Minion Pro font,
| | 02:43 | this line for some reason got set to Times New Roman.
| | 02:45 | It's local formatting on top of the rest of the formatting.
| | 02:50 | And in fact, if I go to the Paragraph Styles panel
here, I can see that there's a little plus sign,
| | 02:55 | and that plus sign means that there's local formatting here.
| | 02:58 | Right? So how do I get rid of local formatting?
| | 03:01 | No problem, I can do a Command-Return to jump to the Quick
Apply, or Control-Enter on Windows, type "body text,"
| | 03:08 | cause I know that's the name of this
paragraph style, and I can type Option-Return.
| | 03:14 | Option-Return or Alt-Enter will remove all
your local formatting from that paragraph.
| | 03:21 | It's basically exactly the same thing as going to the
Paragraph Style panel and Option-clicking on "body text."
| | 03:29 | Now why did it not remove the local formatting here?
| | 03:32 | Because when you Option-click, or Alt-Enter on
Windows, it does not remove character styles.
| | 03:38 | Remember, this word was applied with a character
style, something from the Character Styles panel.
| | 03:44 | It's the bold italic style.
| | 03:46 | There we go, we can see that's selected there.
| | 03:48 | If you want to remove all the local
formatting, including all the character styles,
| | 03:52 | you have to use a slightly different secret modifier key,
Option-Shift-Enter on the Mac, or Alt-Shift-Enter on Windows.
| | 03:59 | Now just like we learned in the InDesign Essential Training
title, if you Option-Shift-Click on the paragraph style,
| | 04:05 | that's Alt-Shift-Click in Windows, it removes all
the local formatting, including the character styles.
| | 04:10 | So here, I Command-Enter on the Mac, or press
Control-Enter in Windows, and that opens Quick Apply.
| | 04:17 | You see that it remembered what I last
typed, so I don't have to type it again,
| | 04:20 | and then I press Option-Shift-Return on
the Mac, or Alt-Shift-Enter in Windows.
| | 04:26 | And now, all the formatting is removed,
even the character styles.
| | 04:31 | By the way, there is one other modifier key that
I want to point out in Quick Apply, and that is -
| | 04:36 | I'll open it up with a Command-Return,
or a Control-Enter on Windows.
| | 04:39 | Let's say I do something here, choose something, or I type
something, and I realize that's not really what I wanted to do.
| | 04:47 | Very important modifier key, very important keyboard
shortcut inside Quick Apply, the Escape key.
| | 04:52 | The Escape key means, "Forget what I was
doing, big mistake, didn't mean to do it."
| | 04:56 | Escape just closes it without doing anything.
| | 04:59 | You know, I love Quick Apply.
| | 05:01 | It let's me accomplish so much more
while keeping my hands on the keyboard.
| | 05:05 | Plus, it's fun to use.
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| Setting up Context shortcuts| 00:00 | We learned about how to create custom keyboard shortcuts
in the Essential Training title, but I want to go back now
| | 00:06 | and show you a couple more features
having to do with keyboard shortcuts.
| | 00:09 | Let's go to the Edit menu and choose Keyboard Shortcuts.
| | 00:13 | This opens the Keyboard Shortcuts dialogue
box, where we can assign keyboard shortcuts
| | 00:17 | to various features, or change them, or delete them, or whatever.
| | 00:21 | Now I want to focus on a new feature here called context.
| | 00:25 | So I'm going to go under the product area, I'm going to
choose Tools, and I'm going to scroll all the way down here
| | 00:31 | to the bottom and choose Toggle View
setting between Default and Preview.
| | 00:36 | We can see that the current shortcut is
"W," and that means when I press the W key,
| | 00:41 | it's going to toggle between the Preview
mode, or the regular Default editing mode.
| | 00:47 | Right? But what happens if I press the W key
when I'm actually editing text in a text frame?
| | 00:53 | Well, it just inserts a w. Well, that's not what I want.
| | 00:56 | I want a keyboard shortcut so that when I'm
editing text, I can go into Preview mode.
| | 01:01 | How do I do it?
| | 01:02 | Well, first I need a new set, right?
| | 01:05 | I only have the default set right now, so I'll
click New Set and I'm going to call this David Set.
| | 01:10 | You can call it anything you want.
| | 01:12 | Click OK. Because you can't change your default set, right?
| | 01:15 | But you can only change keyboards in a new set.
| | 01:18 | Then I'll go - oh, it reset this, so I better choose that again.
| | 01:21 | Tools, Toggle View setting, then I
click in the New Shortcut field here,
| | 01:28 | and I'm going to give it a new shortcut, let's say, Option-W.
| | 01:32 | It could be anything you want, but I'm going to
choose Option-W, and I'm going to give it a context.
| | 01:37 | Now again, the context let's me specify
when this shortcut is going to work.
| | 01:42 | Default means it should always work.
| | 01:45 | Alerts and Dialogues means this shortcut should
only work when a dialogue box or an alert is open.
| | 01:50 | There's Tables, there's XML selection, I'm going to choose Text.
| | 01:54 | Text means this shortcut should only work when I'm
actually inside of a text frame, when I'm editing text.
| | 02:01 | Now when I click Assign, we can see that I have
an Option-W shortcut in the context of text.
| | 02:08 | Click OK, and we can test this out.
| | 02:11 | Right now, if I pressed Option-W, nothing
happens because I'm not editing text.
| | 02:17 | But if I'm editing text and I press Option-W,
you see that I go in and out of the Preview mode.
| | 02:23 | So the shortcut worked.
| | 02:26 | There's one other shortcuts feature that I want to
point out, but it involves having a separate plug-in.
| | 02:31 | It's a free plug-in called the Keyboard Shortcuts Plug-in,
and I'll be talking about plug-ins later on in this title,
| | 02:36 | but I have that plug-in installed right now, so if I
go to the Window menu, I can choose Keyboard Shortcuts.
| | 02:43 | I'll be showing you later on in this title about where you
can get this Keyboard Shortcuts Plug-in, but for right now,
| | 02:48 | let me just show you how I could use it to do the same thing.
| | 02:51 | I'm going to type in this field up here the Pen tool.
| | 02:55 | And I can see that the Pen tool shows up here in
this list, and I'll create a Pen tool shortcut.
| | 03:01 | The default is P, but I want a new one in my set, so I'll
click on the plus (+) button, and I'll say, "I want this to be,
| | 03:08 | let's say, Control-Option-P, but I
want the context to be only text."
| | 03:13 | So when I'm editing text, Control-Option-P
should give me the Pen tool.
| | 03:18 | Let's try it out.
| | 03:19 | I'll be editing some text down here, and
I'll do Control-Option-P, and there we go.
| | 03:26 | It jumped over to the Pen tool, and now
I can start drawing with my Pen tool.
| | 03:30 | It's as simple as that.
| | 03:32 | Shortcuts are all about efficiency and
productivity, and taking the time now to set
| | 03:36 | up your shortcuts will save you far more time in the future.
| | 03:40 | OK, now in the next chapter, we'll move on to another
productivity enhancing feature, grids, guides, and columns.
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|
|
3. Grids, Guides, and ColumnsWorking with column guides| 00:00 | Every document has at least one set of purple column guides that
describes where the left and right edge of their text column is.
| | 00:07 | They're just guides, so you can ignore them if
you want and put your text anywhere on your page,
| | 00:11 | but guides are excellent for increasing productivity
and ensuring consistency throughout a document.
| | 00:16 | For example, on this page, we can see a purple
guide on the left and a purple guide on the right,
| | 00:22 | and we can see that this only has one column
that actually takes up the entire page.
| | 00:27 | In fact, these purple guides are on top of the margin
guides, which are actually on top of the side of the page.
| | 00:32 | If we can move this image, you can see
that the side of the page was right there.
| | 00:36 | I'll undo that, Command-Z, Control-Z on Windows to undo that.
| | 00:40 | So this is not a very good example of columns.
| | 00:43 | Let's go look at a better example by
opening a new document from the File menu.
| | 00:48 | In the new document dialogue box, we can see that
there's an option for number of columns and the gutter.
| | 00:55 | The gutter is the amount of space between
each column whenever you have more than one.
| | 01:00 | In this case, there's only one, so gutter is irrelevant.
| | 01:03 | But if I increase this to two columns, now we can
see that there will be a 1 pica gutter between them.
| | 01:09 | Let's go ahead and click OK, and we can see that now we've
got two columns, each delineated by these purple guides,
| | 01:16 | and 1 pica of space of gutter in between them.
| | 01:20 | Once you've set up your document, you can
still change your columns easily enough,
| | 01:24 | but you need to first go to your Pages
panel and check to see what is selected.
| | 01:28 | Currently, just Page 1 is selected, so if I
change my columns, it will only affect Page 1.
| | 01:34 | If I want to affect the Master Page,
I need to select the Master Page.
| | 01:37 | I don't actually have to go to the Master Page by
double-clicking on it, I simply clicked once on it to select it.
| | 01:43 | So I'm still looking at Page 1, but I've selected
the Master Page, and so that's what will be affected.
| | 01:49 | I'll go to the Layout menu and choose Margins and Columns.
| | 01:53 | The Margins and Columns dialogue box looks very
much like the New Document dialogue box but,
| | 01:58 | of course, it just affects margins and columns.
| | 02:00 | And in this case, I'm going to change the number
of columns on my Master Page because, again,
| | 02:05 | that's what's selected in the Pages panel, and I will update
that to three, and because the Preview checkbox is on,
| | 02:11 | I can immediately see an update on the page behind me.
| | 02:15 | And because the Preview checkbox is turned on, I can see
it update immediately in the page behind the dialogue box.
| | 02:21 | Let's go ahead and increase the gutter.
| | 02:23 | I can do it by 1 point, or by holding down the Shift key when
I click on these arrows, increase them by larger increments.
| | 02:29 | So now I've got a three-column page with 3 pica gutters.
| | 02:34 | I'll click OK, and you can see it take effect immediately.
| | 02:38 | Again, I changed the Master Page, even though I was
looking at Page 1, but it affected Page 1, of course,
| | 02:43 | because Page 1 is tagged with the Master Page.
| | 02:46 | It's based on that Master Page.
| | 02:48 | So you can change your column guides on an individual
page, a spread, multiple pages, or master pages.
| | 02:55 | It's up to you, whatever is selected in the Pages panel.
| | 02:58 | So that's how to change all the column guides the same way.
| | 03:02 | You can also change just one column
guide if you want by dragging it.
| | 03:06 | But by default, you cannot click
and drag on it because it's locked.
| | 03:10 | So instead, you go to the View menu
- so instead go to the View menu,
| | 03:14 | choose Grids and Guides, and then turn off Lock Column Guides.
| | 03:19 | When that's turned off, it's easy
to click on a guide and drag it.
| | 03:23 | You cannot change the amount of space in between the gutter
by dragging it, but you can move the entire guide around.
| | 03:30 | So now I've got one large guide in the middle and
two small, narrow guides on either side of it.
| | 03:36 | Whenever you turn off the Lock Column Guides and move your column
guides around, it's a good idea to go back and turn it back on,
| | 03:43 | just so you don't accidently move them around later.
| | 03:46 | OK, so now we've got the theory of the column
guides, let's go look at them in practice.
| | 03:50 | I'll close this document, I don't need to save it, and
I'll go to my Javico magazine, and I'll jump to Page 4
| | 03:57 | and 5 by double-clicking on that spread,
in that spread in the Pages Panel.
| | 04:00 | Now that's selected, so any changes I
make will apply to just that spread.
| | 04:05 | I'll close the panel, and I can see that on this spread,
we have three column guides and some amount of space
| | 04:12 | between in the gutter, I don't really know how much that is.
| | 04:15 | On the left page, we don't really need the column guides, it's
not really relevant, but we might as well just leave them there.
| | 04:21 | But on the right side, we do have three columns of text.
| | 04:24 | So you can see that on this spread, we have three
column guides, with some amount of space in the gutter,
| | 04:29 | I'm not really sure how much, and on the left page you
can see that we don't really need the column guides,
| | 04:35 | there's nothing there that requires column guides.
| | 04:37 | But on the right side, there is.
| | 04:38 | There's three columns of text.
| | 04:40 | These columns were actually created with text
frames, individual text frames, one, two, three,
| | 04:46 | and you can see that they are linked together and the text flows.
| | 04:51 | While this spread is selected, if we go to the
Layout menu and choose Margins and Columns,
| | 04:55 | and we're just going to change something about this.
| | 04:56 | Let's say we'll change the size of
the gutter between these columns.
| | 05:00 | If I make this larger, let's say up to 2 pica 6, you can see
that in the background here, the column guides have changed.
| | 05:08 | The text frames have not changed because
Layout Adjustment is not turned on.
| | 05:12 | You might recall from the InDesign Essential Training
title that in order for the objects on the page
| | 05:17 | to change, we need to have Layout Adjustment turned on.
| | 05:20 | So let's go ahead and click Cancel, choose Layout
Adjustment, enable Layout Adjustment, click OK,
| | 05:28 | and now once more we'll go to Margins and Columns.
| | 05:31 | And this time, as we change our gutter, you'll see that the size
of those text frames are actually being adjusted as I click.
| | 05:40 | So now we've got a 21/2 pica gutter, and the
size of the text frames have been changed.
| | 05:46 | In fact, if we change the number of columns
in here, let's make it four columns,
| | 05:49 | you can see that not only did InDesign update all those
text frames, but it even added a fourth text frame for us,
| | 05:55 | because it assumed, "Well, you probably
want a fourth text frame there."
| | 05:58 | So InDesign can be very intelligent when it needs to be.
| | 06:01 | I'll click OK here, and the last thing I need to point out is if
we do go ahead and turn off the Lock Column Guides so we can go
| | 06:09 | in here and actually move our column guides,
in this case the text frames do not update.
| | 06:14 | Layout Adjustment does not affect any changes you
make to the column guides locally by dragging them.
| | 06:20 | It only affects the changes that you make from the Margins
and Columns when you select it from the Layout menu.
| | 06:26 | So if we wanted to tweak columns
manually like this by dragging them,
| | 06:30 | we would have to update our text frames
manually by dragging them and so on.
| | 06:34 | So that's a little bit more of a hassle.
| | 06:36 | When you're building a structured document with more than one
column of text, such as a newspaper, or a magazine like this,
| | 06:42 | carefully positioning and managing your
column guides can be a real life saver.
| | 06:46 | Now in the next movie, we'll take a look at a few
more details of how to use multicolumn text frames.
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| Adjusting text frame columns| 00:00 | I discussed how to make multicolumn
text frames in some detail back in the
| | 00:04 | InDesign Essential Training title, but
I want to revisit it to cover a few more
| | 00:09 | advanced features that
have to do with column width.
| | 00:12 | I've got my Javico magazine document
open here, and I'm going to go to Page 2
| | 00:16 | with a Command-J on Mac, or a Control-J
on Windows, and I can see that I have a
| | 00:22 | single text frame that looks like
it should be split into two columns.
| | 00:25 | If my screen were wide enough, I could
actually change the number of columns up
| | 00:29 | here in the Control panel, but the
Control panel doesn't show me those when the
| | 00:34 | screen is narrow, and I'm
working on a small screen right now.
| | 00:37 | So instead, I'm going to go to the
Object menu, and I'll choose Text Frame
| | 00:41 | Options, or press Command-B on Mac, or
Control-B on Windows, and that opens the
| | 00:46 | Text Frame Options dialogue box.
| | 00:48 | And I can change the number of columns here.
| | 00:49 | I'll choose two columns--well, let's
leave that alone, I'm not sure what the
| | 00:54 | column width should be right now,
and I'll click OK. There we go.
| | 00:58 | Now we've got one text
frame that has two columns.
| | 01:00 | The gutter was not correct, I guessed
that incorrectly, so I need to try and
| | 01:03 | match that with the document in the background.
| | 01:06 | I'll go to the Layout menu, I'll choose
Margins and Columns, and I can see that--
| | 01:10 | oh, on this spread, the gutter is 1 pica 9.
| | 01:13 | So I'll cancel that, go back to Text
Frame Options, and change my gutter to what
| | 01:18 | it should be, 1 pica 9, click OK, great.
| | 01:21 | Now I've got a two-column text frame that
matches the document column setup exactly.
| | 01:28 | OK, so now let's say our art director
comes and says, "You know, forget that
| | 01:33 | guide setup on this spread.
| | 01:34 | We want these columns to be exactly 12 picas
wide, not width whatever they are right now.
| | 01:40 | We want them to be 12 picas wide."
| | 01:41 | Well, we can do that, too.
| | 01:43 | Object, Text Frame Options, and
we can use the Column Width field.
| | 01:48 | This feature is something that a lot
of InDesign users never see for some
| | 01:51 | reason, so I just wanted to point it out to you.
| | 01:54 | Width is very handy when you know exactly
how wide you want the text column to be.
| | 01:58 | Let's change that to 12 picas, and
click OK, and you'll see that the way that
| | 02:03 | InDesign achieves that is by
changing the width of the text frame itself.
| | 02:07 | Yes, that's true, it will change the
width of the text frame whenever you change
| | 02:12 | the width of the column here.
| | 02:14 | Change that field, and it'll
change the width of the text frame.
| | 02:17 | It's something you need to
keep in mind. Let's click OK.
| | 02:19 | Now here's the problem.
| | 02:21 | Every now and again, you'll find
yourself, or somebody else will sneak in and
| | 02:25 | they'll say, "Well, let's make this
just a little bit wider, or make it a
| | 02:28 | little bit narrower."
| | 02:29 | They'll tweak this, and then your art
director will find it, and they'll freak
| | 02:33 | out, and they'll tear out their hair
saying, "No, these are supposed to be
| | 02:36 | exactly 12 picas wide.
| | 02:37 | We don't want it a little
bit less or a little bit more."
| | 02:41 | So isn't there some way that you
could lock down the width of the column?
| | 02:44 | Yes, in fact, there is.
| | 02:46 | One more time we'll do a Command-B on
the Mac, or Control-B on Windows, and
| | 02:49 | we're going to change the width back
to what it was supposed to be, and now
| | 02:53 | we're going to turn on Fixed Column Width.
| | 02:56 | Fixed Column Width means
lock the width of the column.
| | 02:59 | So now when you click OK, it goes back
to exactly 12 picas, and there's no way
| | 03:05 | to change this, there's no
way to tweak it. Look at that.
| | 03:08 | I'm making it narrower, and it snaps back.
| | 03:10 | Make it narrower, and it snaps back.
| | 03:13 | Now if I make it wider, InDesign
does something that's kind of wacky.
| | 03:16 | It actually adds another column.
| | 03:18 | It snaps to the next column. Did you see that?
| | 03:21 | If I make it narrower, it snaps to two columns.
| | 03:24 | If I make it wider, it snaps to three columns.
| | 03:26 | It'll always give you the number of
columns you need in order to ensure that you
| | 03:32 | have a 12 pica column width.
| | 03:34 | I'll go ahead and make this two columns again.
| | 03:36 | Now I want to point out that making a
multicolumn text frame can save you a
| | 03:40 | bunch of time when you need a whole
bunch of columns of equal widths, but if
| | 03:44 | your columns are not all the same
width, or you need each column to be a
| | 03:48 | different height, well, then usually
multicolumn text frames may not be for you.
| | 03:51 | Instead, you might want to use single-
column text frames that are threaded together.
| | 03:56 | It's up to you, whatever you
need to make your layout work.
| | Collapse this transcript |
| Formatting and positioning guides| 00:00 | Now, I'm not one of these designers who loves putting
50 guides on every page, but I do recognize the value
| | 00:06 | of a few well-placed guides in order to speed
up production and encourage consistency.
| | 00:12 | Although guides are pretty easy to use, I want
to show you a few tricks for working with them
| | 00:16 | that can make guides even easier and more helpful for you.
| | 00:20 | As I discussed in the InDesign Essential Training title,
| | 00:24 | you can pull guides out onto your page
by dragging them out of the rulers.
| | 00:28 | You drag a guide out and drop it on
the page, and it becomes a page guide.
| | 00:32 | Drag it out and drop it on the pasteboard,
and it becomes a pasteboard guide.
| | 00:36 | What if I want a guide to snap right to the edge of this object?
| | 00:41 | I don't know exactly where the object is,
so I don't know where to drop it, right?
| | 00:45 | Well, if you select the object first, then when you drag the
guide out, you let go of the guide while it's on top of one
| | 00:51 | of these side or corner handles, the
guide snaps right to it, very handy.
| | 00:56 | This is a way that you can snap a guide to
an object instead of the other way around.
| | 01:01 | It's easy to snap objects to guides, right?
| | 01:03 | You just select the objects, drag them
around until they snap right to the edge.
| | 01:07 | Well, what if you want to get close to a guide,
but you don't want to exactly snap to it?
| | 01:13 | I could take a trip up to the View
menu, and try and find Grids and Guides,
| | 01:18 | and turn off Snap to Guides, but
that's just way too much work for me.
| | 01:22 | I'm working fast, I need a fast solution.
| | 01:24 | I could try and remember the keyboard shortcut, but instead,
I want to go even faster than the keyboard shortcut.
| | 01:29 | So don't forget that if you hold down the
Control key, and that's Mac or Windows.
| | 01:33 | The Control key will actually let you get near a
guide, but it turns off the snap to guide temporarily,
| | 01:40 | so I can let go of it exactly where I want it to go.
| | 01:43 | So Control key, Mac or Windows, turns
it off temporarily, very handy.
| | 01:47 | I use that all the time.
| | 01:50 | Now because guides are objects, you can do all kinds
of things with them that you might not expect to.
| | 01:54 | For example, you can delete a guide
simply by clicking on it and hit Delete.
| | 01:58 | Right? You know that one.
| | 02:00 | What if you want to get a bunch of guides?
| | 02:02 | I'll drag this one up here.
| | 02:03 | Notice that when I dragged it, I let go of it while
it was on the page, so it turned into a page guide.
| | 02:08 | And now I'm going to - let' say I'll step and repeat it.
| | 02:11 | Sure, we can do that.
| | 02:12 | You could use Duplicate, or Step and Repeat.
| | 02:14 | And I'm going to say I want five more guides at - well, let's
come up with something, maybe 12 millimeters down the page.
| | 02:21 | So I suddenly have a bunch of guides on my page.
| | 02:24 | Very handy, very fast.
| | 02:25 | They're just objects, so treat them as objects.
| | 02:28 | I can then select each of these, I'm Shift-clicking on them,
just like I would Shift-click on an object, and I can copy them.
| | 02:34 | I'll go to the Edit menu and choose Copy, and I'll go to the
next page by pressing Shift-Page Down, and then I can paste it.
| | 02:41 | And if I paste those guides, they end up in exactly the same
place on the page because InDesign remembers page geometry.
| | 02:49 | Where are they?
| | 02:50 | Well, the eagle-eyed among you will have noticed that
they showed up over here on the right side of the page.
| | 02:54 | That's because they came from a right-hand page,
so they're going to end up on a right-hand page.
| | 02:59 | So you have to be aware of page geometry is not just a position
on the page, but also which side of the page they're on.
| | 03:06 | Let's go back to Page 1, do a Shift-Page Up
to go back to the first page I was working on,
| | 03:12 | and I'm going to add some other guides onto this page.
| | 03:16 | Why not? I'll drag this out, and I want to get to 24 picas,
and I'm looking at the ruler at the top of the screen,
| | 03:22 | and I'm not sure exactly where it should be, so I'll let go.
| | 03:25 | And I'll notice I didn't get it exactly right.
| | 03:28 | That's really frustrating.
| | 03:29 | Well, fortunately, I can drag this and hold down the Shift key,
| | 03:34 | and the Shift key means "snap to
the nearest tick mark in the ruler."
| | 03:38 | I love this one.
| | 03:39 | So as I'm dragging, I'm holding down the
Shift key, and that means it'll snap right
| | 03:43 | to the place that I want it to, exactly at 24 picas.
| | 03:47 | This also works, by the way, when you double-click in a ruler.
| | 03:51 | For example, I can double-click up here near 36,
and it adds a guide exactly where I double-clicked.
| | 03:57 | Unfortunately, it wasn't exactly at 36 picas, so I'm going
to delete that, and instead, I'll Shift-Double-click.
| | 04:03 | Shift-Double-click means "place a guide at this position, but
make sure it's snapped to the nearest tick mark on the ruler."
| | 04:11 | Very, very handy.
| | 04:12 | OK, there's all kinds of other things we can do with guides.
| | 04:14 | What if we want to change the color of a guide?
| | 04:16 | Let's say we want to change this color
from the normal cyan to some other color.
| | 04:20 | By the way, look at this, it turned red when I clicked on it.
| | 04:23 | What does red mean?
| | 04:24 | Well, red refers to what layer it's on.
| | 04:27 | It's currently on the Text layer.
| | 04:29 | Well, this doesn't make any sense.
| | 04:30 | Let's go ahead and put this all on
a different layer, a Guides layer.
| | 04:34 | I'm going to create a new layer by clicking
on the New Layer button in the Layers panel.
| | 04:37 | I'll double-click on it to give it a different name,
and I'll call it my Guides Layer, and I'll click OK.
| | 04:43 | Now I've got a different Guide layer, and I
want to put all of these guides on that layer.
| | 04:49 | Well, how do I select all your guides?
| | 04:51 | Control-Alt-G on Windows, or Command-Option-G on the
Mac, selects all the guides on the current spread,
| | 04:59 | and now I can drag those up onto my guides
layer, and now they're all on that layer.
| | 05:04 | So I can hide them and show them with a single click.
| | 05:06 | I love this feature.
| | 05:08 | So notice that the default value is the cyan color.
| | 05:11 | If I click on one, then it shows
me the color of the layer it's on.
| | 05:16 | But what if I really want to change
its color when it's not selected?
| | 05:19 | I don't want it to be cyan, I want it to be some other color.
| | 05:22 | Well, that's easy.
| | 05:23 | I can simply select it, go to the Layout menu and choose Ruler
Guides, and I can change it from cyan to any color I want.
| | 05:31 | Let's make it brown.
| | 05:33 | Click OK, and now when I deselect, you can see
that these are all cyan, but this one is brown.
| | 05:38 | I can do the same thing by selecting - let's say I'll
select three of these by holding down the Shift key,
| | 05:45 | and then I will right-click on that and
choose Ruler Guides from here, same thing.
| | 05:50 | Pick a color, let's make them green, click OK, and now those are
green, this one's brown, the rest are cyan, and I'm good to go.
| | 05:58 | By the way, I want to point out one
other thing that's kind of handy.
| | 06:01 | I'll select those green ones one more
time, and I'll go to Ruler Guides.
| | 06:05 | And I want to show you one more feature,
the View Threshold feature.
| | 06:09 | What is that about?
| | 06:10 | Threshold means "what view percentage
should these guides be visible at?"
| | 06:17 | Right now, they're pretty much always
visible at anything over 5%.
| | 06:21 | But if I change this to 100% and click OK, what happened?
| | 06:26 | They disappeared.
| | 06:27 | Where did they go?
| | 06:27 | Were they deleted?
| | 06:28 | No, they weren't deleted, they disappeared
because we're at 77% View mode right now.
| | 06:34 | If I go to 100% View mode by doing Command-1 on
Mac, or Control-1 on Windows, they come back.
| | 06:41 | In fact, if I go in to 125%, they're still visible.
| | 06:45 | I press Command-plus on the Mac, or Control-plus
on Windows to zoom in to 125%, they're still there.
| | 06:52 | Command-minus, or Control-minus on Windows, to zoom
back, and zoom back one more time, and they're gone.
| | 06:59 | Now we're at 75%, so they've disappeared
because the threshold was 100%.
| | 07:04 | So you can set up some very complex systems of
having some guides visible when you're zoomed in,
| | 07:10 | and other guides visible when you're zoomed out.
| | 07:13 | Very handy.
| | 07:14 | But remember, just because you can put a few
hundred guides on a page doesn't mean you should.
| | 07:19 | Keep it simple, keep it focused, manage them carefully
so that the guides you do use can do their job for you.
| | Collapse this transcript |
| First baseline options| 00:00 | Where do you want the first line of text to sit in your frame?
| | 00:03 | How far down from the top of the frame?
| | 00:06 | Most InDesign users just fill a frame with text without
giving the first baseline position a second thought.
| | 00:11 | But when quality and precision counts, you need to control
every aspect of your text, including it's vertical position.
| | 00:18 | Here's how to do it.
| | 00:20 | I've opened my Javico sheet document, and I'm going
to select this text frame, and I'm going to zoom in on
| | 00:25 | that by pressing Command-2 on the Mac, or Control-2 on Windows.
| | 00:29 | I'll press W to switch out of Preview mode so
we can see all of the text frames on our page.
| | 00:35 | Now where is this baseline?
| | 00:37 | How far down from the top of the frame?
| | 00:39 | Well, I don't really know.
| | 00:41 | But if I go to the Object menu and choose Text Frame Options,
or press Command-B on the Mac, or Control-B on Windows -
| | 00:48 | move this out of the way so you can see it better -
I see that there's a feature called Baseline Options.
| | 00:53 | If I click on that, here's where I can control where
the first baseline of that text frame is going to sit.
| | 01:00 | And by default, InDesign sets the baseline to Ascent.
| | 01:05 | That means the Ascender in this particular
font, in this particular size,
| | 01:10 | will fit flush right against the top of the frame.
| | 01:14 | Well, the problem is is that different fonts
and different sizes have different value,
| | 01:19 | so I don't know exactly where it's going to be.
| | 01:22 | So there's other options here as well.
| | 01:24 | For example, I can choose Cap Height.
| | 01:26 | Cap Height is slightly different in this font than
Ascender, so you see it shifted just a little bit.
| | 01:31 | But what about X Height?
| | 01:33 | The X Height is the height of an x, or a
lower case character in this particular font.
| | 01:40 | Again, we don't know exactly what that is unless we're the font
designer, or if we go in and take measurements in the font.
| | 01:45 | So it's not precise, it's not helpful for us.
| | 01:48 | What I usually use is either Leading or Fixed.
| | 01:52 | Fixed is interesting because this
says put it at exactly this position.
| | 01:56 | Right now it's at 0 points, 0 pica, 0 points away from the
top of the frame, and you can see that the baseline at 0 means
| | 02:04 | that the first line is actually sticking outside of the frame.
| | 02:06 | It's actually above the frame right now.
| | 02:09 | If I increase this value, the baseline goes down.
| | 02:12 | If I set it to, let's say 3 picas, well, we know that
it's exactly 3 picas down from the top of the frame.
| | 02:19 | So that can be very handy.
| | 02:21 | In most situations, what I use is Leading.
| | 02:24 | I'll set this one back to 0, and we
can see that Leading is going to set it
| | 02:29 | to whatever's the largest leading value in
this line down from the top of the frame.
| | 02:34 | I'll click OK, and we can see that if I select this text,
and I increase its leading by going to the Character mode
| | 02:41 | of the Control panel, and I change this to, let's say 28 points,
| | 02:45 | now I know that the baseline is exactly
28 points down from the top of the frame.
| | 02:50 | This gives me incredible precision, but also
gives me a lot of flexibility, and I like that.
| | 02:56 | On the other hand, I might use the Fixed First
Baseline offset if I'm doing something like a caption.
| | 03:01 | For example, I'll come over here and draw out a
caption frame over here underneath this image,
| | 03:06 | and I'll type something like copyright Javico, and
I've got the wrong paragraph style applied here,
| | 03:12 | so I'll open the Paragraph Styles panel, and
I'll come up here and apply the Caption Style.
| | 03:17 | There we go, that's my Caption Style.
| | 03:19 | Now my art director told me that this baseline needs to
be exactly 10 points down from the bottom of this image.
| | 03:28 | Wow, how am I going to set that up?
| | 03:30 | Well, I simply select the frame with the Selection tool, I
go to Object, Text Frame Options, go to Baseline Options,
| | 03:38 | and in this case I'm going to use a fixed baseline which
is exactly 10 points down from the top of the frame.
| | 03:46 | There we go.
| | 03:47 | Now I know that that baseline is exactly
10 points down from the top of the frame.
| | 03:51 | Cool. Let's move this over.
| | 03:53 | How am I going to make this 10 points
down from the bottom of the image?
| | 03:57 | Well, I'll select both the frame, the text frame and the image,
I'll go to Window menu, choose Object and Layout, click on Align,
| | 04:07 | and now in the Align panel, I can say that I want to
have 0 spacing between these two selected objects.
| | 04:15 | Click on that and voil?, I'm pretty much done.
| | 04:18 | Now because the bottom of the image is in exactly
the same place as the top of my text frame,
| | 04:24 | I know that this is exactly 10 points
down from the bottom of the image.
| | 04:29 | How about that?
| | 04:30 | While I'm here, I might as well right-align these,
and I'll also press Command-Shift-R on the Mac,
| | 04:35 | or Control-Shift-R on Windows, to right-align the text.
| | 04:39 | So now I know that this text is right-aligned with the image
and exactly 10 points down from the bottom of the image itself.
| | 04:46 | Very, very cool, very precise.
| | 04:49 | OK, let me show you one other example.
| | 04:51 | I'll close the Align panel here.
| | 04:52 | I'm going to zoom back to Fit in Window by pressing
Command-0 on the Mac, or Control-0 on Windows,
| | 04:58 | and let's say I want the first baseline of this text
to be exactly 47 picas down from the top of the page.
| | 05:06 | It doesn't matter where the text frame is, but I know that
I want it exactly 47 picas down from the top of the page.
| | 05:12 | In fact, I'm going to go over here and place
a guide at exactly 47 picas so I can see.
| | 05:17 | How do I get this to snap down to there?
| | 05:20 | Well, OK, in this case, I'm going to go back to Object,
Text Frame Options, and I'll go back to Baseline Options.
| | 05:27 | I'll move this out of the way so we can see this better.
| | 05:29 | I'm not going to use First Baseline Offset
up here because this feature only relates
| | 05:35 | to how far it is from the top of the text frame.
| | 05:38 | Instead, I'm going to use Baseline Grid,
because with this I can actually control
| | 05:42 | where it fits on the page, where it's sitting on the page.
| | 05:46 | And I'm going to say I want it to start exactly 47 picas - right?
| | 05:50 | That's what I chose, that's what my art director told me to
do - 47 picas down from - not from the top inset of the frame,
| | 05:56 | or the frame, or the margin, but the top of the page.
| | 06:00 | And I'm going to ignore all of these for right now, and
I'll click OK, and now to get this exactly 47 picas down,
| | 06:06 | I have to select that paragraph, go to the Paragraph Formatting
in the Control panel, and then turn on Aligned Baseline Grid.
| | 06:14 | There we go.
| | 06:15 | The first baseline snapped exactly to 47 picas down from the top
of the page, and this is cool because if I use the Selection tool
| | 06:23 | and move this around - look at this, no matter where I
move that frame, it's always exactly at 47 picas down.
| | 06:30 | Isn't that amazing?
| | 06:30 | On the other hand, it did mess up the leading for
the rest of the paragraph, so that's not so good.
| | 06:35 | We better fix that.
| | 06:36 | I'll go get my Type tool, place my
cursor in the paragraph anywhere,
| | 06:40 | go to the Control panel fly-out menu,
and choose Only Align First Line to Grid.
| | 06:47 | Now, that means the first line is snapping to the 47 picas,
and the rest of the paragraph can fall anywhere it feels like.
| | 06:54 | So now I've got exactly the setup I want.
| | 06:57 | The first line will always be at 47 picas, and
the rest of the text can be anywhere it wants.
| | 07:03 | When people say that InDesign gives you an incredible amount of
control over your text, this is the kind of thing that they mean.
| | 07:09 | When you need precision, InDesign has the tools for you.
| | Collapse this transcript |
| Using the document grid| 00:00 | We've talked a lot about guides, page guides,
pasteboard guides, column guides, margin guides,
| | 00:05 | but now I want to show you a different kind of guide that
many users never even know is in the program, a document grid.
| | 00:12 | The document grid is like graph paper for your document.
| | 00:15 | Here, let me show you.
| | 00:16 | First, I'm going to go out of Preview mode down here in
the bottom of the Tool panel, I'll just click Normal.
| | 00:23 | I could have just pressed W as well on Mac or Windows.
| | 00:26 | Now I'm going to go to the View menu, scroll down
to Grids and Guides, and choose Show Document Grid.
| | 00:32 | The document grid - like I said, it's like graph paper.
| | 00:35 | You can probably see that the document grid is made up of
slightly darker lines and then thinner lines called subdivisions.
| | 00:43 | You can control those subdivisions and how large these
areas are by going to the Preferences dialogue box.
| | 00:49 | On the Macintosh, Preferences is found
under the InDesign menu, Preferences, Grids.
| | 00:55 | In Windows, you go to the Edit menu, then Preferences and Grids.
| | 00:59 | And the Grids pane of the Preferences dialogue
box gives you an Option for Document Grid.
| | 01:05 | We can change the color, for example, maybe we'll make it
peach color instead, and you can change how large this is.
| | 01:11 | So for example, we might change this to - oh,
let's say 5 centimeters, and I'm tabbing over here,
| | 01:17 | doing 5 centimeters over here as well, and
then 5 subdivisions between each one of those.
| | 01:21 | That means I'll have a darker line at every
5 centimeters, and then 5 subdivisions,
| | 01:26 | which means each subdivision will be 1 centimeter wide.
| | 01:29 | Notice that because my default preferences are set to points and
picas, this automatically gets changed from centimeters to points
| | 01:36 | and picas, and I find that a little
bit annoying, but I can deal with it.
| | 01:40 | I'll forgive InDesign this time.
| | 01:41 | Click OK, and we can see that suddenly
we have a peach-colored document grid
| | 01:47 | with a darker line every 5 centimeters,
thinner lines every single centimeter.
| | 01:52 | I'll zoom in on this object here by selecting it and then
pressing Command-2 on the Mac, or Control-2 on Windows,
| | 01:59 | and we can see that the guide - it's
not lining up with the guide at all.
| | 02:03 | In fact, the guide isn't even on top of these objects.
| | 02:05 | Where is it?
| | 02:06 | Well, if you want the guide on top of your objects, and you
don't see it on top of your objects, deselect everything,
| | 02:12 | and then right-click on somewhere that
there's nothing except guides or pasteboard.
| | 02:17 | Go to Grids and Guides and turn off Grids in Back.
| | 02:21 | That's a preference.
| | 02:21 | This is the easiest way to turn it on and off.
| | 02:24 | Turn Grids in Back off, and now they're in front of everything.
| | 02:27 | There we go, now I can see it.
| | 02:28 | Now, if I want this object to snap, I
just drag on top and it's not snapping.
| | 02:33 | Why not? One more little frustration that
I have with the document grid, by default,
| | 02:39 | when it's on it does not turn on the Snap to the Document Grid.
| | 02:43 | We have to do that manually.
| | 02:44 | So we go to the View menu, go down to Grids
and Guides, and turn on Snap to Document Grid.
| | 02:51 | Now when you move objects around, it will
actually snap to the document grid itself.
| | 02:55 | So that's handy.
| | 02:56 | Now it's snapping.
| | 02:57 | But there's something to watch out for here.
| | 02:59 | Even if I turn off the document grid, I go to the View menu and
I choose Grids and Guides, and I say "hide the document grid,"
| | 03:06 | well, it's still snapping to those grid lines.
| | 03:10 | It'll still snap.
| | 03:11 | And in fact, oftentimes people will
e-mail me and they'll say, "Hey, you know,
| | 03:15 | I'm moving objects around my page, but it's jerky.
| | 03:19 | They're not moving smoothly.
| | 03:20 | I can't get the objects where I want."
| | 03:22 | Almost always the problem is they have not yet turned off,
or someone snuck in on their machine and turned on the Snap
| | 03:30 | to Document Grid, or maybe they pressed the
keyboard shortcut accidently or something.
| | 03:34 | So if you turn off Snap to Document Grid, now you're back to
where you were and you can move your objects anywhere you want.
| | 03:41 | You have a lot of control here, but you have to watch
out for what is turned on and what's turned off.
| | 03:46 | The document grid is not for everyone, but if you
do need a customizable grid, and you need it fast,
| | 03:51 | you're going to be super happy that the
folks at Adobe put this feature in there.
| | Collapse this transcript |
| Extending into the bleeds| 00:00 | Let's say you're making a flyer and you want this background
color to extend all the way to the edge of the page.
| | 00:06 | Well, in order for this to work, you have to actually
extend it past the edge of your page onto the pasteboard.
| | 00:12 | Let me show you why.
| | 00:13 | To do this, I'm going to go to the Pages panel and double-click
on my Master Page, because that's where this object is,
| | 00:19 | and I'm going to go to the Layers panel and unlock
the background because otherwise I couldn't select it.
| | 00:25 | I'll close those panels and now extend
this out to the edge of the page.
| | 00:29 | I'm just snapping it right to the
edge of the page for demonstration.
| | 00:31 | Now I'm going to go into Preview mode by pressing W.
That simulates what it will look like when it hits press.
| | 00:38 | OK? Now let's say it extends just to the edge of the page,
| | 00:41 | but when it ends up on a printing press,
the paper might move just a tiny amount.
| | 00:45 | I just moved it over by a point with the arrow key there,
| | 00:48 | and what you end up with is a tiny sliver
of white down the edge of the page.
| | 00:54 | So to compensate, printers want you to extend
the object off the page onto the pasteboard.
| | 01:01 | For example, I'll turn off the Preview
mode, and I'll extend this out here.
| | 01:04 | You see? Now it's onto the pasteboard.
| | 01:06 | This is called a bleed.
| | 01:08 | What they do is they print the whole
thing on a larger sheet of paper,
| | 01:12 | and then they trim it down to the
size that the page really should be.
| | 01:17 | But how far off the page should this bleed go?
| | 01:20 | Well, that's why it's helpful to have guides.
| | 01:23 | When you create a new document - I'll go create a new document
with a New Document dialogue box, you can see at the bottom
| | 01:29 | of the dialogue box an area for bleed
guides, and if you don't see this, well,
| | 01:34 | you need to click on the More Options button up here.
| | 01:36 | More Options, Fewer Options, that
gives you those Guide Options here.
| | 01:40 | And we can say we want this to be, let's say 1
pica 6, that's about a quarter inch off the page,
| | 01:46 | and because this link is turned on, it will
automatically make sure all of these are the same value.
| | 01:52 | Whenever that link is on, it will make sure
the values are the same on all four sides.
| | 01:57 | So this will actually create guides on all four sides.
| | 02:00 | Now I'm going to cancel that because I already
have a document that I need those guides on.
| | 02:05 | So how do I add the guides in this document?
| | 02:07 | I'll go to the File menu, choose
Document Setup, and here, once again,
| | 02:12 | as long as More Options is showing, we can add guides here.
| | 02:16 | So I'm going to say, let's say a quarter inch here, and
I'll turn on the Make All the Settings the Same button,
| | 02:22 | that little link icon, and that sets
all of them to the same, click OK,
| | 02:27 | and now suddenly you see you've got red
guides on all four sides of our page.
| | 02:31 | Those are the bleed guides.
| | 02:33 | Now they're just guides, you don't
have to use them, but they are helpful,
| | 02:37 | especially when you want to make sure
you have just the right amount of bleed.
| | 02:41 | I'm going to snap these edges to the bleed guide, and
now I'm pretty sure that that's going to work just fine.
| | 02:48 | Let's go back to our document page,
Command-J on Mac, or Control-J on Windows.
| | 02:53 | I'll press 1 and Enter, and we can see our final
document with the bleed hanging off the side of the page.
| | 03:00 | If I press W, it goes into Preview mode, as we know, and Preview
mode gives us an example, gives us a preview of what it will look
| | 03:08 | like at the trimmed size, the actual page size, so we
don't see the stuff hanging off the edge of the page.
| | 03:14 | That's very, very handy.
| | 03:16 | Now there's one other very, very important thing that you
need to know about bleeding, and that is when you print,
| | 03:21 | or when you export this document, you need to
make sure the settings are correct for a bleed.
| | 03:26 | Let's go to the print document first, and
we'll click on the Marks and Bleed area.
| | 03:33 | If you have used the bleed guides around, then just turn on
this checkbox, the Used Document Bleed Settings checkbox.
| | 03:42 | And when that's on, you automatically
get the proper size for your bleeds.
| | 03:46 | If you did not use those bleed guides that you just
stuck stuff off the side of the page willy-nilly
| | 03:51 | and hope it's going to work - well, that's fine, too.
| | 03:54 | Just turn off this checkbox and make
sure you set these values yourself.
| | 03:58 | Let's say the same 1 pica 6 values on all four sides.
| | 04:02 | So it'll work either way, but you have to set this up.
| | 04:05 | If you don't ensure that these are set up properly, well,
then you're not going to get a bleed when you print.
| | 04:10 | Same things goes for when you export the document.
| | 04:13 | Let's say we'll go to File Export, and
we'll say we want this to be a PDF file.
| | 04:20 | In here we have to do the same thing,
go to the Marks and Bleeds area
| | 04:23 | and either use Document Bleed Settings,
or set them manually yourself.
| | 04:28 | In this case, we did use bleed guides,
so I simply turn on that checkbox,
| | 04:31 | and I know that the bleed will extend off
to the edge of the pages in my PDF file.
| | 04:38 | We can see this by turning on some marks, let's
go ahead and turn that on and export this file,
| | 04:43 | and I'm going to have it view the
PDF after exporting, click export,
| | 04:48 | and it will make the PDF file launch Acrobat
and show me the PDF that I've created.
| | 04:55 | Here's the final PDF with registration marks,
trim marks where it's going to get trimmed down,
| | 05:00 | and bleed marks where you see the
edge of the bleed is going to be.
| | 05:03 | When you're bleeding objects off the side of your page,
| | 05:05 | you should always talk with your printer first
to make sure they're set up to print bleeds.
| | 05:10 | Also, find out how large the bleed should be.
| | 05:12 | Otherwise, you may not get the results that you expect.
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| Understanding slugs| 00:00 | Slugs? The topic of this movie is slugs?
| | 00:03 | Of course, where I live in the great American Pacific Northwest,
| | 00:06 | we have a lot of little animals called
slugs, and I can tell you a lot about them.
| | 00:11 | But I won't, I won't, I'll stick to the non-animal version
of slugs - printing slugs off the side of your page.
| | 00:18 | Now in the last movie, we looked at how to bleed
objects from the page off onto the pasteboard.
| | 00:25 | But sometimes you may want to put objects only on the pasteboard.
| | 00:28 | For example, ad agencies and design firms commonly put their
logo and contact information outside the page boundary.
| | 00:35 | They want it to print on the client proofs, and perhaps even
on press, but they want it to get trimmed off later on so
| | 00:42 | that it doesn't show up on the final printed piece.
| | 00:44 | This is called adding a slug.
| | 00:46 | Let me show you how you can do it.
| | 00:48 | It's very easy to add a slug.
| | 00:50 | I'll just zoom in here, I press Command-Spacebar on the Mac,
or Control-Spacebar, to get the Zoom tool, and zoomed in there,
| | 00:57 | and now I'm just going to make a text frame here, and I'll move
this up here, and I'll say, "This page was created by David."
| | 01:06 | Here we go, it's as simple as that.
| | 01:08 | That's adding a slug.
| | 01:09 | It's on the pasteboard, it's not on the page,
and I can get that to print out just fine.
| | 01:14 | The problem is, I'm not sure exactly how
far off the page is going to get printed,
| | 01:19 | so it would be useful if we had some guides, if we
had a slug guide, and you can do that very easily.
| | 01:25 | If you are creating a new document, it's
easy, right in the New Document dialogue box.
| | 01:29 | Make sure you have More Options turned on here so you can see
these options at the bottom, and you can create a slug guide.
| | 01:36 | I'll just make one off the top of the page,
maybe 6 picas, which is one inch off the top.
| | 01:40 | So that's all you need to do.
| | 01:42 | I'll cancel this, because in this
case, I already have a document.
| | 01:46 | So I go to the File menu, go to Document
Setup, and I'll say I want the same thing.
| | 01:52 | I want a 6 pica (one inch) slug guide off the top of the page.
| | 01:56 | And again, if you don't see this, make
sure More Options is turned on here.
| | 02:00 | Click OK, and you can see that now we've got these little guides
that are hanging off here, little blue guides hanging off,
| | 02:05 | and we know that anything that's going to
sit inside those guides will get printed out.
| | 02:10 | So we have the information, "This was created by
David," and maybe I'll put something else on here.
| | 02:14 | We'll say, "This was output last
at," what time was it output last on?
| | 02:20 | We want to make a variable that will
change from one time to the next.
| | 02:25 | Every time we output it, we want to
have it change what time it was output.
| | 02:29 | So we go to the Type menu.
| | 02:30 | This is just basically creating text variables, which we
talked about in the InDesign Essential Training title.
| | 02:36 | So I go to the Type menu, I choose Text
Variables, I say, "Define a Variable,"
| | 02:41 | and my variable is going to be called What Time Is It?
| | 02:45 | You can call it anything you want.
| | 02:47 | And I'm going to create an output date variable.
| | 02:49 | I don't need this cause I already typed it myself,
so I'm going to say there's no text before,
| | 02:54 | but the format is going to be the hour,
followed by a colon, followed by the minutes,
| | 03:00 | and then whether it's A.M. or P.M., and then the time zone.
| | 03:04 | And how did I figure out these codes?
| | 03:06 | Oh, it was easy, they're just hiding in here in these
little areas here, and a little pop-out menu here.
| | 03:10 | I just simply grabbed it right off here.
| | 03:12 | I'm going to say I want an hour, and then I followed it
by a minute, and then I don't need seconds, and so on.
| | 03:18 | So all of that was just pulled right out of this fly-out menu.
| | 03:21 | Nothing special.
| | 03:22 | We get a preview of what it's going to
look like down here, so I can click OK,
| | 03:26 | and then I'm going to click Insert, and
it inserts it right where I wanted it.
| | 03:30 | That's the time.
| | 03:31 | I'll click Done, and now we're good to go.
| | 03:35 | So we have a slug, it's inside of our slug guides, and
it gives us the information that we wanted in there.
| | 03:42 | So when we actually print our document, or if
we export as PDF, we have to take one last step.
| | 03:49 | So I'm going to go to the File menu and choose Print.
| | 03:52 | Click on Marks and Bleed, and then
we must turn on Include Slug Area.
| | 03:57 | If this is not turned on, then you will not get
anything in this area to print out as a slug.
| | 04:04 | Similarly, if we go to the Export dialogue box and we say,
"Export this as a PDF document," click on Marks and Bleeds,
| | 04:14 | and we can see that we have to turn on slug area here as well.
| | 04:18 | When we do that and actually export
the PDF and open it up in Acrobat,
| | 04:24 | we can see that the information is added
above the page, outside of the trim area.
| | 04:32 | You may have noticed, too, that the time changed.
| | 04:35 | Remember, that's a variable.
| | 04:36 | So whenever it changed, it took just a few
minutes from when I created that variable
| | 04:41 | to when I exported it, so the time changed automatically.
| | 04:45 | There's really no limit to what kind
of items you can put in this slug area.
| | 04:48 | Anything that fits inside this area will be printed.
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|
|
4. Layout TechniquesShuffling pages| 00:00 | Most people, most of the time, want their double-sided
facing pages documents to flow in a predictable manner.
| | 00:07 | For example, if I open the Pages panel here, and I select
the third page and drag it up to before the first page,
| | 00:14 | then InDesign reflows, it reshuffles all the pages so that this
becomes the first page, and the other ones become normal spreads.
| | 00:22 | But every now and again, you have different needs.
| | 00:25 | What if you want a three-page spread in the middle of a document,
or maybe you want to start your document on the left-hand page?
| | 00:31 | In that case, you have to adjust it's shuffling.
| | 00:34 | Actually, here's a little trick.
| | 00:36 | If I really want a document to start on a left-hand page,
the easiest thing to do is to start it on an even number.
| | 00:42 | For example, right now, this is starting on Page 47.
| | 00:45 | If I select that page and go to the fly-out menu in the
Pages panel and choose Numbering and Section Options,
| | 00:51 | I can change that to, let's say, 46 instead of 47.
| | 00:56 | Now it becomes a left-hand page, and all
the other pages flow or shuffle after it.
| | 01:02 | But what if I really did want it to start on Page
47 and still be a left-hand page, can I do that?
| | 01:07 | Sure you can.
| | 01:08 | Here we need to go to the Pages panel fly-out menu and
turn off the option for Allow Document Pages to Shuffle.
| | 01:15 | When you turn that option off, InDesign freezes
the layout more or less in just the way it is.
| | 01:21 | Now I can go back to this page, go to Numbering and
Section Options and set the page number back to 47.
| | 01:27 | I just press the up arrow (?)
| | 01:29 | on my keyboard, and then I press Enter
or Return to click the OK button,
| | 01:33 | and we can see that this page now starts
on Page 47, but it's a left-hand page.
| | 01:38 | Because that Shuffle Pages option is turned off, I can actually
move pages anywhere I want in my document and they'll stick.
| | 01:44 | For example, I just drag that page up, and you
can see we now have a three-page spread here.
| | 01:49 | I can drag this page up on this side, and
we can have a three-page spread over here.
| | 01:53 | Sometimes you want a multi-page spread
in the middle of a document,
| | 01:56 | but you still want Document Shuffling
turned on, and you can do that, too.
| | 02:00 | Let me revert this document so we can go back to where we were.
| | 02:07 | Now I'm going to select this spread, Pages 48 to 49, and
I'm going to turn off Allow Selected Spread to Shuffle.
| | 02:15 | I'll do the same thing for this spread, too.
| | 02:18 | Notice that when I turn that option off, InDesign
places brackets around the page numbers to indicate
| | 02:26 | that these are island spreads, sort of
floating in the middle of a shuffling document.
| | 02:30 | Now if I drag a page up and drop it next to this spread,
it becomes a three-page spread, just like I saw before,
| | 02:37 | and I'll drag this other page up to be on the left side here,
and this is the way you'd create a three-page folding spread,
| | 02:43 | maybe one of these pages would fold in to the others.
| | 02:47 | But the rest of the document shuffles as normal.
| | 02:49 | As you can see, turning Shuffle Pages on and off gives you
a lot of flexibility when moving pages around your document,
| | 02:56 | and that's what InDesign is all about, right?
| | 02:58 | Flexibility.
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| Scaling objects to a specific size| 00:00 | In the last chapter, I quickly demonstrated how you
can scale an object to any specific size you want,
| | 00:06 | but this feature is so misunderstood and hidden,
that I feel that it deserves another look.
| | 00:11 | Adobe changed the way that scaling works
in CS3, and it drives some users crazy.
| | 00:16 | Specifically, in CS2 you could choose
a graphic frame like this one,
| | 00:20 | go up to the Control panel, and change its width or its height.
| | 00:24 | For example, I could change this to, let's say, 20 picas.
| | 00:28 | If you did this in CS2, it would scale both
the frame and the image inside the frame,
| | 00:34 | or you could turn off this feature called Transform
Content, and it would scale only the frame.
| | 00:39 | Well, in CS3, it's different.
| | 00:42 | In CS3, whenever I change the height or width and press
Enter or Return, it scales just the frame, not the content.
| | 00:49 | And there is no Transform Content feature
any more, so what's an InDesign user to do?
| | 00:53 | Well, let me undo this, Command-Z on the Mac, or
Control-Z on Windows, and instead of changing the width
| | 00:59 | or the height field here, I'm going to change the scale value.
| | 01:04 | But this says 100%.
| | 01:06 | I don't know what percentage I need
to type in here to make this 20 picas.
| | 01:11 | Well, that's OK because InDesign does the math for you.
| | 01:14 | If I type 20 picas here and press Enter, it will scale it
whatever percentage I need to make this 20 picas large.
| | 01:22 | Note that it scaled both the width and the height
because the Scale Link button was turned on here.
| | 01:28 | It's still not a perfect system.
| | 01:29 | For example, you still can't see the actual percentage applied
| | 01:32 | to the image unless you use the Direct
Select tool and click on the image itself.
| | 01:37 | Now we can see the percentage there, but it's a percentage
and not the value, not that value that we typed in.
| | 01:43 | Well, I guess they had to leave some room
for improvement for when CS4 comes out.
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| Aligning objects to the page| 00:00 | In the Essential Training title, we looked
at how to align one object to another.
| | 00:05 | Now let's go further and look at how
we can align things to the page itself.
| | 00:09 | I've got my Javico sheet document
open here from the exercise files,
| | 00:13 | and I'm going to jump to the second
page by pressing Shift-Page Down.
| | 00:17 | Let's say I want to center these objects on my page.
| | 00:21 | I'm going to select all three of those objects by using
Shift-Click with the Selection tool, and I'm going to group them
| | 00:27 | with Command-G on the Mac, or Control-G on Windows.
| | 00:30 | That way, they act as a single object whenever I move them.
| | 00:34 | The easiest and fastest way to center an object
on your page is to cut it to the clipboard.
| | 00:39 | I'll use Command-X on the Mac, or Control-X on Windows, and
then go to Fit in Window mode, which is Command-0 on the Mac,
| | 00:46 | or Control-0 on Windows, and then paste with
Command-V on the Mac, or Control-V on Windows.
| | 00:52 | When I chose Fit in Window, InDesign centered the page on my
screen, and when I pasted this object, this group of objects,
| | 01:00 | it centered that group on the screen as well.
| | 01:03 | And therefore, the object is pretty
much centered on the page itself.
| | 01:07 | Now I say pretty much, and that's
because it's not exactly in the center.
| | 01:11 | There's often a rounding error, which
leads it to be maybe a quarter point,
| | 01:15 | or maybe a half point off, but it's very, very close.
| | 01:19 | Well, what if we want to get exactly
right in the center of the page?
| | 01:23 | Well, you can do that, you just have to use the Align panel.
| | 01:26 | And you find the Align panel under the Window menu.
| | 01:30 | Inside the Object and Layout submenu, choose Align.
| | 01:36 | Ordinarily, people use the Align panel to align one object to
another, for example, align them all along their left edges.
| | 01:42 | But you can also use this pop-up menu to tell InDesign
to align the current objects, the selected objects,
| | 01:48 | not to each other, but to the margins, the page, or the spread.
| | 01:52 | For example, if I choose Align to Page,
I can say, "Center these exactly,"
| | 01:57 | and now I know that it's exactly in the center of the page.
| | 02:00 | Or I could say, "Align them on the right edge of the page."
| | 02:03 | So the right edge of the object will be
aligned to the right edge of the page.
| | 02:07 | You have a lot of control over how
objects will fit on your page here.
| | 02:12 | Again, I will align these vertically and
horizontally by clicking on these buttons.
| | 02:18 | By the way, if your monitor is wide
enough, then you'll see the same options,
| | 02:22 | including this pop-up menu, up here
in the Control panel by default.
| | 02:26 | But because I'm working on a smaller
screen, I don't see that here.
| | 02:30 | Let me show you another align feature here.
| | 02:32 | I'm going to duplicate this group by
holding down the Option key on the Mac,
| | 02:35 | or the Alt key on Windows, and I'll
simply duplicate this three times.
| | 02:40 | Now we have three exact duplicates.
| | 02:42 | I'll select all of them by Shift-Clicking
with a Selection tool, and I can say,
| | 02:45 | "I want to spread these out across the page
from the left margin to the right margin."
| | 02:50 | I'll go to my Align panel, I'll choose Align to Margins,
not to the page in this case, and I'm going to say,
| | 02:57 | "I want to distribute these objects evenly across the page."
| | 03:01 | And I'll click on one of the Distribute
Objects buttons in the Align panel.
| | 03:05 | I'll choose Align to Margins because I want to
align these within the margins in this case,
| | 03:09 | and then I'll click on any three of
these Vertical Distribution buttons.
| | 03:13 | In this case, because the objects are the same size, it
doesn't matter which of the three buttons I click on.
| | 03:19 | Now let's say I want to vertically align them.
| | 03:21 | Easy enough to do, click on this and
it'll align them vertically on the page.
| | 03:25 | Because I used Distribute Objects, I know there's exactly
the same amount of space between each of these objects,
| | 03:31 | so it's a very fast way to lay out these objects on the page.
| | 03:34 | Putting objects in their right place in a precise, consistent,
and efficient way is crucial in a production workflow.
| | 03:41 | Use these features, and you'll be
making perfect pages in no time.
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| Advanced Libraries| 00:00 | In the Essential Training title, we looked at how
you can put often-used objects in a Library panel,
| | 00:05 | and then pull them out whenever you need them.
| | 00:08 | Let's revisit Library so I can show you some
even cooler aspects of this awesome feature.
| | 00:12 | I'll create a new library here by going to the File
menu and choosing from the new submenu, Library.
| | 00:18 | I'll go ahead and just leave this called Library, click Save,
| | 00:21 | and now the Library panel appears
in my workspace as a floating panel.
| | 00:26 | I'll resize it and move it over just to a place
that's a little bit more convenient for me.
| | 00:31 | And as we saw in the Essential Training title, I
can select objects on my page and just drag them
| | 00:36 | onto my Library to add them as a single object.
| | 00:39 | All three of those image frames are
added as a single library object here.
| | 00:43 | But what if I have a lot of objects on my page
that I want to put into my library, can I do that?
| | 00:48 | Sure. I'm going to delete the objects that I don't want added
to the library, or you could put them on an invisible layer,
| | 00:56 | you know, a hidden layer, or a locked layer,
like this background art is on a locked layer.
| | 01:01 | Now I go to the Library panel and I choose
from the fly-out menu Add Items on This Page.
| | 01:07 | InDesign warns me that anything that's on a locked
or invisible layer won't come along for the ride.
| | 01:12 | That's fine, I'll click OK, and we can see that all the
objects on the page have been added as a single library item.
| | 01:18 | Here's a third option.
| | 01:19 | I'll go to the fly-out menu and I'll choose
Add Items on This Page as Separate Objects.
| | 01:25 | In this case, it goes through and it says anything that's not on
a locked layer, or an invisible layer, then add it to my library.
| | 01:33 | You can see that each of these objects has been
added as a separate library object one at a time.
| | 01:38 | Now the Library panel is kind of like a little database.
| | 01:41 | It keeps track of all kinds of information
about those objects that are in here.
| | 01:45 | For example, I can double-click on one of these
library items, and it opens the item information.
| | 01:50 | It automatically grabbed the name of it
here, I could change that if I wanted to,
| | 01:55 | but I'm just going to add something to the description here.
| | 01:57 | I'll call this Really Cool Teapot.
| | 02:00 | OK, and I'll click OK, and now we have
the name here, but behind the name,
| | 02:06 | sort of hidden information, like metadata, is the description.
| | 02:10 | We can do the same thing for some text here as well.
| | 02:12 | I'll double-click on this text that is this dragon
well text up here, and I'll call this Dragon Well,
| | 02:18 | and I'll put in the description beveled headline here.
| | 02:22 | OK? Click OK, and now both of these are added here.
| | 02:27 | Note that it changed the order of the items
in the library when I changed its name.
| | 02:31 | That's because the library usually sorts things alphabetically.
| | 02:34 | You can change that if you want by going to the
Library fly-out menu, going down to Sort Items,
| | 02:39 | and choosing by name, or the newest, oldest, or even by type.
| | 02:44 | For example, you might want all the
graphics together and all the text together.
| | 02:47 | When you have a lot of objects in the library, it's helpful
to be able to search for them, and you can do that by clicking
| | 02:52 | on this little binoculars icon, or by going
to the fly-out menu and choosing Show Subset.
| | 02:59 | Either way you get the Show Subset dialogue box, and
you can type in what parameters you want to look for.
| | 03:04 | For example, we're going to search the entire
library for any object that is an image,
| | 03:10 | or we could choose all the PDF objects,
or all the text objects, and so on.
| | 03:15 | Click OK, and you can see that four images show up here.
| | 03:19 | We could do the same thing by changing
the object type to description.
| | 03:23 | We could say, "Find me all the ones
that have the description of teapot."
| | 03:27 | When I click OK, it'll search through the entire
library and find me my one image which is a teapot.
| | 03:33 | Let's go back and show all the images again.
| | 03:35 | From the fly-out menu I'll choose Show All, and
I'm going to show you one other library feature.
| | 03:41 | Let's say I move these around so that
I have a slightly different effect.
| | 03:45 | I really wish this library item would
be updated to reflect that same effect.
| | 03:49 | Well, I can do that.
| | 03:50 | I'll select all three of those, come over,
click on the library item I want to update,
| | 03:56 | and then choose Update Library Item from the fly-out menu.
| | 04:00 | It simply throws away the item that was in the library,
and it replaces it with whatever is selected on the page.
| | 04:06 | Also, remember that you can have more
than one Library panel open at a time.
| | 04:10 | You know, with all of these features, you can make your
libraries act almost like a mini asset management system
| | 04:15 | that will help you stay organized as you work.
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| Advanced Anchored Objects| 00:00 | Back in the Essential Training title, we looked at how to
anchor an object into a particular place in a text story
| | 00:06 | so that if the text moves, the object does too.
| | 00:09 | In this movie, we're going to go deeper into anchored objects
| | 00:12 | and decipher InDesign's incredibly
confusing anchored objects dialogue box.
| | 00:16 | I have my Javico magazine document open here from the
exercise files folder, and I'm going to jump to Page 53.
| | 00:22 | I'll press Command-J on the Mac, or Control-J on Windows, type
53 and then click Enter or Return, and that takes me to Page 53.
| | 00:31 | I see this little object sitting off in
the margin here, let's zoom in on that.
| | 00:35 | I'll double-click on the text to switch the Type tool,
and press Command-2 on the Mac, or Control-2 on Windows,
| | 00:41 | and then Option-Spacebar to get my grabber
hand, that's Alt-Spacebar on Windows,
| | 00:46 | and I can see that this object is
just sitting out here in the margin.
| | 00:49 | I can move it anywhere I want, it's
not anchored anywhere into the text.
| | 00:53 | To anchor that, as we learned in the Essential Training title,
I go to the Edit menu and I say Cut, and then I'll double-click
| | 01:00 | where I want to place it so that it
switches to the Type tool, and then I paste,
| | 01:04 | and that anchors that object into that position in the line.
| | 01:08 | If the text changes, let's say I come up here and I
start typing, you can see that the object moves with it.
| | 01:14 | Let me undo that with Command-Z, or Control-Z on Windows.
| | 01:18 | Now, we're going to look at the options for this object,
so I'll select the anchored object with a Selection tool,
| | 01:25 | I'll go to the Object menu, scroll down
to Anchored Object, and choose Options.
| | 01:32 | Let's move this dialogue box out of the way so we can see it
better, and we can see that by default this is an inline object.
| | 01:38 | Inline objects mean I can only move them up or down about a line,
not very far, only about a line up or down in this paragraph.
| | 01:47 | You can't move them left or right, they'll just
stay inline wherever they happen to be anchored.
| | 01:51 | I could also change this to an above-line object, and an
above-line object is an object that sits between the line
| | 01:59 | in which it's anchored and the line above it.
| | 02:01 | And InDesign ignores leading, ignores space before, all of that,
| | 02:05 | and it always makes space for that
object, no matter how big it is.
| | 02:09 | And we can actually do more things with an above-line object.
| | 02:12 | For example, we could set the alignment to center, and
then perhaps give this a little bit more space after,
| | 02:18 | and we can see that now we've got this
graphic sitting between these two paragraphs.
| | 02:23 | This is very helpful when you want to have
sort of an inter-paragraph story marker,
| | 02:27 | or a little break marker, or something like that.
| | 02:29 | But what I really want is to place this graphic
not in the middle of the story, but out here,
| | 02:34 | outside of the text frame itself in the margins.
| | 02:36 | So I'm going to change the Position pop-up menu to Custom.
| | 02:40 | A custom-anchored object can be anywhere
on the spread you want to put it.
| | 02:44 | In the Essential Training title, we saw that I could simply
click OK here and drag this object to anywhere I want to put it.
| | 02:52 | For example, I just drag this out into the margin, and maybe
that's good enough, but if I really want to have precision
| | 02:57 | where that's placed, if I really want to be explicit
about where that's going to sit on my page, well,
| | 03:03 | then I'm going to have to tackle that dialogue box.
| | 03:05 | I could go back to the Object menu to choose
the Anchored Object Options, but in this case,
| | 03:10 | I'm going to right-click with a two-button mouse,
or if I only have a one-button mouse on a Mac,
| | 03:15 | then I will press Control-Click, and from the
Context menu, I'll choose Anchored Object Options.
| | 03:21 | You see you get all the same controls here.
| | 03:23 | Click Options, move this dialogue box out of the way and -
oh, this is a dizzying array of features here, of controls,
| | 03:31 | but if you take it one at a time, it's really not so bad.
| | 03:35 | The first thing you need to do in this dialogue
box is make sure the Preview checkbox is turned on.
| | 03:40 | If that's not on, you're going to get lost very quickly.
| | 03:43 | Next thing you need to do is choose whether or not
this object should be positioned relative to spine.
| | 03:49 | That is, should the object be in a different position,
whether it's on a right-hand page or a left-hand page?
| | 03:55 | You then need to choose the anchored object reference
point, and usually this is a single reference point proxy,
| | 04:03 | just like the one up in the Control panel, and this
says, "What part of the object are we talking about?
| | 04:09 | What part of that object is being positioned?"
| | 04:12 | For example, right now it's set to lower right
corner, and that means the lower right corner
| | 04:16 | of this object is the one that we're going to be positioning.
| | 04:19 | If we set this to upper left corner,
you can see that it suddenly moved.
| | 04:23 | It suddenly moved.
| | 04:24 | Why did it move?
| | 04:25 | Because now it's positioning the upper left corner of the object.
| | 04:29 | If relative to spine is turned on, then you're
saying which part of the object on each page,
| | 04:35 | and these little reference icons always mirror each other.
| | 04:39 | So, for example, right now we're saying on a right-hand
page, anchor the upper right corner of the object,
| | 04:45 | but if it's on the left-hand page, then
anchor the upper left corner of this object.
| | 04:50 | But anchor it where?
| | 04:51 | That's what the anchored positions area is for.
| | 04:54 | The reference point's controls will make no sense to you
at all unless you've tackled the X or Y pop-up menus,
| | 05:00 | so let's skip past that and look at X Relative To.
| | 05:04 | This let's you control where the horizontal
position of that object should be based on.
| | 05:09 | You have various controls in this pop-up menu, including
the default, which is at text frame, so set the -
| | 05:15 | in this case the upper right corner of that
object based on the edge of the text frame.
| | 05:20 | But we can also say have it be based on the anchor marker.
| | 05:23 | If it's based on the anchor marker, then as that anchor
moves left or right, the object will move as well.
| | 05:29 | If you wanted to position it precisely on a page instead of based
on the text frame, you could choose one of the page options.
| | 05:36 | But in this case, we're going to simply
leave it based on the text frame.
| | 05:40 | Where is it positioned based on the text frame?
| | 05:42 | Well, that's what the X offset and
the reference point is all about.
| | 05:46 | I find that it's useful to read the
Anchored Object Options dialogue box
| | 05:49 | out loud while I'm working, just in
order to understand what's going on.
| | 05:53 | So this says the upper right corner of this object is going to
be based at minus (-) 7 picas from the center of the text frame.
| | 06:03 | See how that works?
| | 06:04 | If we wanted to base it on the left edge of the
text frame, we would click on the left point
| | 06:09 | of the reference point area of the anchored position section.
| | 06:12 | Is it getting confusing yet?
| | 06:14 | A little bit, but you'll get the idea quickly here.
| | 06:16 | Now we can see that the upper right corner
is minus (-) 7 picas from the left edge.
| | 06:22 | If we change the X offset to 0 and then press Tab,
| | 06:26 | we can see that the upper right corner is now 0
points away from the left edge of the text frame.
| | 06:32 | That's how that's working.
| | 06:34 | Alright, let's increase this a little bit, maybe make
it 9 points away from the edge of the text frame.
| | 06:39 | Now we'll go on to the Y Relative pop-up menu.
| | 06:42 | That's the vertical positioning of this object.
| | 06:45 | We have lots of controls here, including basing it on the line
itself, in this case the baseline of the line, or the cap height,
| | 06:52 | or the top of the line, or the top of
the column edge, or the text frame.
| | 06:56 | We can even, again, base it on the page if we want
very precise positioning based on the overall geometry
| | 07:03 | of the page instead of where it sits in the text.
| | 07:06 | In this case, we're going to choose Line Cap Height because
this is now based on the tallest capital letter in this line.
| | 07:13 | So we can say the Y offset should be 0 points
away from the top of this capital letter here.
| | 07:20 | The Keep Within Top Bottom Column Boundaries checkbox
only appears when you choose one of the line options.
| | 07:27 | If you choose column, text, or page,
then this will be grayed out.
| | 07:30 | But what this checkbox means is as the text moves up or
down, and therefore this anchored object moves up or down,
| | 07:37 | do you want the anchored object to stay within the margins?
| | 07:40 | If it's OK for it to go outside of
the margins, then turn this off.
| | 07:44 | But in this case, I want to make sure that
object always stays within my text boundaries,
| | 07:48 | my column boundaries, which is basically the margin.
| | 07:50 | So I'm going to keep this checkbox turned on.
| | 07:53 | I'm also going to turn on prevent manual positioning, because
when that's turned off, I might accidently click on it
| | 07:59 | and drag it, and that would completely throw everything
I've done here in this dialogue box out the window.
| | 08:03 | So let's turn that on, and it locks it right in place.
| | 08:06 | I'll click OK, and we can see that
now that object is anchored in place.
| | 08:11 | I'll scroll down a little bit, and I will remove some text here.
| | 08:15 | I double-clicked to switch the Type tool, selected some
text, and I'll hit Delete, and you can see that it anchors
| | 08:20 | in place, it moves with the text, which is great.
| | 08:23 | Let's go back to Fit Spread in Window mode.
| | 08:25 | So Command-Option-0 on the Mac, or Control-Alt-0 on Windows.
| | 08:30 | I'll delete a lot of text here, enough text to pull this object
onto the left-hand page, and you can see that because Relative
| | 08:37 | to Spine was turned on, the object flipped
from going on the left side of that text frame
| | 08:43 | to it's now on the right side of the text frame.
| | 08:46 | I'm going to zoom in here one more time by clicking in that
part of the text, press Command-2, or Control-2 on Windows,
| | 08:52 | and I want to show you two more things having to
do with anchored objects that are pretty important.
| | 08:56 | First, I'll go back to the Selection tool, and I'm
going to come out of Preview mode by pressing W
| | 09:01 | so we can see all our frame edges and
the little anchored icon and so on.
| | 09:06 | The first thing I want to point out is if I click on this
object and go to the View menu, I can turn on Show Text Threads,
| | 09:13 | and that shows me exactly where in
the text this object is anchored.
| | 09:18 | See that dashed line?
| | 09:20 | That dashed line means it's anchored
to this position way over here.
| | 09:24 | OK? That's the first thing I need to point out.
| | 09:26 | Second thing is, what if I want to take it out of the text story?
| | 09:29 | What if don't want it to be an anchored object
anymore, but I want to keep it in the same place?
| | 09:33 | Well, I could cut and paste it, I suppose,
using Paste in Place, that should work.
| | 09:37 | But there's an even easier way, and that is to go to the
Object menu, choose Anchored Object, and then choose Release.
| | 09:44 | Release will actually take it right out of the story, but
leave it in place, and that's what we were aiming for here.
| | 09:50 | I'm going to undo that with Command-Z, or Control-Z, because I
still want this anchored to show you the last issue having to do
| | 09:57 | with anchored objects that we need to deal with.
| | 09:59 | I'll right-click on this, or Control-Click with a one-button
mouse on a Mac, and choose Anchored Object Options,
| | 10:05 | and I'm going to turn off Prevent Manual Positioning
so that I can position it anywhere I want on my page.
| | 10:11 | I'll drag it onto the left, and I want to
show you something very interesting here.
| | 10:14 | By going to the Windows menu and turning Text
Wrap on, and I'll actually click on the Text Wrap,
| | 10:20 | and we'll see something quite interesting here.
| | 10:22 | It looks like text is wrapping around the object now, right?
| | 10:25 | Let me move this over a little bit, and
you can see that it actually is wrapping,
| | 10:30 | but only on the lines after the anchored object.
| | 10:33 | This is a very interesting and can be a
very frustrating aspect of Anchored Objects.
| | 10:38 | Anchored Objects with Text Wrap only affect
lines after the line they're anchored in.
| | 10:44 | So this is actually anchored in this first
line, so it has no effect on that line at all.
| | 10:49 | If I move it up here, it also has no effect on this line up here,
but it will affect any line after the line that it's anchored on.
| | 10:56 | Let's go ahead and change this to make it force around the
left edge of this object only, that's a little prettier.
| | 11:02 | If I needed it to wrap this first line, well, I need to
put it on a previous line, and one way to do that would be
| | 11:08 | to select this object - I'll go ahead and just
double-click here to place the cursor in the text frame,
| | 11:14 | then I'll go to the Edit menu, choose Edit in Story Editor,
| | 11:17 | and you can see that this anchored
object is represented by this icon.
| | 11:23 | And I can select that icon in Story Editor and use
drag and drop to drag this up to the previous line.
| | 11:30 | I'll go ahead and close that, and then we can
see that we can position this object again -
| | 11:36 | it's positioned to the wrong place now - but we
can position the object, and because it's anchored
| | 11:41 | up here, it will affect all of these lines down here.
| | 11:44 | Obviously, it takes a little time to
get your head around anchored objects
| | 11:48 | and how to use them, but once you do, you'll be rewarded.
| | 11:52 | Anchored objects can be used in so
many ways to save you time and effort.
| | Collapse this transcript |
| Non-printing objects| 00:00 | Maybe you're having trouble printing your documents
for some reason, and you suspect this image.
| | 00:05 | This image - maybe it's corrupted
and it's causing you print problems,
| | 00:08 | and you'd like to turn it off temporarily
to see if that helps your printing.
| | 00:12 | Or maybe you've included an object in your document page
that you want to see on your screen but not in print.
| | 00:18 | Well, in either case, you're in luck because InDesign
let's you make any object on your page non-printing,
| | 00:23 | and this feature lives in the Attributes panel,
which you can find under the Windows menu.
| | 00:29 | Simply select the object, open the
Attributes panel, and turn on Non-printing.
| | 00:34 | Now this object won't print, and it won't be exported
in PDF files, or EPS files, or anything like that.
| | 00:40 | Here's another way to make non-printing objects.
| | 00:42 | Go to the Layers panel, choose New Layer
from the fly-out menu, give it a name,
| | 00:48 | I'll call it Don't Print Me, and
turn off the Print Layer checkbox.
| | 00:53 | Now it's a non-printing layer.
| | 00:55 | Click OK, and you'll notice that non-printing
layers appear in italic in the Layers panel,
| | 01:01 | just as a visual cue that this is something
different, this is a non-printing layer.
| | 01:05 | If I choose a couple of these objects on my page and drag them
| | 01:09 | up onto the non-printing layer, you
will see that they are now non-printing.
| | 01:13 | Well, actually you can't see that they're non-printing
right now, but if you go into Preview mode, you can.
| | 01:18 | I'll press W to jump into Preview mode, and you'll see that
all the non-printing objects on my page, the guides disappear,
| | 01:25 | the non-printing objects, things that
have a non-printing attribute disappear,
| | 01:29 | and anything on non-printing layers disappears.
| | 01:32 | So Preview mode is a great way to get a sense
of what will print and what won't print.
| | 01:36 | I'll jump out of Preview mode, you can press W, or
choose normal from the Preview submenu at the bottom
| | 01:42 | of the Tool panel, and the images and text appear again.
| | 01:47 | Let me show you one use that I make of non-printing objects.
| | 01:50 | Sometimes I just want to leave myself a little note, so I'll
switch the Type tool by pressing T, I'll draw out a frame here,
| | 01:56 | and I'll type myself a note, "Don't
forget to spell check this file."
| | 02:02 | I've already created a note paragraph style in this document,
| | 02:05 | and I can apply that by pressing Command-Return
on Mac, or Control-Return on Windows.
| | 02:10 | That opens the Quick Apply panel, as
you know, and I'll type Note Here.
| | 02:15 | Then I'll hit Return or Enter and it applies that style.
| | 02:18 | That's just a little faster than having
to open the Paragraph Styles panel.
| | 02:22 | Great, now I've got my note in big size so I can see it easily.
| | 02:26 | I might as well select this object and open the color
panel, and I'm going to use a nice light yellow on this.
| | 02:35 | And you know why I choose yellow?
| | 02:36 | Because it looks kinda like a Post-it Note, that's all.
| | 02:38 | Just kinda looks like a Post-it Note,
and it stands out easily on my page.
| | 02:42 | Now it's currently on a non-printing layer, but just in case it
wasn't, I'm going to also turn on non-printing, because every now
| | 02:49 | and again these objects might migrate
accidently to another layer if I dragged it
| | 02:53 | onto the wrong layer, or copy and pasted it or something.
| | 02:55 | So I'm going to turn on non-printing just in case.
| | 02:58 | And since I'm going to be making more than one of these
objects, I might as well turn it into an object style.
| | 03:03 | So in the Object Styles panel, I'll say, "Give me a new
object style," and I'm going to call this a Note Frame.
| | 03:09 | I'm going to make sure that Apply Style to Selection is turned on
so that this style will automatically get applied to the object
| | 03:17 | that is currently selected on the page, and
I might as well give this a drop shadow just
| | 03:21 | to make it a little bit more 3D effect,
and I'll go to the Paragraph Styles pane.
| | 03:26 | I'll make sure that's turned on because I want to
make sure that whenever I apply this object style,
| | 03:30 | it automatically assigns the note
style to the text inside the frame.
| | 03:35 | Great, click OK, it applies it, I've got my drop shadow.
| | 03:39 | That's kind of cool.
| | 03:39 | Now next time I want a note on my page, I just come here
and I can say, "Hey, check this out," and all I do is go
| | 03:49 | to the Object Style and click on Note Frame, and boom, I've
got the paragraph style, I've made it look like a Post-it Note
| | 03:56 | on my page with drop shadow, and it's non-printing.
| | 03:59 | So if I go into Preview mode by pressing
W, I can see that they disappear.
| | 04:03 | They're not here, but they are here.
| | 04:05 | Note that you can actually set the non-printing
status for an image inside the frame.
| | 04:10 | That is, if I use the Direct Select tool, and I'll double-click
to switch to the Direct Select tool, and click on the image,
| | 04:16 | I can set the non-printing status of this image
using the Attributes panel separately from the frame
| | 04:22 | so the image won't print, but the frame will.
| | 04:25 | In fact, if you're opening Quark
Express documents inside InDesign,
| | 04:29 | check the non-printing status of all your images carefully.
| | 04:32 | I've heard of a bug in which some images inside some
Express files mistakenly get non-printing turned on.
| | 04:39 | Not the frame, but the image inside the frame.
| | 04:41 | It's rare, but it is something to watch out for.
| | Collapse this transcript |
| Adding and using Notes| 00:00 | In the last movie, we looked at one way to
create non-printing notes in your documents.
| | 00:05 | But if you're anything like me and
your memory isn't like it used to be,
| | 00:08 | you probably want to leave notes for yourself all over the place.
| | 00:11 | Well, the good news is that InDesign has a notes
feature, so you can leave notes to yourself,
| | 00:17 | or for others if you're handing your
document off to someone else.
| | 00:20 | However, you can only add these kinds of
notes inside a text frame as part of a story.
| | 00:25 | Let me show you how it's done.
| | 00:27 | I'm going to start by adding a note to this
story, so I'll select it and just zoom in to 200%
| | 00:32 | with Command-2 on the Mac, or Control-2 on Windows.
| | 00:35 | I'll double-click with a Selection tool to switch over to
the Type tool, and place the cursor where I want the note.
| | 00:42 | The notes features show up in several places
in InDesign, including the Notes menu,
| | 00:47 | and also the Notes panel, which I
can choose from the Window menu.
| | 00:51 | To add a new note to the story, I can
choose New Note from the Notes menu.
| | 00:56 | You'll see two things happen, a small hour glass icon shows
up in the story, and the focus changes to the Notes panel.
| | 01:03 | Here I can start typing, "Here is my note," as simple as that.
| | 01:09 | When I want to add a second note, I simply click wherever
else I want a note, let's say next to the green tea here,
| | 01:15 | and I could go to the Notes menu, or
I could just click here on New Note.
| | 01:20 | Now I've got another note, "Green tea or black tea?"
| | 01:25 | I'm asking a question there.
| | 01:27 | You see? The note gets added right here.
| | 01:30 | When you're adding notes, you should not select text.
| | 01:34 | You can't add a note to selected text, you can
only add a note when the text cursor is flashing.
| | 01:39 | Besides the note itself, the Notes panel shows me information
about the note, including when it was created and how long it is,
| | 01:46 | who wrote the note - it says unknown user name
because it has no idea who I am right now -
| | 01:51 | and also the total number of notes in this document.
| | 01:54 | Let's change that user name.
| | 01:56 | You can change your user name, tell InDesign who
you are, by going to the File menu and choose User.
| | 02:02 | I'll type in my name, and I can even change my color.
| | 02:06 | Instead of gold, let's say I'll go to fuchsia, click OK, and
now it doesn't change any notes that were already created
| | 02:13 | because those were created by unknown user,
but I come down here and add a new note,
| | 02:18 | you'll see that now this one is by
me, and the color reflects that.
| | 02:26 | Here's another way to add notes to my story.
| | 02:28 | I can simply select some text, go to the
Notes menu, and choose Convert to Note.
| | 02:34 | That text becomes a note.
| | 02:36 | I can see that note by clicking on
the top part of the hourglass icon.
| | 02:41 | It shows up here.
| | 02:43 | If I later decide that I want that text in the story
itself, it's easy to change back to text from a note
| | 02:48 | by going to the Notes menu and say Convert to Text.
| | 02:52 | There's no longer a note here, just the text.
| | 02:55 | As you may know from earlier movies, the Story Editor is
one of my favorite features, and I can see these notes
| | 03:01 | in Story Editor simply by clicking inside a story, going
to the Edit menu, and choosing Edit in Story Editor.
| | 03:08 | Here you can see the two notes that are in this story,
and not only can I see them, I can even edit them.
| | 03:12 | I could click inside this note and start typing.
| | 03:17 | That text was added to the note, not to the story itself.
| | 03:21 | I'm going to close this Story Editor, and I'm going
to zoom out on this document and deselect everything
| | 03:26 | by pressing Command-Shift-A on the
Mac, or Control-Shift-A on Windows,
| | 03:30 | and I'm going to pretend that I simply opened this
document fresh, and it's a big document and I have no idea
| | 03:35 | if myself or anyone else added notes to this document.
| | 03:39 | How could I find out if there's notes in here?
| | 03:41 | Well, here's the trick.
| | 03:42 | Simply click inside any text frame,
doesn't matter if there's notes or not,
| | 03:46 | and then go to the Notes panel and click on Next Note.
| | 03:50 | This button here will show you the next note in the document.
| | 03:53 | It jumps right to the note.
| | 03:55 | Not only that, it also tells you that there's three notes in
my document, not in the story, but in the entire document.
| | 04:01 | I can now navigate through them by clicking on Next or
Previous, and it takes me from one note to the next.
| | 04:07 | After I select a note, I can click on this third button, which
is the Go to Note Anchor button, and it will actually take me
| | 04:14 | and place my cursor right where that note is in the text story.
| | 04:18 | If I zoom in, let's say to 400%, Command-4 on the Mac, or
Control-4 on Windows, we can see that it's highlighted here.
| | 04:25 | That's a quick way to navigate around
your document from note to note.
| | 04:29 | The notes feature is even more helpful if you have
editors who are using Adobe InCopy because your notes show
| | 04:35 | up there, too, and their notes will show up for you.
| | 04:37 | But even if you're just working on your
own, adding notes is an easy way to prop
| | 04:42 | up that rapidly failing memory and to
become really efficient in InDesign.
| | Collapse this transcript |
| Using Data Merge| 00:00 | Almost everyone has to format data that comes
from a database or a spreadsheet sooner or later.
| | 00:05 | Perhaps it's a company directory, or a
thousand different personalized labels.
| | 00:10 | When you have a bunch of data that you need to lay
out, the first thing you should think of is data merge.
| | 00:15 | It's a whole database publishing feature
hidden inside of InDesign's panels.
| | 00:19 | Here, let me show you.
| | 00:20 | We'll go to the Window menu and choose Automation.
| | 00:24 | Under the Automation submenu, we choose Data Merge.
| | 00:27 | Now Data Merge is not as powerful as some of the other
third-party database tools that are on the market.
| | 00:32 | For example, I've gotten great results from a plug-in
called InData from Em Software, that's emsoftware.com.
| | 00:39 | But while InData does far more than
Data Merge, it also costs more.
| | 00:42 | If you can make it work with Data Merge, which comes
with InDesign, then obviously that's the thing to do.
| | 00:48 | In order for Data Merge to work, you need two things: A file with
all the raw, unformatted data, which is usually a tab delimited
| | 00:55 | or a comma delimited file, which you can export from pretty
much any spreadsheet or database; and you need an InDesign file
| | 01:02 | that has a template that says where the
data should go and how to format it.
| | 01:06 | I'm going to switch to Microsoft Excel for a moment
to show you the data that I have to work with.
| | 01:10 | It's not a lot of data, but you can imagine this
could be lots and lots of pages worth of data.
| | 01:15 | We have the item name, the price, a code, the picture (which
I'll talk about in just a moment), and the introduction date.
| | 01:22 | We want to import this information into our InDesign
template, put in the right thing in the right place.
| | 01:27 | Notice that the first line must be field names.
| | 01:31 | You can't just start with French press.
| | 01:33 | We have to start with the actual names of
each of these fields - item, price, code,
| | 01:37 | etc. That's what Data Merge is going to be using.
| | 01:39 | I'll show you that in just a minute.
| | 01:41 | In this column, we have a bunch of pictures, and you
can see that these are the names of the files on disc.
| | 01:47 | If you're going to be importing pictures, the
label of that column must start with an @ sign.
| | 01:53 | I don't know why, that's just the way it is.
| | 01:55 | I guess that tells Data Merge, "Hey,
this is all going to be pictures."
| | 01:58 | Now in this case, the data file is going to be in the same folder
as these images, so I don't have to type specific file paths
| | 02:07 | to the images, but if the images were elsewhere,
then I would have to actually type a path.
| | 02:12 | A random note there, if you're typing paths on Windows, you
need to use backslashes between each of the directories.
| | 02:18 | On the Mac, use a colon between each folder name.
| | 02:22 | OK, I've already exported this out as a tab delimited file.
| | 02:26 | Just in case you didn't have Excel on your machine,
I wanted to make sure you had a tab delimited file
| | 02:31 | in your links folder of your exercises folder.
| | 02:33 | So I'm going to switch back to InDesign,
and I'm going to import that here.
| | 02:37 | Now the Data Merge panel is so simple, it actually even gives
you instructions, one, two, and three, just what you should do,
| | 02:43 | and the first one is select a data source from the panel menu.
| | 02:47 | So I'm going to grab Select Data Source,
and it says, "Where is the file?"
| | 02:51 | Here it is, Java code data.text - that's the tab delimited file.
| | 02:56 | I'll open that, and the first thing we see
is that all the field names appear here.
| | 03:00 | That's the labels that were on the first line of the spreadsheet.
| | 03:04 | Now, how do we get this into our template here?
| | 03:07 | It's really, really easy.
| | 03:08 | I'll simply select my picture frame here,
my graphic frame, and then click on picture.
| | 03:14 | Did you see that?
| | 03:14 | It says picture in these little angle brackets.
| | 03:17 | I've tagged that picture frame with the picture label here.
| | 03:21 | Now I want to put some other information down in this text frame.
| | 03:25 | So I'm going to double-click on that to place the cursor
inside the frame here, and I will click on item first.
| | 03:30 | Let's grab that item name, then I'll press Return
on my keyboard, and let's say we want the code,
| | 03:36 | and then I'll press Return, and then
we want the price of that item.
| | 03:40 | There we go, we've got item, code, and price.
| | 03:43 | Notice that I'm not going to use the
introduction date in this particular layout.
| | 03:47 | You don't have to use all the fields.
| | 03:48 | I just don't click on it and it's not added.
| | 03:51 | Next step is to format this stuff.
| | 03:53 | We don't need to format the picture, but we do need to format
this text, so I'll click on that first item, named Item,
| | 03:59 | and I've got some paragraph styles in this file.
| | 04:02 | If you want to follow along, remember that this is
the Javico Item Tags file from your exercises folder.
| | 04:08 | Item will be the item paragraph style, that's easy.
| | 04:12 | Code will apply code style, and Price will apply the price style.
| | 04:16 | It's as simple as that.
| | 04:17 | Now for the price, I'm going to put a
dollar sign at the beginning of that line
| | 04:22 | because in the Excel file there was no dollar sign there.
| | 04:26 | So I'm going to add that manually.
| | 04:28 | I'll do the same thing with this code, I'm going to put a
number sign before the code to indicate that that's a code.
| | 04:34 | So, good. So we've added some static text
in there, we've added our code text in here,
| | 04:39 | the Data Merge text in here, and now
it's time to merge the two together.
| | 04:44 | But before we do the final merge,
it would be helpful to preview it.
| | 04:47 | Fortunately, there's a Preview checkbox.
| | 04:49 | Let's click that checkbox, and we can see
that is the first item in our spreadsheet.
| | 04:54 | So there's the picture that was brought in, the name of it,
the code, and the price, and it's all formatted perfectly.
| | 05:01 | Let me close the Paragraph Styles panel here.
| | 05:03 | We can also click through each of these records.
| | 05:06 | There's a second one, there's the third one, and so on,
and you can see the data is coming in just perfectly.
| | 05:12 | So that's great, I think we're good to go.
| | 05:14 | Let's go ahead and choose Create
Merged Document from the fly-out menu,
| | 05:18 | or you could simply click on this little Create Merge button.
| | 05:21 | There we go, now it's going to ask, "What records do you want?"
| | 05:24 | Do we want all the records, or a range of records?
| | 05:27 | I'm going to pick all of them, I'm going to be adventurous here.
| | 05:29 | Let's get all of our records.
| | 05:31 | We could say whether we want a single
record on the final page, that is,
| | 05:35 | each page is just going to have one record
on it, or do you want it to gang them up?
| | 05:39 | And in this case, I think we could probably
get four per page, so let's try that.
| | 05:45 | I'll move this out of the way so we can see it better.
| | 05:47 | Now you have a couple of options here,
whether you want an overset text report,
| | 05:50 | that could be handy if you think there's any
chance that text might get overset on some
| | 05:54 | of the frames, and an alert if images are missing.
| | 05:57 | Of course, that would be very helpful, and let's
go ahead and preview this multiple record layout.
| | 06:03 | There we go.
| | 06:04 | Oh, it looks like we did get all four of them on a page.
| | 06:07 | We can change this a little bit by going to the
multiple record layout, and this gives us controls
| | 06:11 | over how big the margins should be, and how
much space do we want in between each of these.
| | 06:16 | For example, if I want to increase
the amount of space between columns,
| | 06:20 | I could increase that to 4 picas,
and we see we have more space there.
| | 06:23 | Finally, I'll click on the Options tab, and we
can see how are images going to be imported.
| | 06:28 | I'm telling InDesign to fill every frame proportionally,
so I want the picture to be as big as it can possibly be
| | 06:35 | so that it fills the frame so I don't have
any extra white space around the edge.
| | 06:39 | I want a center to the frame, and I want
to link images, so that's a typical thing.
| | 06:43 | I mean, it's just going to link to
the images on disc, just like normal.
| | 06:47 | You also have options like remove blank lines for empty fields.
| | 06:50 | I like turning that on.
| | 06:52 | In other words, if there was no code, for example, if the code
field was missing here, it would simply remove that entire line,
| | 06:58 | it would not give me an extra blank space between these.
| | 07:01 | So that's really handy.
| | 07:03 | And also we could say, "How many pages do we want to limit?"
| | 07:06 | If you were bringing in a lot of data, you
might want to limit the number of pages.
| | 07:10 | Data Merge is not industrial strength, you don't want to
bring in 10,000 records into InDesign with Data Merge.
| | 07:17 | I would be comfortable with a few hundred, maybe a thousand,
| | 07:20 | but you want to probably break it down,
it's just not super strong in my experience.
| | 07:25 | Great, this is looking perfect, it's previewing really
nicely, let's go ahead and make our final document.
| | 07:30 | I'll click OK, and it builds a new
document with each one of those items on it,
| | 07:35 | and now it's a real document you see that's
actually separate from the original document.
| | 07:40 | Let me close our Data Merge panel here, and you
can see it added a page, so we got two pages.
| | 07:46 | There's the information on the second page.
| | 07:49 | By the way, I should point out that multiple record layout
feature of actually ganging up more than one per page,
| | 07:54 | that doesn't work if you have more
than one page in your document.
| | 07:58 | That'll only work if you only have
a single page in your document.
| | 08:01 | But look at this.
| | 08:02 | Every time I use Data Merge I just smile, it is so
amazing to see InDesign do all that work for me.
| | 08:09 | You gotta love automation.
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| Creating and using templates| 00:00 | When I create a new document, I often just start by opening an
old document that is kind of similar, and then making changes.
| | 00:07 | For example, I might change the heading here, and I'll
come over here with a Direct Select tool and I'll swap
| | 00:12 | out these pictures maybe for other pictures, or delete them.
| | 00:15 | I'm going to select this text and type
some other random text in here instead,
| | 00:19 | and this is great unless I accidently save over my original.
| | 00:24 | It's too easy just to press Command-S on the Mac, or Control-S
on Windows, and accidently save over that original, which is bad.
| | 00:31 | That is why templates are so great.
| | 00:33 | A template is an InDesign document that
you can use as a starting point for laying
| | 00:38 | out a document, but which you can't accidently save over.
| | 00:43 | Now you can turn any document into a template
by going to the File menu and choosing Save As.
| | 00:49 | I'm going to save this document into my templates folder that I
created on my hard drive, you can save them anywhere you want,
| | 00:55 | but the key here is that the Format pop-up
menu should not be Document, but Template.
| | 01:01 | You'll notice that the file name
extension is changed to INDT for template.
| | 01:06 | When I click Save, it doesn't look like anything changed, but
I'm going to go ahead and close this document with a Command-W
| | 01:12 | on the Mac, or a Control-W on Windows, and then
I'll go ahead and open that document again.
| | 01:18 | I press Command-O on the Mac, Control-O on Windows,
and then I'll select this document, click Open,
| | 01:25 | or I could have just double-clicked on that document
I suppose, and it opens as an untitled document.
| | 01:31 | Now I can't accidently save over it, it's always untitled.
| | 01:34 | Each time I open it, its untitled.
| | 01:37 | Now I can go ahead and make even more changes, and so on,
and so on, and as soon as I press Command-S on the Mac,
| | 01:43 | or Control-S on Windows, or just go to the File
menu and choose Save, it doesn't save the document,
| | 01:49 | it automatically opens the Save As dialogue box.
| | 01:52 | I want to cancel this because I don't
actually want to save this one.
| | 01:56 | Instead, I want to show you one other way that
you can turn any document into a template.
| | 02:00 | I'll close this document, I don't need to save those
changes, and I'm going to back to my desktop here,
| | 02:05 | and I can see my template inside my template folder.
| | 02:09 | But let's say I wanted to choose this
magazine file and turn that into a template.
| | 02:13 | I could go through the Save As operation that I just talked
about, but one other option would be to go to the File menu
| | 02:19 | and choose Get Info on the Macintosh,
and in Windows you would right-click
| | 02:24 | on the file and choose Properties from the Context menu.
| | 02:28 | Either way, you can turn on the locked property
of this document, and when that's locked,
| | 02:33 | now InDesign will not let you accidently
write over that document any more.
| | 02:38 | In this case, I'm not going to lock that.
| | 02:40 | I'll go ahead and close this, and I'm going
to show you one more thing about templates
| | 02:44 | because this is a question I get asked a lot.
| | 02:46 | People say, "OK, so I've got a template, I double-click
on it, it opens it, but it always opens as untitled.
| | 02:54 | How, then, am I ever supposed to change the template itself?"
| | 02:57 | Well, the trick is not to simply open it, but to open
the original, and you do that by going to the Open menu,
| | 03:04 | and instead open again from the File menu, and I'm going
to select this, and instead of simply clicking on Open,
| | 03:11 | I'm going to look down at the bottom of the dialogue
box where it shows Open Normal and Open Original.
| | 03:16 | That's the one I want.
| | 03:18 | If I choose Open Original and click Open,
it actually opens the template itself.
| | 03:23 | Now I can go in here and type something, or move something, or
do whatever else I wanted to do with it, and now when I save it,
| | 03:30 | it actually does save the template on top of itself.
| | 03:34 | I pressed Command-S on the Mac, or Control-S on
Windows, it saved the template, and now I'm good to go.
| | 03:41 | Templates are great when you need to create a
bunch of documents based on the same layout.
| | 03:45 | However, creating a good template that you can give
to colleagues, especially folks who don't know much
| | 03:50 | about InDesign, is as much an art as a science.
| | 03:53 | We'll cover some of the best practices for making templates in
a future title, but for now, let's move on to the next chapter,
| | 03:59 | where we're going to learn about paths and all kinds
of cool effects that you can apply in InDesign.
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|
|
5. Images, Paths, and EffectsPolygons and starbursts| 00:00 | Hiding here under the rectangular frame tool or here
underneath the rectangular shape tool are the Polygon tools.
| | 00:09 | The Polygon tools create Polygonal
Frames, that is frames that are Polygons.
| | 00:15 | And by default, when you drag one of these
out, you get a boring six-sided hexagon.
| | 00:20 | If I hold down the Shift key when I am dragging,
now all the sides of the Polygon are equal.
| | 00:26 | But who needs a six-sided hexagon,
I mean really, let me delete that.
| | 00:31 | The power of the Polygon tool is in the
double-clicking, that is you double-click on the tool
| | 00:37 | and it opens the Polygon Settings dialog box.
| | 00:39 | Here is where you get to do really cool things.
| | 00:42 | For example, if you wanted a 12-sided
Polygon, go ahead and type 12 here.
| | 00:46 | Star Inset lets you create Starbursts.
| | 00:49 | If you want Starbursts, this is how you do it.
| | 00:52 | When you set this to anything other than 0%, let?s
say 25%, then InDesign actually doubles the number
| | 00:58 | of sides and insets every other one of them to 25%.
| | 01:03 | I will show you.
| | 01:04 | Click OK and drag and you can see that
now we have a 12-pointed Starburst.
| | 01:10 | In other words, there is 12 on the
inside and the 12 on the outside.
| | 01:13 | And each one of these is 25% in from the middle to the end.
| | 01:18 | So that?s pretty cool.
| | 01:20 | But let me show you one other Starburst trick.
| | 01:22 | Let me delete that by just pressing the Delete key and now I
am going to drag out my Starburst, and while I am dragging,
| | 01:29 | I am going to start pressing the arrow keys on my keyboard.
| | 01:32 | Now, the up and down arrow keys will add points to the Polygon.
| | 01:37 | So you will see as I am dragging, I am holding
down the arrow keys and it adds points.
| | 01:42 | And if I press the down arrow key, it removes points.
| | 01:45 | So I get fewer and fewer points.
| | 01:47 | Now, what?s strange about this is that, at least
on the Macintosh, it only works when I am dragging,
| | 01:52 | I can?t have the mouse still and press the arrow keys,
| | 01:55 | I have to be dragging with the mouse while
I am pressing the up and down arrow keys.
| | 02:00 | So that?s kind of important to keep in mind.
| | 02:02 | The left and right arrow keys on my
keyboard will increase or decrease the Inset.
| | 02:09 | So right arrow increases via Inset so I get this kind of
star effects, and the left arrow will decrease that Inset
| | 02:16 | so I get basically what I am looking
at there, their Shallow Insets.
| | 02:20 | So you can use the arrow keys to get just
the effect you are looking for on your page.
| | 02:25 | Granted of fancy Starburst like this might be out of place
if you are laying out of scholarly scientific journal,
| | 02:31 | but a cool 20-sided icosagon might be
just what you need to wow your audience.
| | 02:36 | In either case, you can change this stroke on it
by changing the width up here in the Control Panel
| | 02:42 | or choose from among the many different
stroke styles here in this popup menu.
| | 02:46 | I will choose Triple here but you could
even make your own custom stroke styles,
| | 02:51 | and that?s what we are going to talk about in the next movie.
| | Collapse this transcript |
| Custom stroke styles| 00:00 | When you apply a stroke to an object,
you normally get a solid line.
| | 00:04 | For example, I will select this object and zoom into 200%
by pressing Command 2 on the Mac or Ctrl+2 on Windows
| | 00:11 | and then I will increase its stroke width in the Ctrl+ Panel.
| | 00:14 | Let's give it maybe a 6-point line, make it something thick.
| | 00:17 | It's a solid black line, but of course, we could go to the
Swatches panel and change the stroke to any color we want.
| | 00:23 | I'll leave it set to black for right now.
| | 00:25 | If we don't want it to be a solid line, we could
go to the Control Panel and change the Stroke Style
| | 00:31 | to thick-thick, thick-thin, something like that.
| | 00:34 | We can also change this in the Stroke Panel.
| | 00:37 | The Stroke Panel gives us the option of changing the stroke type.
| | 00:41 | Again, the thick-thick, thick-thin or dashes or dots,
| | 00:46 | there is all kinds of different options you
have here, even crazy ones like wavy lines.
| | 00:51 | But what if none of these dashes do it for you?
| | 00:53 | What if you want, say, a really long
dash and a really short gap in between?
| | 00:58 | Well, InDesign lets you create your own Stroke Styles like going
to the Stroke Panel flyout menu and choosing Stroke Styles.
| | 01:06 | You can see that you can edit several of the Stroke
Styles that are built into InDesign; but in this case,
| | 01:11 | I am going to create a new style by clicking New.
| | 01:14 | There are three types of Stroke Styles
you can create; stripes, dots or dashes.
| | 01:19 | I will start with a dash.
| | 01:21 | In this case, I want a really, really long dash so I am going
to increase the pattern length to something like 4 picas.
| | 01:29 | Now, I am going to increase the length of the dash
itself to, let's say, 3 pica 6, something really long,
| | 01:38 | so we have got a very long dash and a very short gap in between.
| | 01:42 | You can even control things like the end cap.
| | 01:45 | Right now, we have a very small square
edge on the end of each of these dashes.
| | 01:51 | We can change this to a round cap for example,
but it looks like they are almost bumping
| | 01:56 | into each other, so we better decrease the gap here.
| | 02:00 | It's really helpful having this preview down at the bottom.
| | 02:02 | Great, now I am going to click the Add button to add it to
my list of Stroke Styles without closing this dialog box
| | 02:08 | and I am going to create a new Stroke
Style, this one is going to be Stripe.
| | 02:12 | The normal Stripe that we see in the popup menu
here is an equal stripe, that is there is 33% black
| | 02:20 | and then 33% gap and then 33% stroke again on this side.
| | 02:24 | I am going to create a new stripe which is about 20% on the
top and about 20% on the bottom and this will give me a thin
| | 02:33 | and then a relatively wide gap and then another
thin, but not quite as thin as that thin-thin stroke.
| | 02:40 | I will give it a name up here, I think I forgot to name
the other one, but this is going to be a medium thin-thin,
| | 02:46 | you can call it anything you want, and then I will click OK.
| | 02:49 | And we can see that now the two new strokes are added here.
| | 02:53 | The medium thin-thin and new stroke, I better edit that,
give it a new name, I will call it long, long dash, OK.
| | 03:00 | Click OK, now you can see it updated here.
| | 03:03 | I will click OK and we are going to apply that to
this object by choosing it from the type popup menu.
| | 03:09 | Here they are way down at the bottom
of the popup menu, long, long dash.
| | 03:13 | Here we go, we've got a long dash and a really small gap.
| | 03:16 | You can see that we have rounded corners on the ends of
these, and then the other one was the medium thin-thin
| | 03:22 | which gives us a thin line, big gap and another thin line.
| | 03:25 | Now, because we are talking about Stroke Styles,
I would be remiss at my duty if I did not tell you
| | 03:30 | about several Easter Eggs that are inside InDesign.
| | 03:34 | Now, Easter Eggs, you may remember are hidden secrete features in
the program that Adobe didn't document anywhere and they are just
| | 03:40 | for fun really, although they do actually work in this case.
| | 03:43 | Well, I am going to go back to Stroke Styles and I am going
to create a new Stroke Style and I am going to call it Feet.
| | 03:50 | It doesn't matter if it's a dash or a stripe or
whatever as long as it's called Feet, just like that.
| | 03:55 | I will click Add and I will create a new
one called, let's call this one, Lights.
| | 04:01 | I will add that and this time, I am going to create one
called Rainbow, but Rainbow actually does have to be a stripe,
| | 04:08 | the other one doesn't matter so much but this one
has to be a stripe and it has to be called Rainbow.
| | 04:12 | And I will click OK and I will show you
what these secrete special strokes do.
| | 04:18 | I have this object selected.
| | 04:20 | I will go to the type popup menu in the Stroke Panel or I could
do this from the Control Panel as well and I will choose Rainbow,
| | 04:27 | and you will see that we now have a Rainbow stroke.
| | 04:30 | Let's make this even thicker so we
can really see that Rainbow well.
| | 04:33 | Great amazing secrete feature built into
InDesign and yes, that really well print.
| | 04:37 | It's quick amazing.
| | 04:38 | Let's go to the Control Panel this
time and choose a different one.
| | 04:41 | How about Feet?
| | 04:42 | Look at that that, a little Feet walking around my object.
| | 04:45 | It's kind of silly but I don't know maybe you
have a tracking magazine and you want to use Feet.
| | 04:50 | So there you go, it can work for you.
| | 04:52 | And then the last one here that we made, it was
called Lights, and that's kind of a holiday theme,
| | 04:57 | little Christmas lights going around this object.
| | 04:59 | Yes, it's silly, yes, it's frivolous
but it's fun in its own little way.
| | 05:04 | Unfortunately, InDesign does not currently have any way for you
| | 05:08 | to create your own cool strokes like
these, these strokes based on graphics.
| | 05:13 | InDesign will only let you create your
own custom dot stripes and dashes.
| | 05:17 | You can, however, create all kinds of
other special effects on your pages,
| | 05:21 | and that's what we are going to look at in the next movie.
| | Collapse this transcript |
| Advanced effects| 00:00 | We talked about Drop Shadows and Glows and other cool
transparency affects in the Essential Training title.
| | 00:06 | Now, it's time to go deeper exploring some of the more
obscure, but important features in the Effects Panel.
| | 00:12 | For example, I recently got an e-mail from someone who wanted to
reduce the transparency of a text frame but keep the text solid.
| | 00:19 | Let me show you what I mean.
| | 00:20 | I have got my Javaco Magazine open here from the exercises folder
and I am going to jump to Page 4 by pressing Command J on Mac
| | 00:27 | or Ctrl+J on Windows, Press 4, then Enter and now I see
that this text is in a white frame, a white text frame.
| | 00:35 | I will zoom in on this a little bit
by pressing Command+ a couple of times
| | 00:40 | or Ctrl+ on Windows just so we can see this a little bit better.
| | 00:43 | And I want to change the background
of this to something other than solid.
| | 00:48 | So I will open my Effects panel, I will go to the
opacity, I will just click on the text here to select all
| | 00:54 | of that text so I don't have to drag over it.
| | 00:57 | And then I will set this to something like 60%.
| | 00:59 | What the problem here is that the frame has a Drop Shadow.
| | 01:03 | You see that, this frame actually has a Drop Shadow, the little
Effects icon, tell us that there is some effect and if I click
| | 01:09 | on the Effects popup menu, we can see that
there is a checkmark next to Drop Shadow,
| | 01:13 | it means there is a Drop Shadow on this object.
| | 01:16 | Well, because we have changed the opacity of
the object, we can see the Drop Shadow sneaking
| | 01:22 | through there, we can see the Drop Shadow behind it.
| | 01:25 | Well, that's really, really ugly.
| | 01:26 | So how do we fix it?
| | 01:28 | The first thing we are going to do is not
change the opacity of the whole object to 60%,
| | 01:33 | but we are going to change the opacity just of the Fill itself
because we don't want that text to become transparent as well.
| | 01:41 | So let's change the Fill to something like 60%, there we go.
| | 01:45 | We get a similar effect, we still see the Drop Shadow.
| | 01:47 | In fact, here it's even worse because we can see a
little bit of the Drop Shadow of the text as well.
| | 01:52 | So that's even looking worse.
| | 01:53 | What we would like to do is apply the Drop Shadow not
to the entire object because we don't want it to apply
| | 01:58 | to that text, we want to apply just to the Fill.
| | 02:01 | Fortunately, I can grab this little
Effects icon and drag it down to the Fill.
| | 02:08 | And when I let it go over the mouse button, we can now see
| | 02:10 | that the Drop Shadow is applied only
to the Fill, not to the text anymore.
| | 02:14 | But we still have that pesky Drop Shadow sneaking through.
| | 02:18 | So, what do I do about that?
| | 02:19 | I need to edit the effect, and I am going to do
that by double-clicking on the Effects icon here.
| | 02:25 | I will double-click on that and it opens the
Effects dialog box, move this out of the way just
| | 02:30 | so we can see the background a little bit better.
| | 02:32 | And we can see that the Drop Shadow effect is
multiplying with the 80% opacity and all this stuff
| | 02:38 | that we talked about in the Essential Training title.
| | 02:40 | There is one thing here that we didn't talk about before
is this advanced feature called Object Knocks Out Shadow.
| | 02:48 | Well, that sounds interesting.
| | 02:49 | If we turn that on and the preview checkbox is on, we can
immediately see that, there we go, the object itself knocked
| | 02:57 | out the shadow behind it, that means that we
only see the shadow outside of the object,
| | 03:02 | we won't see the shadow inside the object at all.
| | 03:05 | What's this other checkbox?
| | 03:07 | Shadow Owners other effects.
| | 03:09 | Well, this obviously has to do with other effects
and we don't have any effects on this currently.
| | 03:13 | So let's go ahead and apply another effect so I
can show you what that feature is going to do.
| | 03:18 | I'll have to apply an outer glow, let's
do something like a big outer glow.
| | 03:22 | And I will set this to something like yellow, I'll just
click on that little swatch here to open the color.
| | 03:27 | And I am going to change the blending mode to
normal so we can see it a little bit better.
| | 03:31 | Beef up the opacity to something like 85%, let's
make it bigger, maybe 2 pica, something really huge.
| | 03:38 | And I better add a little bit of noise, I am just using the
arrow keys on my keyboard, I always add a little bit of noise
| | 03:43 | to make it a little bit more natural, but I can see that
the glow around the object is, it's a little bit subtle.
| | 03:48 | What's going on here is that the darkest part of the glow, let's
say, this 85% opacity is just at the very edge of the object.
| | 03:59 | Down here, 2 picas away, it goes to 0%, right.
| | 04:02 | So there is a subtle and even shift
from 85% all the way down to 0.
| | 04:07 | Well, the Spread feature is all about where the darkest part
should be, this 85% opacity, how far down should that go.
| | 04:16 | If we increase this to something big like
50%, I will hit Tab to tab out of this field.
| | 04:22 | We can see that now we have a much more strong effect because
halfway down through this 2 pica, so basically a whole pica down,
| | 04:31 | we are getting 85% and then it starts to drop off to 0, right.
| | 04:36 | So half of this 50% of the size will be the
darkest opacity and then it will drop off to 0.
| | 04:44 | So that's a way we can have a really
strong effect, that's what Spread is about.
| | 04:49 | OK, we added a glow but what happened to the Drop
Shadow, it got completely obliterated, right.
| | 04:55 | Well, let's go back to Drop Shadow, and now it's time
to look at this feature Shadow Owners Other Effects.
| | 05:01 | There is an other effect here, there is
the glow, so when we turn this checkbox on,
| | 05:06 | we can see that now the Drop Shadow doesn't just go behind
the Fill of this object, it actually goes behind the Glow.
| | 05:13 | So we have a Glow and a Drop Shadow.
| | 05:15 | Now, granted, that looks really weird and somewhat
ugly, but some people like that kind of thing.
| | 05:21 | Without that Glow and Drop Shadow at the same time, I
probably couldn't show you what this feature was all about.
| | 05:26 | So it's pretty rare that you would ever use Shadow Owners
Other Effects but it's good to know what it actually is.
| | 05:33 | By the way, we saw Spread in the Glow,
Spread also shows up here in Drop Shadow.
| | 05:38 | And again, the Spread is how far from the middle of desk
to the edge of it will we actually see the darkest opacity.
| | 05:46 | If I turn on Inner Shadow, we just go totally
overboard here and add Inner Shadow as well.
| | 05:51 | We actually see this shadow showing up inside this frame now.
| | 05:54 | There is also a Spread feature in Inner
Shadow but they call it Choke instead.
| | 06:00 | Choke is the same thing, it's basically the
amount of Spread but it goes in instead of out.
| | 06:05 | So for example, if I set this to 25% and hit Tab, in
just a moment, you will see this, click and hit Tab
| | 06:11 | and now you see it actually goes in
a little bit stronger instead of out.
| | 06:16 | That's what Choke is.
| | 06:17 | OK, let me click OK, and we will see that this is a
pretty horrifically ugly design and we decide, forget it,
| | 06:25 | I want to start all over again, let's
just remove all the Effects features.
| | 06:29 | How do we turn all of those off?
| | 06:31 | Well, we can go to the Effects panel and go
to the flyout menu and choose Clear Effects.
| | 06:36 | Another place I can find that, I won't select that
yet, I can right-click on the Effects icon here
| | 06:42 | or Ctrl+click on the Mac with a one button mouse.
| | 06:45 | So I will click on that to get my Context menu.
| | 06:48 | I will see all my Effects have been applied
here and I have Clear Effects here as well.
| | 06:54 | If I choose that, all of those effects, the Drop Shadow, the
Inner Shadow and so on are removed but the opacity remains,
| | 07:01 | the basic transparency blend mode and opacity remains.
| | 07:04 | If I wanted to remove all of the transparency effects including
opacity, I would have to choose Clear All Transparency instead.
| | 07:12 | That removes all of the transparency
effects and the transparency itself.
| | 07:18 | So that's pretty cool.
| | 07:19 | That's looking a little bit better.
| | 07:21 | I want to show you one other trick having to do
with cool effects that you can do in InDesign.
| | 07:26 | I am going to choose this text up here and I
can say that this text has a Stroke and no Fill.
| | 07:33 | In fact, if I go down to the bottom of my
tool palette and click this little t icon,
| | 07:37 | that's the formatting applies to the text instead of the object.
| | 07:41 | This will show me that I have Stroke but no Fill.
| | 07:45 | I can reverse this giving it a Fill and no Stroke by clicking
on this little double-headed arrow and it's really hard to see
| | 07:51 | that little icon, but it's just to the
upper right of those Fill and Stroke icons.
| | 07:55 | And if I click on that, I suddenly get the Fill, but
no Stroke only applied to the text not the object.
| | 08:03 | Now, what if I wanted to make this blurry, kind of blurry text?
| | 08:06 | It's in fact kind of a ghostly, foggy effect.
| | 08:10 | It's something that a lot of people have tried
to achieve and it's actually quite difficult
| | 08:14 | or it seems like it's quite difficult in InDesign.
| | 08:16 | Now, generally, if somebody wants a ghostly effect, they usually
use the feathering feature and the way they get that is they go
| | 08:23 | to the Effects panel and they choose something like
a basic feather and they apply a big feather to it.
| | 08:28 | Let me move this down so you can see this better.
| | 08:31 | To me though, this is not a ghostly soft effect.
| | 08:34 | It's not at all what I am looking for.
| | 08:35 | This almost makes the text completely disappear.
| | 08:37 | Even if I reduce the feather width by using my arrow
keys on the keyboard to go down to let' say maybe 3,
| | 08:44 | you can see that what's really happening here is just the
edges of each character are being blurred out in the middle,
| | 08:51 | such as it is, it's staying more or less the same.
| | 08:54 | And that's just weird, I don't know,
I don't like that effect at all.
| | 08:57 | So instead, I am not going to use a
feather, I am going to use a Drop Shadow.
| | 09:02 | A Drop Shadow, what are you talking about?
| | 09:04 | Well, Drop Shadows are very ghostly and they are
very consistent throughout the entire thing, right.
| | 09:10 | So what I really would like is a Drop Shadow, but no Text.
| | 09:14 | I want to make the text disappear and leave the Drop Shadow.
| | 09:17 | And you can do that by creating a Drop Shadow with a blending
mode of normal and I will change the color to something
| | 09:23 | like this green color and set this OK, maybe I will bump this
up a little bit to like 90%, better add a little bit of noise,
| | 09:30 | make a little bit more natural, just a few percent would be good.
| | 09:33 | And that's looking pretty good, except
I am going to set the distance to 0.
| | 09:36 | Distance to 0 means put the Drop Shadow exactly underneath the
original text, that's where I want to put that ghostly effect.
| | 09:43 | And I will go ahead and click OK.
| | 09:45 | So I have got my ghostly text but
it's covered up by my solid text.
| | 09:49 | How do I make that text disappear?
| | 09:51 | Well, I make text disappear by first changing the color of
the text, not the object itself, but I click on little t icon,
| | 09:59 | I am changing the color of the text to paper.
| | 10:03 | So there we go.
| | 10:03 | The text disappeared but it actually knocked out the
Drop Shadow and that's kind of cool effect all by itself.
| | 10:10 | In fact, when I go to the View menu and choose
Display Performance, high qualitative display,
| | 10:15 | and that will actually make it smoother
and much nicer to look at.
| | 10:18 | That's kind of an interesting effect.
| | 10:20 | I like it, maybe I will use that sometime.
| | 10:22 | But in this case, I am really trying to make the
text disappear so all that's left is that shadow.
| | 10:27 | So I am going to go back to my Effects panel and I am
going to click off of it and then click back on it.
| | 10:33 | That's just a fast way to make this kick back in.
| | 10:35 | And I am going to set the text blending mode.
| | 10:38 | First, I'll click on the text here and I will go to
the blending mode popup menu and change it to multiply.
| | 10:44 | Look at that, it just completely disappears.
| | 10:48 | Multiply on paper color means disappear.
| | 10:52 | Paper always disappears when you set it to multiply, but
because the object itself has a Drop Shadow, that remains.
| | 11:01 | So we have our blurry, blurry text.
| | 11:03 | We can actually change this and get different effects.
| | 11:05 | I will double-click on the Effects
icon, move this out of the way.
| | 11:08 | And why don't I do some other kind of wacky effects?
| | 11:11 | For example, I can increase the noise
amount to something like 40%.
| | 11:15 | And now, I get kind of a grunge effect, it's kind
of an interesting grungy looking effect here.
| | 11:20 | I could change the size of it and make it bigger
or make it smaller, and I have a lot of control
| | 11:25 | over what kind of wacky effects I am going to create there.
| | 11:28 | Or even increase this up to 100% and we can see that's
almost like I would send a grate on the page, sure.
| | 11:34 | InDesign is a page layout program but
it's also a designer's playground.
| | 11:39 | The more you play, the more yo will find yourself amazed
at what you can accomplish with these transparency effects
| | 11:44 | without ever having to switch to another program.
| | Collapse this transcript |
| Isolate Blending and Knockout Group| 00:00 | InDesign's Effects panel has two
very obscure but powerful checkboxes;
| | 00:05 | one called Isolate Blending and one called Knockout Group.
| | 00:08 | Now, most people just ignore these because they are
just too obscure, but it turns out that you can use them
| | 00:14 | for some pretty cool effects if you know how they work.
| | 00:17 | The key to these checkboxes is that they only apply to groups.
| | 00:21 | So we need to go get a group.
| | 00:23 | I am going to jump to Page 3 in my Javaco
Magazine document by pressing Command J on the Mac
| | 00:28 | or Ctrl+J on Windows, then I will type 3 and then hit Enter.
| | 00:32 | And now I am going to zoom in on this area of the page.
| | 00:35 | I will just zoom in to at 200% by selecting this object
and pressing Command 2 on the Mac or Ctrl+2 on Windows.
| | 00:41 | I will use Option, Spacebar or Alt+Spacebar to scroll over and
drag these two objects together, and I am going to select both
| | 00:50 | of them by Shift-clicking on them with a selection tool
going to the Object menu and choosing Group, right.
| | 00:55 | So I have got a group of objects.
| | 00:58 | Now, the first thing I want to talk about is Isolate Blending.
| | 01:01 | We already know that Isolate Blending only
works with groups and we have a group,
| | 01:05 | but the second thing we need to pay
attention to is this word Blending.
| | 01:07 | Blending implies if there is blending modes going on here.
| | 01:11 | So we need to apply a blending mode
from the blending mode popup menu.
| | 01:15 | Now, we are not going to apply the blending mode to the whole
group, we are only going to apply it to one object in the group.
| | 01:21 | While the object is selected, I am going to click on the Select
Content button and that selects the first object in the group.
| | 01:29 | In this case, the first object happens to be another
group but a group acts like a single object in InDesign.
| | 01:34 | So I have selected that group inside the group and I am going
to apply a blending mode to it from the popup menu here.
| | 01:40 | I will choose something really bizarre like exclusion.
| | 01:43 | That isn't really far out of effect, I am
not sure why you would want to use that,
| | 01:46 | but for the sake of this demo, it
makes it very obvious what's going on.
| | 01:49 | So I have applied a special effect to this
blending mode to one object inside the group.
| | 01:55 | Now, I am going to click the Container
button here and that goes back up
| | 01:59 | and sets the entire group, both of those objects group, together.
| | 02:03 | Now, it's time to look at Isolate Blending.
| | 02:05 | If I turn Isolate Blending on, we'll see a very different effect.
| | 02:09 | We see that each object inside the group blends to each other
but nothing inside the group blends to anything behind the group,
| | 02:18 | so it isolates the blending only to the group.
| | 02:21 | I am sure there is some good use for Isolate Blending.
| | 02:24 | To be honest, I don't think I have ever used
this in a real world production setting,
| | 02:28 | but there you go, it's nice to know that it's there.
| | 02:30 | I am going to turn Isolate Blending off and
I am going to talk about Knockout Group next.
| | 02:34 | When I turn on Knockout Group, I get another different effect.
| | 02:38 | In this case, each object inside the group
has no blending effect on each other.
| | 02:44 | There is no transparency effects on each other.
| | 02:46 | It only applies to what's behind the
group, what's outside of the group.
| | 02:51 | So it's kind of the opposite of Isolate Blending.
| | 02:54 | Now, these two is a pretty strange effect that we wouldn't
ordinarily use very often, but it turns out that there is sort
| | 02:59 | of a side-effect trick that I want to show you which
is extremely useful having to do with Knockout Group.
| | 03:05 | To show this, I am going to turn off Knockout Group.
| | 03:08 | I am going to ungroup these objects, and I am going to deselect
all of these with Command Shift+A on the Mac or Ctrl+Shift+A
| | 03:15 | on Windows and I will just move this one
out of the way, I don't need that right now.
| | 03:18 | I am going to zoom in just on this image itself.
| | 03:21 | I will do a Command 4 on the Mac or Ctrl+4 on Windows and
I am going to zoom into high quality display mode here,
| | 03:29 | so we can see this a little bit nicer on the screen.
| | 03:32 | The cool effect that the Knockout Group
feature gives us is a masking feature.
| | 03:36 | Now, the Photoshop has masking, Illustrator
has masking, but InDesign has masking too.
| | 03:41 | And masking is all about hiding a portion of an
image or an object so that you can see through it.
| | 03:47 | And here is how we create a masking object in InDesign.
| | 03:51 | First, I am going to create some text
by just dragging out a text frame here
| | 03:55 | and I will type inside this, I will just mask, and that's easy.
| | 03:59 | I will select all of it with that Command A on a Mac
or Ctrl+A on Windows, and why don't we change the font?
| | 04:04 | I will do a Command 6 on the Mac or Ctrl+6 on Windows, type
in myr for myriad, tab, bold, return, that looks pretty good.
| | 04:14 | I want to make this bigger.
| | 04:15 | I will press Command Option C on the Mac or Ctrl+Alt+C
on Windows, and let me switch back to the selection tool
| | 04:22 | and we can see that that keyboard shortcut
shrunk the text frame down to just the text.
| | 04:26 | Now, I can Command Shift drag on one of these corners or
Ctrl+Shift+drag on Windows so they make it really big.
| | 04:34 | Here we go.
| | 04:34 | Now, I have got my big text and I am dropping
it on top of the image and this whole group here
| | 04:39 | and I want this text to be a mask for the image, OK.
| | 04:43 | How are we going to do that?
| | 04:44 | Well, the first thing we do is kind of weird.
| | 04:46 | The first thing we do is we set the opacity of this text to 0.
| | 04:51 | That's pretty strange because it just
makes the whole thing disappear, right.
| | 04:54 | Why would we want to do that?
| | 04:55 | But it actually gives us a 0% text, and
that is going to be our mask, the 0% text.
| | 05:03 | The next thing I want to do is select
both these mask objects, this text frame,
| | 05:08 | and the object behind it which in this
case is this whole group of objects.
| | 05:12 | And I am going to group them together.
| | 05:13 | From the object menu, I will choose Group.
| | 05:16 | So now I have a group with my masks sitting on top.
| | 05:19 | The last thing I am going to do is turn
on our masking feature Knockout Group.
| | 05:25 | When I turn Knockout Group on, you see the image disappears.
| | 05:30 | That whole group disappears wherever the text was and we
can see what's behind the text, what's behind that group.
| | 05:37 | It actually masked out everything.
| | 05:39 | Now, these are still editable objects.
| | 05:40 | So we could go up here and click on the Select Content
button which selects the frame inside that group
| | 05:46 | and we can move that around by dragging the center handle.
| | 05:49 | And you can see that the mask goes wherever that text frame goes.
| | 05:54 | So it is actually blending right in.
| | 05:56 | It's actually poking a whole right through that,
and that's what Knockout Group is all about.
| | 06:01 | If we go back up to the group itself, you
can see that Knockout Group is turned on.
| | 06:06 | OK, I admit it.
| | 06:07 | These checkboxes do really weird things and they are not entirely
intuitive, but this masking feature based on Knockout Group is
| | 06:14 | so cool that it's really worth trying it out a few times.
| | 06:18 | OK, speaking of masks and cool effects, we are
going to look at even cooler stuff in the next movie
| | 06:23 | when we talk about integrating InDesign and Illustrator.
| | Collapse this transcript |
| Using Illustrator and InDesign together| 00:00 | In the last couple of movies I have talked about
how you can create all kinds of cool effects
| | 00:04 | in InDesign without ever having to use another program.
| | 00:08 | But the truth is that sometimes it really is better to use
a different program for some effects and the good news is
| | 00:14 | that InDesign plays well with its creative suite friends.
| | 00:16 | For example, let's say you need to accomplish a tricky
effect but you want to maintain the vector lines that's
| | 00:23 | when it's a good idea to pull out your
favorite vector program Adobe Illustrator.
| | 00:28 | Back in the essential training title, I covered how you can
copy vectors from Illustrator and paste them into InDesign
| | 00:34 | and that's cool but you may not have
realized that it can go the other way too.
| | 00:39 | For example, I like this 3D-effect this Bevel and Emboss
effect applied to this text frame but I want it even more 3D.
| | 00:47 | Well for something even more 3D I have to use Illustrator,
so I am going to go to the Effects panel and I am going
| | 00:52 | to clear all the transparency on that just to go back to the
straight white text and I am going to copy it to the clipboard
| | 00:58 | from the Edit menu, go to Illustrator, I will create
a new document, let's make a new print document,
| | 01:04 | leave it, set untitled and paste it and there we go.
| | 01:08 | I just press Command V on the Mac and Ctrl+V on the
Windows and there is our text right there it's white text
| | 01:14 | so we can't actually see it but it is there nonetheless.
| | 01:17 | It also gave us this box, this frame
around the text and what's that?
| | 01:22 | Well when you paste from InDesign into
Illustrator you always get a clipping mask.
| | 01:27 | It's very annoying but this is actually a mask, a clipping mask
around the text and I don't want that I want to get rid of that.
| | 01:34 | So to get rid of it I go to the View menu and choose Outline.
| | 01:37 | I choose my Direct Selection tool and I simply click
on the Layer mask and then hit Delete a couple of times
| | 01:43 | on my keyboard and it just deletes that whole path.
| | 01:45 | There is the text you can see it right there.
| | 01:47 | When you switch back to Preview mode from the View menu it
disappears again but it's still there I will just click on top
| | 01:53 | of it with a Selection tool and let's
change it to some other color
| | 01:55 | that we actually can see like maybe
orange, orange text there we go.
| | 01:59 | It's text, it's still editable if we want to but in this
case we want to apply some kind of cool effect to it
| | 02:04 | and most of Illustrators cool effects
are here under the Effect menu.
| | 02:08 | So I will go to the Effect menu and
choose 3D, let's choose Extrude & Bevel.
| | 02:14 | And this is a relatively complex dialogue
box I don't want to get into the details
| | 02:18 | of this you can go watch the other essential
training title in the Online Training Library
| | 02:23 | about Illustrator if you want to learn about this.
| | 02:24 | I am just going to click OK and you can see that
we have a 3D effect, pretty cool I like that.
| | 02:31 | Now I can actually copy this, go to the Edit menu, choose Copy,
I will go back to InDesign by using my application switcher
| | 02:39 | on the Mac it's Command+Tab, on Windows
it's Alt+Tab and we will come back here
| | 02:44 | and I will simply paste that object
back into InDesign, there it is.
| | 02:49 | Move it up here so you can see it better, it comes in as a
group and it's actually a group of lots and lots of tabs,
| | 02:56 | you zoom in here, Command+2 on the Mac
or Ctrl+2 on Windows to go to 200%.
| | 03:01 | And now if I choose the Direct Select tool you can see what
it really is it's converted all of that text into outlines.
| | 03:08 | Well that maybe what you want to or may not be you
could actually do some cool things with it for example,
| | 03:13 | I can use the Direct Selection tool to select a bunch of objects.
| | 03:16 | I just Shift+Clicked on each of those and then I
will press the D key to give me a default which is 1.
| | 03:22 | in this case it's 1.Backstroke and no Fill at all and
that's kind of interesting I mean you can get all kinds
| | 03:27 | of whacky effects when these things are actually out lines.
| | 03:30 | On the other hand if you want to go back and change this for
some reason maybe change the text or change the effect it's going
| | 03:36 | to be a real hassle because you can't go and
copy these back in and then make changes.
| | 03:40 | This is not easy.
| | 03:41 | So I will tell you what I am going to do, I am going to delete
this whole thing and I am going to go back to Illustrator
| | 03:46 | with my application switcher and instead
I am going to save this to the desktop
| | 03:52 | or anywhere you want to put it as an Adobe Illustrator files.
| | 03:55 | I save as, I will just save it to the
desktop I will call it Magazine or click Save
| | 04:03 | and click OK and now we can go back out to the desktop.
| | 04:08 | I option clicked to go out here or you can show your desktop
on Windows and I can see there is my Illustrator file
| | 04:14 | and I want to bring that into InDesign, I will simply
click and drag it in like go of it and there we go.
| | 04:20 | There is my art work, looks a little jaggy and you
probably know why it's because under the View menu
| | 04:26 | in Display Performance the display
needs to be set to high quality display
| | 04:30 | in order to see that in all its glory there we go.
| | 04:33 | Now we have got an Adobe Illustrator file in here
and if we want to make a t change it's really easy,
| | 04:39 | right we learned this in the essential training title we can
choose Edit, Edit original it opens in Illustrator there we go,
| | 04:46 | there is our original AI file we could do whatever we
wanted to for example change its color maybe that's fine.
| | 04:52 | I will click Save I will close it with Command+W
or Ctrl+W on Windows, come back to InDesign
| | 04:59 | and it updates immediately I don't have to do any special
updating because I used the Edit Original feature.
| | 05:05 | I do want to point out one of the thing about moving
data back and forth between InDesign and Illustrator.
| | 05:10 | Let me zoom back here to fit in Window mode
with Command+0 on the Mac or Ctrl+0 on Windows.
| | 05:16 | I will go to the next page with a Shift Page Down
and let's say I want to get a bunch of text here.
| | 05:21 | I am going to select all of this text, I will
just copy that text out here, go to Edit, Copy,
| | 05:27 | go back to Illustrator I will create a new
document and I am going to paste it in here.
| | 05:33 | What do I get?
| | 05:34 | Not what I expect, wow that doesn't look
anything like what it was in InDesign.
| | 05:40 | Well Illustrator and InDesign do not
actually share the same text engine.
| | 05:45 | What that means is you cannot copy formatted text back and forth.
| | 05:49 | You could copy an object with formatted text
for example I could copy that whole text frame
| | 05:54 | but if I just copy the text itself
none of the formatting comes across.
| | 05:58 | Let's go ahead and delete that I just press the
Delete key, go back to InDesign and I am going
| | 06:02 | to choose the Selection tool, grab
that whole text frame and copy that.
| | 06:08 | Come back to Illustrator and paste and do I get what I expect?
| | 06:12 | I still don't get what I expect because it says to
preserve the appearance some text has been outlined.
| | 06:17 | Why does it do that?
| | 06:18 | Because it's just too complex, it's too much text so
it has to be a relatively simple object to go back
| | 06:25 | and forth from InDesign to Illustrator and back again.
| | 06:28 | In this case all of this text got outlined and
that's just horrible looking so we don't want to do
| | 06:33 | that because all this text has gone
outlined, it's going to be a really hassle.
| | 06:36 | It looks OK when I deselect it but it really is outlined
text and that's going to cause you problems down the road.
| | 06:42 | Now we have barely scratched the surface of what Illustrator
can do of course and even with this little hiccup here
| | 06:48 | with the text formatting the InDesign Illustrator
combination is an awesome one to punch.
| | 06:52 | That will create knock out designs for you every time.
| | Collapse this transcript |
| Compound paths| 00:00 | Everyone knows how to make a frame in the shape of a circle,
| | 00:03 | you just go get one of the Frame tools let's
say the Eclipse tool and drag out a circle.
| | 00:08 | I am holding down the Shift key to
constraint it to the size of a circle.
| | 00:11 | Now I am going to go to the Swatches
Panel and make this some other color,
| | 00:14 | just let's say magenta so it really pops out on the page here.
| | 00:17 | Great, but what if you want to make a shape of a doughnut
or if you are cutting down on sweets let's say a bagel.
| | 00:23 | How do you make a hole in the middle of an object?
| | 00:27 | Well the trick is to make a compound path, a
path that actually contains more than one path.
| | 00:33 | Now we talked about compound paths a
little bit in the essential training title
| | 00:37 | and showed how you could use the Path
Finder feature to put a hole in something.
| | 00:41 | For example, I will drag out another circle here on top of
this one, I will choose the Selection tool and then Shift+Click
| | 00:47 | on the background one so I have got both of these
selected, then I will go to the Object menu,
| | 00:51 | go down to the Path Finder sub menu and choose Subtract.
| | 00:54 | This takes the top one and punches a
hole in the bottom one but the truth
| | 00:58 | of the matter is this is actually
two separate tabs in one object.
| | 01:03 | If I press A to jump to the Direct Selection tool we can
see that there is two paths an outer one and an inner one.
| | 01:10 | You can also use the Direct Selection tool just
like an individual path inside of a compound path.
| | 01:15 | First deselect all of these with Command+Shift+A on the
Mac or Ctrl+Shift+A on Windows that deselects everything
| | 01:21 | and then I can click on the path and you
can see that now just as path is selected,
| | 01:25 | if I drag that segment I get a very weird shape.
| | 01:28 | Let me undo that with Command+Z or Ctrl+Z on Windows.
| | 01:32 | If I instead Option Click on a path
and a compound path or Alt+Click
| | 01:37 | on Windows it automatically selects all the points on the path.
| | 01:41 | Now all these points on this outside path are
selected but the ones in the inside path are not.
| | 01:46 | This lets me actually move that whole
path independently of the other one.
| | 01:51 | Now there are several other ways to make compound paths.
| | 01:54 | One of the most common ways is to select a text frame I am going
to zoom in on this with the Command+2 or Ctrl+2 on Windows.
| | 02:01 | I will go to the Type menu and choose Create Outlines.
| | 02:05 | Whenever you create outlines and when there is more than
one character in the text frame you get a compound path.
| | 02:11 | This is actually a single object
with multiple paths, a compound path.
| | 02:17 | Well this is great but what if we wanted to do
something to an individual character let's say we wanted
| | 02:22 | to really be its own object all by itself,
we want to pull it out of the compound path.
| | 02:28 | Well to do that we need to release the compound
path and we could do that by selecting the object,
| | 02:33 | go into the Object menu we will go down to the
Path sub menu and choose Release Compound Path.
| | 02:40 | Now each one of these is an individual object on my InDesign
page, unfortunately the counters inside the G and the A
| | 02:48 | and the E are also independent objects as well so
we can no longer see through them the image behind.
| | 02:55 | So that's too bad, it just means that we
need to make a new compound path again.
| | 02:59 | I will deselect everything with Command+Shift+A or
Ctrl+Shift+A, I will select both of those objects,
| | 03:05 | I will go back to Path Finder under the
Object menu and say Subtract and here we go.
| | 03:10 | Now we have got a compound object for the A. There
is another way to make these compound objects.
| | 03:16 | I will select both of those in the
counter of the G and the outline of the G,
| | 03:20 | I will go to object choose Paths this time the
Path submenu and I will choose Make Compound Path
| | 03:27 | or you could press Command+8 or Ctrl+8 on Windows.
| | 03:31 | And this makes a compound path but we don't necessarily get the
effect that we were expecting this is two objects two shapes,
| | 03:38 | two paths inside of a single one if I press A for the direct
selection tool we can see that both paths are still there
| | 03:45 | but the inside one is not making it transparent.
| | 03:48 | Why, well the reason is somewhat technical,
it has to do with the direction of a path.
| | 03:56 | Every path in InDesign has a direction and in this
case it's either clockwise or it's counter clockwise.
| | 04:03 | You can't really tell what a path is
you just have to believe that it's there
| | 04:07 | so in this case both of these were set to the same direction.
| | 04:11 | So if we want these to be transparent we have to have one
go in one direction and the other go in the other direction.
| | 04:17 | Fortunately InDesign let's us reverse the direction
of a path by first selecting the path so I am going
| | 04:23 | to deselect it and then click on the path again.
| | 04:25 | I will Option click on the path that I want to select
just this path and then I am going to go to Object menu
| | 04:31 | down to the Path submenu and I am going to choose Reverse Path.
| | 04:36 | As soon as I do that you can see that the counter
is now a hole it's actually pushed through it again.
| | 04:42 | Obviously compound paths can be tricky and somewhat technical but
sometimes you just have to dig in and work with them a little bit
| | 04:48 | to get the effect that you are trying to achieve.
| | Collapse this transcript |
| Advanced clipping paths| 00:00 | I told you how much I hate making Clipping
Paths back in the Essential Training Title,
| | 00:04 | I mean there is nothing inherently wrong with
Clipping Paths except that they are real pain to draw
| | 00:09 | and they always have sharp edges so they look kind of unnatural.
| | 00:13 | However, there are a few times when using a Clipping Path maybe
useful so let's take a closer look at them and especially on how
| | 00:20 | to make your own and edit them inside of InDesign.
| | 00:23 | First a quick review on where to find Clipping Paths.
| | 00:26 | I will place a new image in here File Place and then I
will chose the teapot.psd file from my Exercises folder.
| | 00:35 | I will click on my page then I will zoom in on
this by pressing Command+2 or Ctrl+2 on Windows,
| | 00:42 | looks a little bit rough so I will go to the View menu, Display
Performance then choose High Quality Display that looks better.
| | 00:50 | I want to get rid of this background and I happen to
know that there is a Clipping Path in this document,
| | 00:55 | in fact I can see that by Option+DoubleClicking on the image
or on Windows Alt+DoubleClicking that launches Photoshop,
| | 01:02 | opens that image in Photoshop and I can see in
Photoshop's Path panel there is a teapot path.
| | 01:09 | This was a path that was created around
the shape of this image, terrific.
| | 01:14 | So I am going to close this document Command+W on the Mac
or Ctrl+W on Windows, come back to InDesign and I am going
| | 01:21 | to choose that Clipping Path here in InDesign.
| | 01:24 | I will do that by going to the Object Menu, going down
to the Clipping Path submenu and choosing Options.
| | 01:30 | You can also press Command+Option+Shift+K
or Ctrl+Alt+Shift+K on Windows.
| | 01:35 | Here I will choose one of the types of Clipping Paths.
| | 01:39 | I am going to talk about detect edges in just a minute
| | 01:42 | but because this image actually has a path
built into it, I can choose Photoshop path.
| | 01:47 | I will choose Photoshop path, move this dialogue box out of
the way and we can see because the Preview checkbox is turned
| | 01:53 | on the path highlighted here that's the
real path right out of the Photoshop file.
| | 01:58 | Let me click OK and I am going to zoom even closer to this by
pressing Command+4 on the Mac or Ctrl+4 on Windows and we can see
| | 02:05 | that there is a little bit of white
sneaking out past the edges here
| | 02:09 | that didn't quite get cut off enough,
it wasn't clipped down enough.
| | 02:12 | Well InDesign let's you edit the Clipping Paths in various ways.
| | 02:16 | The first way you can do it is within the Clipping
Paths Options dialogue box so I will jump back there
| | 02:21 | with the Command+Option+Shift+K on the
Mac or Ctrl+Alt+Shift+K on Windows,
| | 02:25 | move this out of the way a little bit
and we can insert the frames slightly.
| | 02:29 | I am going to insert this just a little bit like half a point
and as soon as I hit Tab or OK, you will see that it takes effect
| | 02:37 | and because the preview checkbox is on we
can see that it chokes in a little bit.
| | 02:41 | We actually remove part of the image a little bit more
of the image than we had before so that's kind of nice.
| | 02:48 | Now here we can actually go even further and edit this by
using the Direct Selection Tool choose the White Arrow tool
| | 02:54 | in the Tool Panel, then I can actually click on these
points and move them to where I want them to be.
| | 03:00 | As I move this I am actually editing the Clipping Path so
you have a lot of control over Clipping Paths in InDesign.
| | 03:07 | Now let me show you another trick
with Clipping Paths in InDesign.
| | 03:10 | Let me zoom back here to 200%, I am going to deselect that
with the Command+Shift+A or Ctrl+Shift+A on Windows press V
| | 03:18 | for the Selection tool so I can move
this whole image out of the way.
| | 03:21 | I am going to place a new image now,
File Place and this time I am going
| | 03:26 | to place the image called handsflat.psd from my Exercise files.
| | 03:31 | Click Open and click on my file and there we go.
| | 03:35 | Then click on the page and we can see the image here.
| | 03:38 | Now I would like to get rid of all that white background,
unfortunately this does not have transparency in it
| | 03:44 | and it does not have a Clipping Path in it so I have to
kind of fake it here of course I could go back to Photoshop
| | 03:50 | and erase the transparency that would probably be the best way to
do it but let's say I am in a hurry I am just doing a quick comp
| | 03:56 | for a client and I just want to get rid of that background.
| | 03:58 | Well you can do that InDesign by going to the Object Menu,
choosing Clipping Path Options and then using Detect Edges.
| | 04:08 | In this case there is no built-in Photoshop paths so I can't
choose that, I am going to choose Detect Edges and we can see
| | 04:13 | that it very quickly makes me Clipping Path and it
does an OK job it's not great, it's an OK job though.
| | 04:20 | But we can make it a little bit better
by tweaking some of these controls.
| | 04:24 | First of all threshold says how white should
the pixels be before they get clipped out.
| | 04:30 | If I turn this to the right we can see that a
whole bunch of the image actually gets clipped out.
| | 04:34 | If we put it to the left of a bunch we can see that less of it
gets clipped out and we have a lot of white so you kind of get,
| | 04:41 | kind of in between just sort of a in-between amount here.
| | 04:45 | Next Tolerance and that's how close should it follow the edge of
the image, if we do this to the right we get a very loose effect,
| | 04:52 | if we go way to the left we get way too many points
on our Clipping Path that's going to be a real hassle.
| | 04:57 | So we try and find something right in between
and we will bump this up to just maybe one
| | 05:03 | and half somewhere right in there a little over one.
| | 05:06 | That's not bad, we are still getting a lot of white
leaking through so once again we can go to the Inset Frame
| | 05:11 | and in this case I am going to have to do a much larger
amount maybe a whole point and that chokes this in.
| | 05:16 | It sort of crops out more of the edges and that's looking
reasonably good except look at this I still have a little bit
| | 05:22 | of white right here, I want to get rid of that as well.
| | 05:25 | Fortunately I can say include the inside edges that means
go past the inside and look inside to this kind of white.
| | 05:33 | But when I turn that on, oh my goodness some of the
cup got clipped out, well it's always something.
| | 05:39 | I guess in this case we better bring the
threshold back down until that gets cut off.
| | 05:44 | There we go, so you have to find a good balance in
between what is in and what is out of the Clipping Path.
| | 05:51 | Now we can click OK and we can see that we have
got a reasonably good Clipping Path around here.
| | 05:56 | We got rid of all that white, it's not perfect but again
if this was just a quick one-off for a client first
| | 06:01 | for a comp then it's fine, it's perfectly adequate.
| | 06:04 | Later on when I wanted to do final version, I would go back
to Photoshop and do a real transparency and bring this image
| | 06:10 | in with transparency on the edges that would look a lot nicer.
| | 06:14 | Using a Clipping Path on InDesign even a really rough
one like we created here also gives us the ability
| | 06:19 | to create certain kinds of special effects in InDesign.
| | 06:22 | Let me show you one which is kind of fun.
| | 06:24 | I am going to select this whole image with the Selection
tool and I am going to copy it to the clipboard.
| | 06:30 | Now I will switch over to Illustrator and I am
going to create a new document and I am going
| | 06:36 | to paste it Command+V or Ctrl+V on Windows there we go.
| | 06:40 | There is the image inside of a big clipping mask as
we talked about in our earlier movie let's go ahead
| | 06:46 | and apply the default stroke around here, I am just going
to press D that applies to default stroke around this image.
| | 06:52 | Now I will go to outline mode and we can
see that we better get rid of this stuff
| | 06:57 | so I will use my White Arrow Direct Selection Tool
and delete that press Delete a couple of times.
| | 07:02 | Now we can see that we are pretty much just down to the bare
bone stroke here, I will go out of Outline mode into Preview mode
| | 07:08 | but unfortunately sometimes when you copy and paste images into
InDesign the stroke actually brings along another clipping mask
| | 07:17 | and it's a hidden clipping mask and I cannot
figure out why it's there but I do know
| | 07:21 | that I have to go to Object, Clipping Mask, Release.
| | 07:25 | Now that we got rid of that other clipping mask now I can
do some special cool effects that tends to happen only
| | 07:30 | when I copy and paste images into Illustrator.
| | 07:33 | Anyway I have released it, now I am going to
apply some cool effects like maybe I will go
| | 07:37 | to the Path Effect and I will say offset my path by 10.
| | 07:42 | Now I actually get an offset shape there
that's kind of interesting, that's good enough.
| | 07:45 | I mean I could do all kinds of other effects if I wanted to
but in this case I will just stick to that and I will copy this
| | 07:50 | out from Illustrator come back to InDesign and paste it.
| | 07:55 | There we go, now I have pasted it into InDesign
and we can see the shape that we have created.
| | 08:00 | I am just going to align this visually and then go to
Object Arrange Send to Back so it shows up behind the image
| | 08:08 | and you can see you have got some kind of interesting
effects here on the line that a little bit more visually
| | 08:13 | as well with the Selection tool, looks pretty good.
| | 08:16 | We can go even further than that if we wanted to by let's say
stroking this, let's use the Direct Selection Tool and I am going
| | 08:23 | to select just that outside path and I am going
to make this stroke much thicker maybe I think 9.
| | 08:29 | Stroke and then I will choose some
other whacky stroke style like that.
| | 08:33 | And that looks pretty cool I mean you can get some really
interesting special effects by using Clipping Paths.
| | 08:38 | Of course once we have done this we probably want
a higher quality transparency around the hands
| | 08:43 | so we don't have this sharp edges but
this image didn't have transparent pixels.
| | 08:47 | Did it? Well in the next movie I will show how to eek out real
transparency from a non transparent image using alpha channels.
| | Collapse this transcript |
| Advanced image transparency| 00:00 | In the last movie we imported this image of the hands
and we added a clipping path using Detect Edges.
| | 00:07 | Edge is pretty sharp though and pretty rough, not pleasant
to look at, at all, so let's use real Alpha Transparency
| | 00:14 | with the pixels actually blend into the background softly.
| | 00:17 | In this case, the image doesn't actually have any transparent
pixels, but I happen to know that it does have a couple
| | 00:24 | of extra channels saved inside of it from Photoshop.
| | 00:27 | I can see that by Option+Double-Clicking on the Macintosh
or Alt+Double-Clicking on Windows that opens it in Photoshop
| | 00:34 | and I see there is no clipping path, there is no
transparency as well, but in the Channels Panel,
| | 00:39 | I can see that there is two alpha-channels, Hands and Tea Cup.
| | 00:44 | I will go ahead and close this Photoshop
file, go back to InDesign and I am going
| | 00:48 | to tell InDesign to apply those alpha-channels to this image.
| | 00:53 | Unfortunately, the only way for me to do that is to re-import
the image, so I will go back up to the File menu, choose Place,
| | 01:01 | grab that image again called Hands Flat and I am going to replace
the selected image and I am going to show my import options.
| | 01:09 | The only way to turn on that transparency is with import options.
| | 01:13 | Click Open and in the image tab of the import options
dialog box; it gives me the option for an alpha channel.
| | 01:21 | Alpha channel, what's that about?
| | 01:22 | An Alpha Channel means transparency,
what do you want to use for transparency?
| | 01:27 | In this case you have a choice between
one of those channels from Photoshop.
| | 01:30 | I will choose Tea Cup, and there we go.
| | 01:34 | All of a sudden, everything disappears except for the Tea Cup.
| | 01:38 | Now, that white area is actually part of
this that I brought in from illustrator
| | 01:42 | in the last movie, let's go ahead and get rid of that.
| | 01:45 | I will select that background image and I will
click on such content to zoom in on it and I can see
| | 01:51 | that the first thing that selected is the one that has a stroke.
| | 01:55 | So I will click Next Object and the next object is
selected is actually the one that has a white background
| | 02:01 | and a solid stroke, well I can get rid of that.
| | 02:03 | I will just hit Delete, there we go.
| | 02:05 | Now, we are back to seeing true transparency
only having that tea cup.
| | 02:09 | I will select that tea cup image, go back to File, click
Replace, choose the image one more time, show import is on,
| | 02:17 | replace selected is on, click Open and this time
I go to the Image tab and I choose the hands
| | 02:22 | and I will get the whole image including the hands.
| | 02:25 | Click OK and there we go, nice, clean transparency, oh it's not
so clean why is that not so clean, I will tell you why it's not
| | 02:34 | so clean because I forgot to turn off the clipping path.
| | 02:36 | I still need to go back to the Object menu,
go to Clipping Path, choose Options and then,
| | 02:43 | I will look at that Detect Edges was still turned on, silly me.
| | 02:46 | I have to go turn Clipping Path Off.
| | 02:49 | Now, when I click OK and we will zoom in here, select 400% and
then I will use my Option+Spacebar or Alt+Spacebar on Windows
| | 02:57 | and we can see that it's a perfect nice anti-aliased
edge, right into the background, that's beautiful.
| | 03:03 | Now, InDesign is not an image editing program.
| | 03:07 | Photoshop will always be better at fine tuning your image
at a pixel level, making masks and things like that.
| | 03:13 | But the fact that I can choose those masks or
channels in InDesign means that I have a lot
| | 03:19 | of flexibility while I am working and that is a good thing.
| | 03:24 |
| | Collapse this transcript |
| Importing and viewing metadata| 00:00 | Metadata is literally data about your data.
| | 00:04 | For example, I am going to jump to page 4 in this Javaco magazine
from the exercise files by pressing Command J which brings
| | 00:10 | up the Go To page, on Windows it's Ctrl J;
I will type 4 and then enter to press OK.
| | 00:15 | And I would like to find out information
about this background image.
| | 00:19 | In the old days if I wanted to get let's say the copyright
information from the image I would flip over the original print
| | 00:26 | and I would hope that somebody wrote
it in a soft blue pencil on the back.
| | 00:29 | These days you might spend a half an hour going through all
of your Emails trying to figure out who sent this to you
| | 00:35 | and did they send you caption on copyright
information but there is a better way, Metadata.
| | 00:41 | You can store Metadata about your images
and files inside the files themselves
| | 00:46 | and then pull that data out whenever you need it.
| | 00:49 | I mentioned Metadata in the Essential Training title and I
pointed out that you could go to Bridge I will just switch
| | 00:55 | over to Bridge here and choose your InDesign
file in bridge and you can get information
| | 01:00 | about that file including the file
name and all sorts of information.
| | 01:04 | InDesign also saves Metadata about the fonts that were used
inside that, we can see those fonts here in Bridge or about all
| | 01:12 | of the document swatches, all the color
swatches that were saved inside that document.
| | 01:16 | That's Metadata.
| | 01:17 | It's data about this InDesign document.
| | 01:20 | Let's go ahead and look inside the links folder and I am going
to select the image that I want to get information about.
| | 01:26 | The Metadata panel inside Bridge tells us information
like the name and its Jpeg and when it was shot and so on.
| | 01:33 | It also saves information from the digital camera itself
like what was the focal length when the shutter was snapped.
| | 01:39 | I can also get even more information from the metadata panel if
I go to the metadata panel preferences inside this little fly
| | 01:47 | out menu and I can turn on or off all of these metadata options.
| | 01:51 | I am going to scroll down here just using the mouse wheel on my
mouse here and I am going to turn on IPTC Core that's all kinds
| | 01:58 | of information that is commonly used with images.
| | 02:01 | Click OK and you can see now I have an IPTC Core area.
| | 02:06 | I also see that there are little pencil icons here, that
means these are all editable fields and in fact there is some
| | 02:13 | of the information that's already in here like
this description these ancient teacups and so on.
| | 02:18 | If I scroll down farther, I could see that
there is title and copyright notice and so on.
| | 02:22 | So that's one place that I can find metadata about this image.
| | 02:26 | If I double-click on the image itself
it opens it in Photoshop of course
| | 02:29 | and let me show you another way you can find your metadata.
| | 02:32 | I will go to the File menu and choose File Info.
| | 02:37 | InDesign,.
| | 02:37 | Photoshop, Illustrator, these applications all have File
Info dialog boxes and they all look pretty much the same,
| | 02:44 | they give you information about the file we are working on.
| | 02:47 | In this case you can see that there is a document title, there
is a description over here, here's the copyright information
| | 02:53 | and because I am in Photoshop, I can actually edit
this information to put anything else we want in here
| | 02:58 | for example I might say Blatner for author, click OK and now
when I save this with a Command S on the MAC or Ctrl S on Windows
| | 03:07 | and I will close it, go back to InDesign with
my application switcher and I want to find
| | 03:12 | that same information the same metadata, I don't
want to have to go to some other program to get that.
| | 03:17 | So how do I get the information from within InDesign?
| | 03:20 | I will select the image on my page, then go to the links
panel, make sure that image is actually selected here,
| | 03:26 | it's highlighted here, go to the fly-out menu and choose Link
File Info that's file info about this link and open it up
| | 03:35 | and look at that all the information is there,
it's the same dialog box that we saw in Photoshop.
| | 03:39 | The document title is there, the author I just
typed is there, description is here and so on.
| | 03:44 | In this case it's not editable, you can't change this information
for an imported image its read-only but we can if we wanted
| | 03:52 | to copy this information out of this
dialog box to use someplace else.
| | 03:56 | For example if I wanted the copyright
notice, I could simply select over the image,
| | 04:00 | I just drag over the image there and copy it to the clipboard.
| | 04:04 | Unfortunately, the edit menu is all grayed
out so it looks like you cannot copy it
| | 04:09 | to the clipboard but you know what you can, you really can.
| | 04:12 | All you have to do is press the keyboard shortcut
on the MAC Command C or in Windows Ctrl C,
| | 04:18 | I just did that and I copied it to the clipboard.
| | 04:20 | Now I can click OK or Cancel, I will make a new text
frame wherever I want my copyright information to be
| | 04:26 | or if I already had it in text frame, I
could have used that one and then I paste it.
| | 04:30 | See now edit is here and we can say Paste and the information
from the metadata is pasted into the InDesign document itself.
| | 04:39 | Once again InDesign, Photoshop, Illustrator they all have
File Info so you can assign metadata to any of these.
| | 04:46 | For example, here in InDesign I go to the File menu,
choose File Info now I am actually assigning metadata
| | 04:53 | to this InDesign document itself not the images not
anything else but just the InDesign document itself.
| | 04:59 | So I could say Javaco magazine and the author
is Blatner in this case and I could fill
| | 05:06 | in all this information however I wanted this to be click
OK and it is now part of the InDesign document itself.
| | 05:13 | If I export a PDF from this file then the metadata
travels into the PDF and shows up in the PDF file,
| | 05:20 | I could even see that in Acrobat if I wanted to.
| | 05:22 | It does take some discipline to add metadata to your files
but if you do and if others in your workgroup add metadata
| | 05:29 | to their files too well then you will no longer be searching
through those old Emails trying to find information,
| | 05:34 | you will just look in the metadata and you will
really be on the road to an efficient workflow.
| | Collapse this transcript |
|
|
6. Text and TypographyAdvanced text formatting| 00:00 | InDesign is a type setting powerhouse offering more
typographic options than any other program around.
| | 00:06 | I covered the basics of InDesign
typography in the essential training title.
| | 00:10 | I will cover 3 features in this movie Balance Ragged Lines,
Align First Line to Grid and the superior Subscript Feature.
| | 00:18 | I have my Javaco Magazine file open from the exercises folder
and I have opened to the second spread and I am going to zoom
| | 00:25 | in on this text frame right here, I will press Command 2 or
Ctrl 2 on Windows after selecting it, zooms right in on it.
| | 00:33 | I am going to press W to hide all my guides
| | 00:35 | and other non-printing objects they are just a
little bit too distracting right now and I can see
| | 00:40 | that in this paragraph the last word is sitting
all by itself, it's just kind of lonely down there.
| | 00:45 | It would be nice to give it some company and balance
this paragraph out so it doesn't look so top-heavy.
| | 00:52 | I will double-click on it to place the type cursor
inside that paragraph and I will go to the fly-out menu
| | 00:58 | in the control panel that's just little pop-up
menu in the far right corner of the control panel.
| | 01:03 | From here I can choose Balanced Ragged Lines.
| | 01:07 | Immediately you see that InDesign balances the whole
paragraph out so that the last line is not so off balance.
| | 01:15 | Let me show you another example.
| | 01:16 | I will use my Option Spacebar or Alt Spacebar
keyboard shortcut to get the grabber hand
| | 01:22 | and I will scroll down to the bottom of the page.
| | 01:24 | I can see that this paragraph has the same problem.
| | 01:27 | In this case I am going to change
the paragraph style because I want
| | 01:31 | to make all my article subheads have Balance Ragged Lines turned
on so I will go to the paragraph styles panel and I will go look
| | 01:39 | for that heading, it looks like it's down here, there we go,
it's selected article subhead and I am going to edit that.
| | 01:45 | I will choose the fly-out menu from the paragraph
styles panel and I will click on Style Options.
| | 01:50 | That opens the Style Options dialog box and I will jump
over here to the Indents and Spacing pane, look down here
| | 01:57 | and up there it is one more time Balance Ragged Lines.
| | 02:00 | I will turn that on, click OK and you can see that now all
| | 02:04 | of my article subheads are going to
have Balance Ragged Lines turned on.
| | 02:08 | That looks a lot better.
| | 02:09 | Let me zoom out to fit page in Window again Command 0 on the MAC
or Ctrl 0 on Windows and I will go back to this paragraph here
| | 02:17 | because there was something that was really bothering me
about that Command 2 or Ctrl 2 on Windows and I can see
| | 02:22 | that this line does not match up with
the baseline of this line over here
| | 02:26 | and it's a little thing but it's a really annoying thing.
| | 02:29 | We talked a little bit about a line to baseline grid in
the essential training title, I just want to follow up here
| | 02:35 | with one more important point about baseline grid and that
is I can align just the first line to the baseline grid,
| | 02:43 | I don't have to align the entire paragraph to the baseline grid.
| | 02:46 | And the way I do that is I place my cursor in the paragraph,
I go to the paragraph formatting mode of the control panel
| | 02:53 | and I am going to turn on the Align to the Baseline
Grid button here, I will just turn that on.
| | 02:58 | Now the entire paragraph gets the Align to Baseline
Grid turned on and that may or may not be what I want
| | 03:04 | in this case it's definitely not what I want because it throws my
letting off entirely but I do want to start by turning that on.
| | 03:11 | The second thing I am going to do is go over to our friendly
control panel fly-out menu one more time and I am going
| | 03:17 | to scroll down to Only Align First Line to Grid.
| | 03:22 | This only works when Align to Baseline Grid is turned on
for the paragraph and when it is turned on and I turn this
| | 03:28 | on now I align my first line of the paragraph to the baseline
grid so it matches up perfectly with this baseline over here
| | 03:36 | and the rest of the paragraph just falls wherever it may.
| | 03:39 | Let's go down here to the bottom of the page one
more time because I noticed something down here
| | 03:43 | that I want to fix and that is this H20, H20 for water.
| | 03:48 | Well that 2 needs to be a subscript, it needs to go down
little bit, let me zoom in here, I will grab my zoom tool
| | 03:54 | and just zoom right in on that text
there so we can see that really well.
| | 03:58 | And I want to choose this 2 and apply a
subscript, I wanted to make it go down.
| | 04:05 | Well there are two ways to do this and I want
to point out the wrong way and the right way.
| | 04:09 | I will go to the control panel and switch back
to the character formatting and I will point
| | 04:14 | out that there is a subscript button here in this mode and if I
click on that button it looks like it makes it subscript, right,
| | 04:22 | well in fact it does make it subscript but it's a fake subscript.
| | 04:25 | In most cases, it's a fake subscript and it looks kind of ugly.
| | 04:29 | You might not know that it looks kind of ugly
because that's what everyone's kind of use to
| | 04:32 | but let me show you a different way of doing it.
| | 04:34 | I think you will see that it's a better way.
| | 04:36 | I am going to select this text and copy it and then I am going to
simply place next to here and I am going to paste it again just
| | 04:45 | so we have a before and after and the one on the right is
going to be the one that we applied that button to and the one
| | 04:52 | on the left I am going to turn that button off and I
am going to show you a different way of doing this.
| | 04:56 | Instead I am going to go to the fly-out menu,
control panel fly-out menu, open type submenu
| | 05:02 | and then choose Subscript Inferior because Minion Pro the font
we are using is an open type font and it has a subscript option,
| | 05:11 | we can select that and we get a much better quality subscript.
| | 05:15 | This character here is something that the type
designer actually built to be a subscript.
| | 05:21 | This 2 over here has been faked.
| | 05:23 | How was it faked?
| | 05:24 | Well it was faked using InDesign's preferences.
| | 05:27 | We will talk about preferences later in this title but very
quickly let me point out where the faking mechanism is here.
| | 05:34 | I will go to the preferences submenu which is in the InDesign
menu on the MAC or the Edit menu on Windows and I will come
| | 05:41 | over here to Advanced Type and we can see that the subscript
option is right here, this is the faking mechanism it's changing
| | 05:50 | that 2 to 58.3% of the regular size and it's using baseline
shift to move it down about 3rd of its size from the baseline.
| | 06:00 | Let me click OK and you can see that.
| | 06:02 | We could change those preferences to make it little bit
bigger maybe or maybe not move it down quite as much.
| | 06:08 | That would be fine but you will never get the look to be as
good as if you use a character that was actually designed
| | 06:14 | by the font designer for an inferior or a subscript character.
| | 06:18 | Of course this is only a small percentage of
the cool stuff you can do with type in InDesign.
| | 06:23 | I am going to cover more topics relating to text
and types dials throughout the rest of this chapter
| | 06:28 | but if you find you want even more details I want to encourage
you to checkout Nigel French's InDesign typography title
| | 06:34 | on the www.lynda.com Online Training Library.
| | Collapse this transcript |
| Using other languages| 00:00 | (Foreign Language) If you speak another language
or more precisely if you have to use text
| | 00:07 | from another language inside InDesign you should tell
InDesign about it after all InDesign has spelling
| | 00:13 | and hyphenation dictionaries for
almost two dozen different languages.
| | 00:17 | In the essential training title I pointed
out that you can assign a language to text.
| | 00:21 | Let me show you how to do that.
| | 00:23 | When I double-click on this text on the lower left corner
I am going to zoom into 400% by Command 4 or Ctrl 4.
| | 00:29 | That's just so I can zoom in right to that area and I
can see that I have got some text right there which is
| | 00:35 | in a different language that looks like French
to me so I better tell InDesign that it's French.
| | 00:42 | In the essential training title I pointed out that
you can change the language here in the control panel
| | 00:47 | but because I have got some French elsewhere in my
document I don't want to have to apply it every single time
| | 00:52 | for my peer, I would rather make a character style.
| | 00:55 | So I will go to the character style's panel,
I will say give me a new character style
| | 00:59 | from the fly-out menu I will call this French; because it's
a different language I am going to change the font style
| | 01:05 | to Italic just so it stands out and then I will go
| | 01:08 | to the Advanced Character Format's pane
and I will change the language to French.
| | 01:13 | There we go.
| | 01:14 | Now we have a French character style, I
will click OK make sure that's selected
| | 01:19 | and then choose French in the character style's panel.
| | 01:21 | There we go.
| | 01:22 | We have got in Italic, French text.
| | 01:26 | I see we have some more French text down here, I will just scroll
up here the Option Spacebar or Alt Spacebar keyboard shortcut
| | 01:33 | and then I will select that text and apply French here as well.
| | 01:36 | Now the great thing about applying a language to text
telling InDesign that this is a different language is
| | 01:42 | that it will spell-check and hyphen it correctly.
| | 01:44 | For example I can go to the Edit menu, choose Spelling,
go over here it checks spelling and it says no,
| | 01:51 | this isn't in the dictionary, that
doesn't exist what is that word.
| | 01:56 | Well oh you know what I bet it's this one here with this
accent that's what I really meant, I meant to type that accent
| | 02:02 | but I don't actually speak French so
I didn't know that that was wrong.
| | 02:06 | But spell checking caught it which is
great, I will select it here, click Change,
| | 02:10 | click Done and it added it for me which is really, really great.
| | 02:14 | OK let me show you a couple other language tricks here.
| | 02:18 | In My Documents I will often have a lot of Internet URLs
for example http://www.lynda.com and so on and the problem
| | 02:30 | with these is that they always get caught by spell checking
as incorrect because it has no idea what this URL is.
| | 02:37 | I wish there were a way to turn off spell checking
just for one little piece of text and in fact there is.
| | 02:44 | You know that there is lots of languages in here
but what a lot of people don't realize is at the top
| | 02:48 | of this list there is a language called No Language and if
you choose No Language then this will not be spell checked,
| | 02:56 | it just skips right over it says I have no idea what this is,
| | 02:59 | I don't know what language it is so
forget it I won't spell-check it.
| | 03:02 | So, I find this very useful and of course I would make
a character style for No Language and apply it to this.
| | 03:07 | There is one other language in here which I want to point out
that's Ukrainian and this is actually probably a bug in InDesign
| | 03:16 | as far as I know but in Ukrainian for some reason
every word shows up as spelled correctly as well.
| | 03:23 | I think Adobe actually just forgot to ship the Ukrainian
spelling dictionary with InDesign or something like that
| | 03:30 | because it just won't spell-check anything that's in Ukrainian.
| | 03:33 | So it's something to watch out for just in case some of your text
gets changed to Ukrainian for some reason but it's important.
| | 03:40 | Now let me show you one other interesting trick
having that language and that is Text Variables.
| | 03:47 | I am going to type some text here "today is" and
let me move this up so we have some more space here
| | 03:54 | and I want to create today's date right here,
I want to add today's date to this text.
| | 04:00 | I am going to go to a new line here and
type "today is" and I would like InDesign
| | 04:04 | to automatically insert whatever today's date is.
| | 04:08 | And of course we know from the essential training title
we can do this with a type variable, a Text Variable.
| | 04:14 | So I have gone ahead and already created
a Text Variable in this document called
| | 04:18 | "today is" and all this does is it types today's date.
| | 04:23 | So I will select that and it inserts it into that
line, looks great now you know that dirty secret,
| | 04:30 | this is the date that I actually recorded this movie.
| | 04:33 | So that is today's date but what's really
interesting about variables in InDesign is
| | 04:38 | that they are language specific, they are language aware.
| | 04:42 | So if I select that variable remember a variable is just like
a single character in the text so I just double-click on it
| | 04:48 | to select it and if I change the language to something other
| | 04:51 | than English let's say I will change
it to German, the language changes.
| | 04:58 | InDesign is actually smart enough to change
the language of this text pretty cool.
| | 05:03 | If I change it to French I get French dates.
| | 05:10 | If I change it to I don't know you can pick anything in here
and it seems to work, check, I actually don't know check
| | 05:16 | so I don't know if that's correct
but I am pretty sure that's correct.
| | 05:19 | Someone let me know if that's wrong but I am pretty sure
that is actually check for Thursday the 24th of January.
| | 05:27 | Isn't that amazing?
| | 05:28 | Of course what I really want is a feature
that will automatically translate all my text
| | 05:32 | into a language not just the date variables.
| | 05:35 | Well maybe we will see that in InDesign Version CS 010.
| | Collapse this transcript |
| Advanced text importing| 00:00 | We all need to get text into InDesign sooner or later
and back in the Essential Training Title we looked
| | 00:05 | at the basic method for importing text using the place command.
| | 00:09 | Let's review.
| | 00:10 | I am going to open my Javaco Magazine document from the
exercises folder and I am going to use Option Page Down to jump
| | 00:17 | to the spread I want to work with
or that's Alt Page Down on Windows.
| | 00:20 | I am on page 6 and 7 and I can see
that I better import some text here.
| | 00:26 | I can import some text by going to the File
menu, choosing Place and then scrolling
| | 00:31 | down through my links folder until I see the Javaco NU document.
| | 00:35 | This is in RTF document from Microsoft Word,
many Word Processors can export RTF files though.
| | 00:41 | Before I click Open I am going to turn on Show Import Options.
| | 00:46 | I like having Show Import Options on when I am
importing word documents because it gives me many,
| | 00:52 | many more options than I would ordinarily have.
| | 00:55 | For example it lets me choose what do I want to include.
| | 00:58 | Do I want to include a table of contents
or index, footnotes, endnotes?
| | 01:03 | I don't know why it lets you choose endnotes because InDesign
doesn't actually have an endnotes feature but I guess if you turn
| | 01:09 | that off it would strip out all the endnotes of the
incoming documents so that might be useful somehow.
| | 01:14 | My document doesn't have any of these so I don't really care.
| | 01:17 | I can choose here whether or not to convert all my
straight quotes to curly quotes, typographer's quotes
| | 01:23 | and this is really the important part the formatting section.
| | 01:27 | What do I want to do with any of the
formatting that's inside the document?
| | 01:31 | Do I want to perhaps strip it all out,
get rid of all the italics and bolds
| | 01:35 | and paragraph styles and character styles and everything?
| | 01:38 | Well I could choose that if it were a really messed up document
and I wanted to throw it all away but in this case I happen
| | 01:44 | to know that this Word document has paragraph styles
| | 01:47 | and character styles applied throughout
the document and I want to maintain those.
| | 01:51 | So I am going to preserve my styles
and formatting from the text in tables.
| | 01:56 | It then gives me all kinds of other options
and I know this seems kind of overwhelming
| | 02:00 | but if you take it one step at a time it's really not that bad.
| | 02:03 | What do you want to import?
| | 02:04 | Do you want your inline graphics?
| | 02:06 | I don't like importing inline graphics from Word documents.
| | 02:09 | I have just seen too many weird things
happen so I usually turn this one off.
| | 02:13 | I am not going to go through all of this, it
will take too long but you can see do you want
| | 02:16 | to convert your bullets and numbers to text and so on.
| | 02:19 | I am just going to import just like this except for my styles.
| | 02:24 | Now, ordinarily if you have paragraph and character styles
in your Word document that have exactly the same name
| | 02:31 | as the InDesign document well then you will
match perfectly right, the document will come in
| | 02:37 | and then InDesign throws away the word style
definitions and uses the InDesign style definition
| | 02:44 | and that's a good thing that's typically
what you want to have happen.
| | 02:47 | You also have the option here to redefine your InDesign style.
| | 02:51 | That means don't use the style that I have defined in
InDesign, use the style that some guy defined in Word.
| | 02:58 | I can't imagine why you would want to do that but I
guess it's nice that InDesign gives you that option.
| | 03:02 | I have never used this option that seems weird to me.
| | 03:05 | Auto Rename could be useful if you are importing a
document and you don't want to apply InDesign styles to it
| | 03:11 | and I suppose you could use Auto Rename but again
in the vast majority of cases you are just going
| | 03:16 | to use the InDesign style definition when
you have same style names between Word
| | 03:20 | and InDesign that's just the way it should work.
| | 03:23 | But there is a problem.
| | 03:24 | The problem is that in this particular InDesign
document I have put my paragraph styles inside folders.
| | 03:32 | As we learned in the Essential Training Title you can actually
nest styles inside folders and that's a nice way to keep track
| | 03:38 | of them but the problem is that when you
do that and you import a Word document
| | 03:43 | that has styles InDesign can't see those styles anymore,
it doesn't know inside which folder the styles are living.
| | 03:51 | So you have to use customize style import.
| | 03:55 | This is a very powerful feature.
| | 03:57 | This is also extremely useful when you are importing a
Word document or any kind of RTF file where the style names
| | 04:05 | in that document do not match the InDesign document exactly.
| | 04:09 | For example if you are working on let's say a medical journal
and you have 50 different people sending you documents
| | 04:15 | and they all have their own way of styling,
they all have their own names that they use
| | 04:19 | for their paragraph styles well you can use customize style
import to map their names to your names very, very cool.
| | 04:27 | When you turn this on you can click on the style
mapping button so I will go ahead and do that
| | 04:32 | and then you can map their style name to your style name.
| | 04:36 | In this case I am going to map article subhead which
is the name of the style inside the Word document
| | 04:41 | to article subhead but inside my headings folder.
| | 04:46 | I will do the same thing with body text.
| | 04:48 | Body Text is going to map to body
text inside my body sizes folder.
| | 04:53 | InDesign was smart enough to map the bold italic
character style that I used in the Word document
| | 04:59 | with the bold italic character style in
InDesign and it was able to make that match
| | 05:03 | because this character style is not inside a folder.
| | 05:06 | I will click OK here and I am also
going to save this as a preset.
| | 05:11 | I love the fact that you can save all of these
settings in this import options dialog box as a preset
| | 05:16 | so that each time I import a document like this I can
just choose a preset out of the preset pop-up menu.
| | 05:22 | I will call this one My Happy Preset.
| | 05:26 | Obviously you can call it anything you want to.
| | 05:27 | I will click OK and you can see it
shows up here in the preset pop-up menu.
| | 05:31 | When I click OK InDesign gives me the Place cursor.
| | 05:37 | As we talked about in the Essential Training Title I can simply
click with this cursor on top of a text frame and InDesign fills
| | 05:44 | that whole text frame and any frames
that are threaded to it automatically.
| | 05:48 | So in this case I had 4 text frames created but I had this big
one here and then 3 other text frames over on the right page,
| | 05:56 | they were all threaded together so it filled it all.
| | 05:58 | But I want to show you a few other placing
options that have to do with that place cursor.
| | 06:02 | So I am going to actually delete all of these just so you can
see what's going on here and I am going to place that again
| | 06:08 | with Command D or Ctrl D on Windows, I will choose the file that
I want to create, I will make sure Import Option is turned on
| | 06:15 | and I will click OK and now I get the import options again.
| | 06:19 | I can pull my preset right out of here so I don't have
to worry about mapping all of these a second time.
| | 06:25 | Click OK. It loads the Place cursor and now I
don't have any text frames to drop this text into.
| | 06:31 | What do I do?
| | 06:33 | Well I could simply click and that creates a single frame and
makes it the width of the current column and then it stops
| | 06:40 | so you can see that the text is now over set.
| | 06:43 | But there are other place options too.
| | 06:44 | I am going to undo that with Command Z or Ctrl Z on Windows,
I am going to place this but with a modifier key held
| | 06:52 | down so I am going to move over here and hold
down the Option key or the Alt key on Windows
| | 06:57 | and now the cursor changes very suddenly, you may not
be able to see that but it's going to create a frame,
| | 07:03 | it's going to drop the text into it
and it's going to automatically reload
| | 07:07 | that Place cursor right and now I can do the same thing.
| | 07:11 | Option click that's very handy for if you want to make a
bunch of frames at a time or it doesn't have to make a frame
| | 07:18 | if the frames were already there, it would fill
the frame and then reload the Place cursor as soon
| | 07:22 | as it runs out of space as soon as it becomes over set.
| | 07:25 | So that's pretty cool.
| | 07:27 | Let me undo that a couple of times
and just show you one more option.
| | 07:30 | I am going to show you what happens if I do a Shift click.
| | 07:34 | Shift click will automatically fill all the columns
and it will keep filling columns and keep adding pages
| | 07:41 | until all the text is loaded so Shift click will load
up all of the columns and it will keep adding pages
| | 07:49 | until all the text is there, in this case it didn't
have to add pages because it ran out of text.
| | 07:54 | But that's a good one to know about,
that's very handy Shift click.
| | 07:57 | And the last modifier key I want to show is
I will undo that one more time and I am going
| | 08:02 | to come back here and Option Shift Click or Alt Shift Click.
| | 08:07 | This one is very obscure.
| | 08:08 | I will go and Option Shift Click or Alt Shift
Click and this one looks like the Shift click
| | 08:14 | but there is one difference it won't add additional pages,
it simply loads all the columns but it won't add extra pages.
| | 08:21 | That's a good one to know about as well.
| | 08:23 | I am going to place my cursor inside the text here by
double clicking on it that switches to the type tool,
| | 08:28 | I will zoom into 200% which is Command 2 on the Mac or Ctrl
2 on Windows and let me look at my paragraph styles panel.
| | 08:36 | I can see inside that inside the panel here there is a little
plus sign and as we learned in the Essential Training Title
| | 08:42 | that means there is local formatting here and if you hover on
top of that you get a little Tool tip and the Tool tip says
| | 08:49 | that in this case there is local formatting
called Kinsoku which is a Japanese feature.
| | 08:53 | I have no idea why that's here and I have
to say this is probably a bug somewhere
| | 08:58 | and it happens sometimes, it doesn't happen other times.
| | 09:01 | You get these weird local overrides and I can't figure
out what is going on here but it does sometimes happen.
| | 09:07 | There is a trick there is a way to get
around it or to remove those local overrides.
| | 09:12 | The Tool tip tells you what you can do to remove those overrides.
| | 09:15 | It says Option Click to Clear but that's a little bit
misleading because that means if I Option Click on that style,
| | 09:23 | it removes the local override just from that one paragraph.
| | 09:27 | Well that means I would have to option click on each
individual paragraph in this story which is going to be very,
| | 09:32 | very time consuming and frustrating
so I don't really want to do that.
| | 09:36 | Instead there is an easier way.
| | 09:37 | Press Command A or Ctrl A on Windows and
that selects all the text in the whole story
| | 09:43 | and then click on the Clear Overrides Button.
| | 09:46 | This little button in the paragraph
styles panel is very, very useful.
| | 09:50 | It simply removes all the local overrides
from everything that is selected.
| | 09:55 | There we go.
| | 09:55 | It's gone.
| | 09:56 | Now wherever I click I don't get that little plus sign anymore.
| | 09:59 | I am going to show you little bit more extreme example of this.
| | 10:02 | In this case I am going to delete all
this text and I will place a new file.
| | 10:07 | This is a more extreme example of
the same local formatting problem.
| | 10:10 | I am going to place this file called Javaco NU
bad, the bad version and I am going to click Open,
| | 10:18 | the Import Options was still turned on so I can still
use my preset here, click OK and it imports everything,
| | 10:24 | I can already tell there is going
to be problems there is some font
| | 10:27 | which is not available here shortage
of medium I don't know what that is.
| | 10:30 | That's OK.
| | 10:30 | I will click OK.
| | 10:31 | We can see a bunch of the text got turned to pink.
| | 10:34 | This heading is completely wrong.
| | 10:37 | Down here this little plus sign we can hover over
that and see that oh yeah we have got the wrong size,
| | 10:41 | we have got the wrong fonts, it's centered when it shouldn't be
and so on, this is obviously the wrong font and so on and so on.
| | 10:48 | This is all very bad.
| | 10:50 | So if this happens to you, you import some text and
everything is wrong again select all of it Command A on the Mac
| | 10:56 | or Ctrl A on Windows and click on Remove Overrides.
| | 11:00 | Now all of the overrides have been removed and we are back
to something nice and clean and beautiful which is great.
| | 11:06 | Now there is one thing I want to point out here.
| | 11:08 | Joel Smith that text you may remember that that
was in italic it was supposed to be italic.
| | 11:14 | As we saw in the Essential Training Title when you remove all the
overrides it also removes any italic or bold words in your text.
| | 11:23 | So if you need to keep those you would better apply
an italic or bold character style to them first.
| | 11:28 | Nevertheless this Clear Overrides feature
does solve most of the problems people have
| | 11:33 | when they are importing text into their InDesign documents.
| | Collapse this transcript |
| Advanced paragraph numbering| 00:00 | We covered how to make numbered lists in the Essential Training
Title and that should be all you need for a basic list.
| | 00:06 | Like if you want to number some paragraphs in a story or
inside a table for example I will choose this text frame here
| | 00:13 | and I will zoom in to 200% with Command 2 on the Mac or Ctrl
2 on Windows and I am going to double-click on here to switch
| | 00:20 | to the type tool, drag over my cells and then I will
number each of these paragraphs by going to the Type menu,
| | 00:26 | choosing bulleted numbered lists and then apply numbers.
| | 00:30 | You can see that each one of these paragraphs is now numbered.
| | 00:33 | But what if you want a list of figure numbers or headings
and those paragraphs aren't in the same text frame
| | 00:40 | in fact maybe they are spread out
over multiple documents in a book?
| | 00:44 | Don't worry, InDesign can handle it with a feature called Lists.
| | 00:48 | To show you lists I am going to zoom out to 150%
by pressing Command+Minus on the Mac or Ctrl+Minus
| | 00:55 | on Windows then I will use my Option Spacebar grabber hand
shortcut or Alt+Spacebar on Windows just to scroll down here
| | 01:02 | and I am going to number each of these text
frames down here Beans, French Press, Tools.
| | 01:08 | I want to give those numbers.
| | 01:09 | I could apply the numbering feature to each one of those
independently but in this case I want to use paragraph styles
| | 01:15 | and I will scroll down in my paragraph
styles panel to see that each one
| | 01:19 | of these paragraphs is set to the graphic heads paragraph style.
| | 01:23 | So if I make a change to this one paragraph style
it will be reflected in all of those paragraphs.
| | 01:28 | So I will right click on that or Ctrl Click with a one-button
mouse on the Mac and then I will choose Edit Graphic Heads.
| | 01:34 | I am going to turn on numbering by selecting the bullets in
numbering pane within the paragraph style options dialog box
| | 01:41 | and I will say the list type here should be not
bullets button numbers, I want this to be numbered.
| | 01:46 | And I have the preview checkbox turned on
so if I move this out of the way you can see
| | 01:50 | that I immediately have numbers these are numbered 111.
| | 01:56 | Well what's going on there?
| | 01:57 | Well because each one of these is in its own text frame, its
own story InDesign has no idea that one is related to the next.
| | 02:05 | So what we need to do is tell all of these
paragraphs that they are all part of one list
| | 02:11 | and the way you do that is with the list pop-up menu here.
| | 02:14 | List is usually set to default but if we choose
new list, it brings up the new list dialog box
| | 02:20 | and you can give your list pretty much any name you want, I am
just going to call it My Happy Little List and we can see here
| | 02:26 | that there is two checkboxes Continued Numbers Across Stories,
| | 02:29 | stories means different text frames right
there each text frame has its own story
| | 02:33 | and the second one is Continue Numbers
from Previous Document in a Book.
| | 02:37 | So if this were going across multiple documents
in a book panel then the numbering would continue
| | 02:43 | from one document to the next, very clever that way.
| | 02:45 | I will be talking about books and the book panel
and long documents in a later chapter in this title.
| | 02:50 | I will click OK and you see the pop-up menu updates here
and also the numbering updates because InDesign is now aware
| | 02:58 | that any paragraph with this particular paragraph style,
| | 03:02 | the graphics head style should be numbered
as part of one list My Happy Little list.
| | 03:08 | Of course it doesn't have to be all on the same page, I could
put the next paragraph with the graphic heads on the next page
| | 03:13 | or later on in the document or as we
saw in another document in the book.
| | 03:18 | I love this List feature because it automates something
that would otherwise be incredibly tedious to manage myself.
| | 03:24 | In the next movie we will look at another cool automation
feature that may save you a lot of time when applying styles.
| | Collapse this transcript |
| Apply Next Style| 00:00 | Nobody enjoys applying paragraph styles to a bunch of text
but many of us have to do it everyday one paragraph at a time.
| | 00:08 | For example I have the Javaco magazine document open here from
the exercise files and I am going to jump to the next spread
| | 00:14 | by pressing Option Page Down or Alt Page Down on Windows.
| | 00:18 | And why don't I select this text frame and zoom into a
100% by pressing Command 1 on Mac or Ctrl 1 on Windows
| | 00:25 | and we can see here that all of this
text is going to have to be formatted.
| | 00:29 | It's just basic paragraph formatting right now, if I
double-click on this to switch to the Type tool and I can see
| | 00:35 | in the Control Panel I am in the paragraph mode and the pop-up
menu over here says this is all in the basic paragraph style.
| | 00:43 | So it's time to start applying paragraph styles.
| | 00:47 | I will place my cursor in the first paragraph and I
will say this one should be let's see article subhead
| | 00:55 | and this next paragraph is supposed to be body text and this
is going to take a long time to get to this whole story.
| | 01:02 | There is got to be a better way.
| | 01:04 | I mean wouldn't it be great if you could just apply
all the different paragraph styles with a single click.
| | 01:09 | If you can identify a pattern in the way that the paragraph
styles are applied you can apply the whole pattern with a click.
| | 01:16 | Let me show you what I mean.
| | 01:18 | In this case the first paragraph is going to be article subhead,
the next paragraph is going to be body text and then it goes back
| | 01:25 | to subhead and then body text and over and
over again almost to the end of the story.
| | 01:30 | So that's very convenient for us.
| | 01:32 | So let me undo this Command Z, Command Z
or Ctrl Z on Windows to undo that stuff.
| | 01:37 | And what I am going to do is open my
paragraph styles panel and find that heading.
| | 01:42 | I will look inside the headings folder here and I will find
the article subhead and I am going to right click on this
| | 01:48 | or Ctrl Click on a Mac with a one-button
mouse and choose Edit Article Subhead.
| | 01:53 | I know that the paragraph that's supposed to come
after article subhead is body text right so I go
| | 01:59 | to the next style pop-up menu and I choose Body Text.
| | 02:03 | I will click OK, now I am going to go look for body text,
right click on it or Ctrl click on it with a one-button mouse
| | 02:10 | on the Mac and choose Edit Body Text and the style that
comes after body text is you guessed it article subhead.
| | 02:18 | They are going to go back and forth.
| | 02:20 | Click OK. Now we are ready to apply our styles.
| | 02:24 | I am going to select all the text in this story by pressing
Command A on the Mac or Ctrl A on Windows and I am going to come
| | 02:31 | down to the paragraph style's panel and right
click on article subhead and I am going to look
| | 02:36 | through this list and I am going to see something interesting.
| | 02:39 | Because we set up those next styles we now have a new feature,
| | 02:43 | a hidden feature called apply article
subhead and then the next style.
| | 02:49 | Oh that's interesting, let's try it and with one click
we have formatted the entire story subhead, body text,
| | 02:58 | subhead, body text and so on all the way to the end.
| | 03:01 | I will close the paragraph style's panel here.
| | 03:03 | Now of course this all relies on
repeating pattern of styles to work.
| | 03:08 | If I scroll down here to the bottom
we can see there is a problem.
| | 03:12 | This section of the text actually had two
paragraphs that should have been the body text.
| | 03:17 | So in this case I am going to actually have to
go in here and apply body text to that paragraph.
| | 03:23 | But you know even fixing this one paragraph for many of us,
| | 03:26 | this one little hidden feature can save
off a bunch of tedious work each day.
| | Collapse this transcript |
| Advanced text styling| 00:00 | We have covered paragraph styles in some depth especially
back in the Essential Training title but I want to talk
| | 00:06 | about three more features involving styles there are
somewhat obscure but which I find are really useful,
| | 00:12 | Redefine Style, Break Link to Style and Reset to Base.
| | 00:16 | Let's cover Redefine Style first.
| | 00:18 | I am going to double click on this paragraph up in this story so
I can switch to the Type Tool and I will zoom in with Command+2
| | 00:25 | or Ctrl+2 on Windows scroll over here and I want
to change the formatting of all of this body text.
| | 00:32 | My art director said no, this has to be
Myriad instead of Minion or whatever.
| | 00:37 | Well, there is various ways we can do this.
| | 00:39 | I could just apply local formatting, right, I could click 4 times
come up here and start changing my font and my size and so on.
| | 00:47 | But the problem with that is it's local formatting and so I
need to change the next paragraph to same way the next paragraph
| | 00:54 | to same way so it's going to be very tedious
changing things with local formatting.
| | 00:57 | Also I may not maintain consistency I might
make mistakes when I am applying it that way,
| | 01:02 | so instead I want to change the paragraph style.
| | 01:05 | If you change the paragraph style you know it's going
to be consistent throughout the entire paragraph
| | 01:09 | and of course I have been very consistent
with my paragraph styles in this document.
| | 01:14 | So let's go ahead and change our paragraph style.
| | 01:17 | I will go back to the paragraph mode here and I can
see the body text has been applied to the style,
| | 01:21 | there is a little Pop-up menu just to the
little left of this and I am going to choose
| | 01:25 | that pop-up menu and then choose Style Options.
| | 01:29 | That will open the paragraph style options dialog box, of course
you could get to the same place via the Paragraph Style's panel
| | 01:36 | but you know whatever is more convenient for you at that time.
| | 01:38 | I kind of like that little Pop-up menu up here.
| | 01:41 | Now there is a problem with changing the paragraph
style options in fact there are two problems here.
| | 01:45 | One is, this is just a huge dialog box so it's hard to see
any other text behind it unless you get a bigger monitor
| | 01:52 | or you start moving here dialog boxes around and so on.
| | 01:55 | The second problem is I can never remember exactly where the
formatting is that I want to change you know which pane do I need
| | 02:02 | to click on here to find the feature that I want.
| | 02:05 | So you know in this case I am going to hit Cancel
and I am just going to go back to a step 1.
| | 02:10 | I am going to apply it locally but I am still going
to be changing my paragraph style I will show you how.
| | 02:15 | I am going to first change the font let's say I
will change this to Myriad Pro and let's go ahead
| | 02:21 | and it looks like it's light condensed by default.
| | 02:23 | Let's make this a little bit bigger
maybe 14 points on 16 points letting,
| | 02:28 | oh something happen to my letting,
that's way more than 16, right.
| | 02:33 | Usually when it jumps like that it means
that the Align to Baseline Grid is turned on,
| | 02:36 | so I will go back to the paragraph formatting and
I will turn off Align to Baseline Grid and as soon
| | 02:42 | as I have the paragraph looking just
the way I want it then I want to push
| | 02:48 | that same formatting back into the paragraph style definition.
| | 02:52 | I want to say take this formatting here and push
it out so that all the paragraphs are like that.
| | 02:58 | Can I do that?
| | 02:59 | Sure, I will go back to this little Pop-up menu here up in
the Control Panel and I am going to choose Redefine Style.
| | 03:06 | Again all the options here including
Redefine Style you can also find
| | 03:09 | in the Paragraph Style's panel, just
whatever is more convenient for you.
| | 03:13 | I will click on Redefine Style and we can see that immediately
all of those paragraphs are updated with the new formatting.
| | 03:21 | I am having a little bit of a weird problem here with
this text so let's go look at the Character Style's panel
| | 03:26 | and I can see well there is character
style applied to it or is there,
| | 03:30 | let me look down in the lower left corner here it
says the Bold character style has been applied.
| | 03:35 | And why does it say Bold down here and not up here
it's because this must be applied with a nested style.
| | 03:43 | When you see a style applied here but not here you know
it's in a nested style because if it was selected it
| | 03:48 | up here it would be locally applied
not as a part of the paragraph style.
| | 03:53 | That's OK I can still edit the Bold style I am not
going to click on it or even double click on it
| | 03:57 | because that would actually apply this
Bold style to what's selected here.
| | 04:01 | I am going to Right Click on it or Ctrl+Click with a one button
mouse on a Mac and click on edit this Bold style and instead
| | 04:09 | of the Bold style why don't we change
this to something like Condensed Bold.
| | 04:13 | Let me turn on Preview and I will move this out of the way.
| | 04:16 | Oh, you know what it went to the pink rectangles that means that
this particular font this style does not exist in Myriad Pro.
| | 04:24 | Well it's a good thing I didn't click
OK let's go back and try the other way.
| | 04:28 | How about Bold Condensed?
| | 04:30 | Hit Tab, there we go that's the one I was looking
for, click OK and now I have changed the Bold style
| | 04:37 | without applying it locally I have changed the Bold style to the
way I wanted this nested running to look so that's pretty cool.
| | 04:45 | OK, let me move onto the next feature Break Link to Style, so
in order to do that I am going to zoom back with Command+Minus
| | 04:51 | or Ctrl+Minus on Windows and then I will use my Option Spacebar
Grabber Hand to move up or that's Alt+Spacebar on Windows
| | 04:59 | and I would like to change the formatting
of this heading up here.
| | 05:03 | Tell you what I am going to do I am just going to select that
whole heading Command+A on the Mac or Ctrl+A on the Windows
| | 05:07 | and maybe I will make it a little bit
bigger yeah, that looks pretty good.
| | 05:11 | And I am also going to reverse the filling the stroke by clicking
on this little double headed arrow down here in the Tool panel.
| | 05:18 | Now I have got a stroke but no fill.
| | 05:21 | So you could change it anyway you want but I have applied
local formatting here, right for this special effect just
| | 05:26 | for this one instance of this heading on this page.
| | 05:29 | The problem is if I go back to paragraph styles or more
accurately let's say I hand this document over to somebody else
| | 05:36 | and they say you know what we are going to change
the article title paragraph style to something else.
| | 05:41 | Well they are changed, we will change the look of my heading and
I might not want them to do that, I might not want that heading
| | 05:48 | to look any different I might want to freeze
this look in field just the way it is.
| | 05:53 | Well how do freeze it?
| | 05:55 | You have to break the link to this paragraph style.
| | 05:59 | You break the link by going to the Paragraph Style Pop-up
menu and then scrolling down to Break Link to Style.
| | 06:06 | Now this paragraph has no paragraph style
applied to it and I actually see that up here,
| | 06:11 | it says no styles have been applied to this paragraph.
| | 06:15 | So Break Link to Style is very important when you want to freeze
the look and fill of a paragraph and not let it be affected
| | 06:21 | by any changes that might happen
down the road to a paragraph style.
| | 06:25 | The last feature I want to show here is Reset to Base.
| | 06:28 | Click down here in this paragraph again the
one with the running head and we can see
| | 06:32 | that this paragraph has the paragraph
style called Body Text with Run-in.
| | 06:36 | I will double click on that to edit it and we can see
that it is defined as body text plus nested styles.
| | 06:44 | We could go in here and change all kinds of other
things that maybe well apply different color to it.
| | 06:49 | We can come in here and change the hyphenation, we could come
in here and add a tab and you know all kinds of weird stuff.
| | 06:55 | And when we come back to general we can see that now we have
got a whole list of things so it's still based on body text
| | 07:00 | but there is a lot of differences on top of body text.
| | 07:04 | Let's say you have made a lot of these changes and you
just have gotten confused, you are not sure how to get back
| | 07:08 | to where you were originally that's where Reset to Base comes in.
| | 07:12 | You click on Reset to Base and suddenly you are
back to nothing it's just based on body text.
| | 07:19 | I find that very, very useful it's great to be
able to go back to some earlier original state.
| | 07:25 | In the next movie we will talk about how you can link to text
files that you have on disk and why you might not want to.
| | Collapse this transcript |
| Linking to text files on disc| 00:00 | You know how when you import an image
InDesign links to that file on desk.
| | 00:04 | And then if the image changes it will actually
show up as modified in InDesign's Links Panel.
| | 00:09 | Then you could update it.
| | 00:11 | Well wouldn't it be cool if you could
do the same thing with the text files?
| | 00:14 | Well the answer to that is you actually
can but whether or not it's cool depending
| | 00:19 | on your particular workflow, let me show you what I mean.
| | 00:22 | To get InDesign to link to your text files
you have to open up Preferences dialog box.
| | 00:27 | On the Mac you go to the InDesign menu,
on Windows you go to the Edit menu
| | 00:32 | but either way you go to the Preferences
sub-menu and choose Type.
| | 00:36 | The Type pane of the Preferences dialog box has an option here
it called Create Links when placing Text and Spreadsheet Files.
| | 00:43 | And when that's On it will actually link to your text files.
| | 00:47 | I will click OK and import a file.
| | 00:51 | First I will jump to another Spread I will
press Option Page Down a couple of times,
| | 00:55 | we will Alt Page Down to jump to
this Spread over here, pages 6 and 7.
| | 00:59 | And I am going to import my text file into this frame.
| | 01:03 | Go to File menu as we have seen before,
choose Place, grab my Javaconu file
| | 01:08 | and I am going to turn on Import Options and click Open.
| | 01:12 | In an earlier movie we saw how you can create a preset
to arrange all of these options just the way you want.
| | 01:18 | So I am going to choose that same preset and click OK.
| | 01:21 | I will place the text story in here
and that's looking pretty good.
| | 01:26 | Let me double click on this to switch the Type tool and
zoom into 200% Command+2 on the Mac or Ctrl+2 on Windows.
| | 01:33 | And I see immediately that I need to start making some changes.
| | 01:35 | I am going to for example, make this 1990
instead maybe I will change this text
| | 01:41 | over here to a young entrepreneur instead and so on.
| | 01:45 | You can make whatever changes you want
and change formatting and this and that.
| | 01:48 | Now let's go and look in the Links Panel and we
can see that there we go, there is our text file,
| | 01:53 | that RTF file that we imported is
actually linked to the file on disk.
| | 01:58 | And we could go back to Word and make
it change to that and that update it.
| | 02:02 | Let's try that, the easier way to do that is to click on the Edit
Original button that switches to Word and opens that file for us.
| | 02:09 | Now of course because it's opening the file from disk,
| | 02:12 | the changes that I made to the story are not
reflected here, but any further changes could be.
| | 02:17 | So let's go ahead and maybe I will take this formatting of that.
| | 02:21 | The hard to concentrate to make that very bolder or
whatever I want to do, whatever changes you would make here,
| | 02:26 | oh that's right and this was supposed to be 1990, good.
| | 02:29 | Now I can click Save, Command+S on the Mac or Ctrl+S on Windows,
come back to InDesign and we can see that it's going to update.
| | 02:38 | Now if I had change this file externally, if I didn't use
Edit Original, I would have seen a little modified icon here
| | 02:45 | and then it would have given me an option to update or not but
because I use Edit Original it tried to update it immediately.
| | 02:52 | And the first thing that it saw was
I had made some changes to the story
| | 02:57 | so you know what, you are going to lose all those changes.
| | 02:59 | This is the most important thing if you remember anything from
this movie you should remember that any changes that you make
| | 03:05 | to your story after its inside InDesign
get lost when you update the Word file,
| | 03:11 | it literally is just throwing all of
the stuff away and reimporting it.
| | 03:16 | Well, OK that's fine I didn't make that
many changes here so I will just click Yes.
| | 03:20 | Well this is interesting, sure it brought in the
new text and made that 1990 and made that hard
| | 03:26 | to concentrate bullet but the formatting is all messed up.
| | 03:30 | What happened, well this is the second thing
you need to remember, any changes that you make
| | 03:36 | in the Import Options dialog box, remember when
I did that Style Mapping thing with the preset
| | 03:41 | in Import Options InDesign did not remember that, it
has no memory of anything you did with Import Options.
| | 03:47 | And so all of that was thrown away, so in
this case this story you know linking this
| | 03:52 | to the file on disk is probably not a good idea.
| | 03:55 | On other hand look at this text story over here,
this is just a little text story, just as one frame
| | 03:59 | and I actually linked this to a different story called zborn.txt.
| | 04:04 | And this is linked to that RTF file.
| | 04:06 | And I can go ahead and edit that, click on the Pencil
icon, come up here let's go ahead and change this to 1990
| | 04:13 | and we could say maybe it changes to Georgetown, Texas
instead and click Save and I would just Command+S
| | 04:21 | or Ctrl+S on Windows go back to InDesign and we can see that
immediately it all got updated, and it looks just right.
| | 04:28 | Now why did it work here, because I had not made any
local edits on the page to this and I did not have to go
| | 04:36 | to the Import Options dialog box in
a first place when I imported this.
| | 04:40 | So because both of those were true, it works fine.
| | 04:44 | You know linking to text files on disk is a great idea
but you know this whole losing the local formatting
| | 04:50 | and any edits you have made is a really bad thing.
| | 04:53 | On the other hand if you don't do edits inside InDesign
and you can make the style names match up properly
| | 04:58 | without the Import Options dialog box, well then this linking
to the text file thing could be a big efficiency boost for you.
| | Collapse this transcript |
| Using GREP to Find/Change| 00:00 | Grep is a way to do sophisticated searches through your text.
| | 00:04 | For example, let's say you want to find two
or more spaces, Regular spaces, M spaces,
| | 00:09 | Thin spaces whatever you don't know what kind of spaces
but you want to find two or more of them in a row
| | 00:14 | and you want to replace them with a single space.
| | 00:17 | OK you know you can go to the Edit menu and choose Find
Change but what do you type in the Find What field.
| | 00:23 | This is just too simple to type you
know any kind of space I want to find.
| | 00:28 | Fortunately there is a Grep Tab of the Find Change
dialog box and Grep is perfect for this kind of search.
| | 00:35 | The bad news is that Grep can be very complex and
complicated to look at but if we take it little
| | 00:41 | by little you can get it, anybody
can get Grep with a little practice.
| | 00:45 | Also even better news is that InDesign ships
with a bunch of prebuilt Grep searches,
| | 00:51 | all of these ones in this middle section are prebuilt.
| | 00:54 | And they actually have one called multiple space to single space.
| | 00:58 | If you choose that it types in all of the codes for you.
| | 01:01 | We don't have enough time in this particular
movie to go into all of the details of Grep.
| | 01:05 | And that would take hours but I will tell you a few things here.
| | 01:09 | First of all these are all the codes
for all of the different kind of spaces
| | 01:12 | that you could type you know M spaces,
Regular spaces, Thin spaces and so on.
| | 01:17 | And because it's inside this square
brackets that means find any of these.
| | 01:22 | And then this thing at the end in a
little curly braces here says find two
| | 01:26 | or more of them in a row, that's what the code means, OK.
| | 01:30 | So we now know it will find two or more of any of these kinds
of spaces and change it to, that's the code for a regular space.
| | 01:38 | But what if you want to build your own Grep search?
| | 01:41 | Let's go ahead and just select all of this and delete it.
| | 01:44 | I am going to delete this one over here too.
| | 01:46 | And I want to build my own Grep search.
| | 01:48 | Now do I have to remember all of those codes, no, you don't,
because InDesign has this little Pop-up menu of to the right
| | 01:54 | of the Find What field and these gives you all the different
things you can search for and it will type the code for you.
| | 02:01 | For example, let's say I want to find anything that's
a percentage, maybe it's a 5% or a 75% or a 150%.
| | 02:09 | So what I am going to do is start
selecting stuff from this Pop-up menu.
| | 02:13 | First I am going to choose the Wildcard sub-menu.
| | 02:17 | And I am going to say I know it's a digit so I say any digit and
it types the code for me but I know that there is going to be
| | 02:24 | at least one but I don't know how many in a
row, to be a million percent, I don't know.
| | 02:28 | So I am going to come over here and I am
going to say repeat one or more times,
| | 02:35 | that says a plus that's the code for one or more digits.
| | 02:39 | Then we can say I wanted to end with a percentage.
| | 02:42 | Now percentage sign (%) I don't need
the code for, I just type percent.
| | 02:45 | Now it's going to search for any number of digits
followed by a percent, let's go and see if it works,
| | 02:51 | click Find and there it goes right
there, it went right to our percentage.
| | 02:55 | You can zoom in into 200% here move this out of the way so you
can see you found 30%, let's find another one, I will click Find
| | 03:02 | and then Find again you know there is
another 30% and Find again up there is 7%
| | 03:07 | so you can see that's going to find any kind of percentage.
| | 03:10 | It is a very simple Find Change example with
Grep but I just want to start small and build up.
| | 03:16 | Let's do a more complicated one now.
| | 03:18 | Let's say we want to find any text that's inside
parenthesis and we want to apply some formatting to it,
| | 03:25 | so we don't know what the text is but we just want to
apply anything inside parenthesis but we don't want
| | 03:31 | to change the formatting of the parenthesis
just the text inside the parenthesis.
| | 03:35 | That's going to be a little complex so let's go ahead and
Delete the Find What here and go and look through our menus.
| | 03:41 | Now I want to say thanks especially to Peter Kahrel for the
trick on how to do this and his explanation for lookaheads
| | 03:49 | and lookbehinds because that's what we need in order to do this.
| | 03:52 | It's getting a little complex but it's not that bad.
| | 03:56 | We want to find text inside parenthesis, right
so we are looking for the text and we need
| | 04:01 | to find anything that before the text is a parenthesis.
| | 04:05 | So that's why we use positive lookbehind, lookbehind what we are
looking for and that previous character should be a parenthesis.
| | 04:14 | So I say positive lookbehind and I am going to
click between the equal and the parenthesis here
| | 04:19 | to say what am I looking for, what is behind.
| | 04:22 | And what's behind is a parenthesis.
| | 04:24 | Well I can't type parenthesis because Grep won't know what
it is, because Grep reserves parenthesis for other things.
| | 04:30 | So I am going to use a symbol from the Symbols Pop-up
menu here, I am going to say Find and Open Parenthesis.
| | 04:37 | So it typed the code in for the Open Parenthesis.
| | 04:41 | Now I am going to search for anything,
I don't know what's going to be
| | 04:43 | between the parentheses but I know it's going to be some text.
| | 04:47 | So I will come over here to my Wildcard Pop-up menu, the sub menu
here and I am going to say find anything any character at all.
| | 04:53 | And the code for that is a period.
| | 04:55 | Now I need a match positive lookahead,
positive lookahead means look ahead
| | 05:03 | to the next character after whatever it is that I am looking for.
| | 05:07 | And it is going to be a Closed Parenthesis
between the equal and the parenthesis I am going
| | 05:12 | to say give me a symbol which is a closed parenthesis character.
| | 05:17 | There we go, so it's going to look behind what
I am looking for and find and Open Parenthesis.
| | 05:22 | It's going to look after and use a Closed Parenthesis
and it's going to look for just one character.
| | 05:28 | We don't want one character we want more than
one character, don't just find one character.
| | 05:32 | So I am going to go back to my Pop-up menu here and
place my cursor just after that dot and I say I wanted
| | 05:39 | to match from the Repeat sub menu one or more times.
| | 05:44 | There we go, that's the code, we built it, we built a
very sophisticated Grep search algorithm expression here
| | 05:50 | and it's going to find all the text that's after
one parenthesis and before a closed parenthesis.
| | 05:57 | Now what do we want to do with it, well we are not going to
change the text at all so we are going to leave this blank.
| | 06:02 | When I jump down here to the Change Format area and I will click
in that Blank area and I am going to say let's do something,
| | 06:09 | let's go ahead and change the color
to Magenta, let's make it bigger,
| | 06:13 | well we make it like 15 point text instead
you know change it to whatever you want
| | 06:17 | to do then why don't we make it something
different so that we can see the difference here.
| | 06:21 | Click OK and now let's move to Find Change off to the
sides so we can see better, let's see if it works,
| | 06:26 | ready Find and look at that, it found
all this text between the parenthesis.
| | 06:32 | Then I can click Change and it applied all the
formatting that we wanted to, to that text.
| | 06:38 | Let's try it again, let's do another Find Next
there we go, more text inside parenthesis.
| | 06:43 | So you can see that it's going to find any kind of
text within parenthesis that's extremely powerful.
| | 06:49 | In a future title we will cover even
more things you can do with Grep.
| | 06:52 | It's an incredibly powerful language for doing Find Change
operations and while it obviously does take a bit of time
| | 06:58 | to master you more than makeup for it
in the time that you save down the road.
| | Collapse this transcript |
| Managing glyphs| 00:00 | As we saw in the InDesign Essential Training title,
you can go to the type menu and choose Glyphs,
| | 00:05 | and this will show you a list of every character in a font.
| | 00:10 | Some of these fonts have hundreds or even
thousands of different characters in them.
| | 00:14 | If there is too many characters to choose from,
you can narrow down the scope with the Show menu.
| | 00:19 | Currently, it's showing the entire font.
| | 00:22 | But we can choose a subset; for example we could choose all of
the math symbols or we could choose all of the punctuation marks.
| | 00:31 | If you see a character in here that has a little black triangle
next to it, that means they are alternates of this character.
| | 00:37 | And if you click and hold for a moment, you will
see a list of all the different alternates for this.
| | 00:43 | For example, there are many different characters
in this font that could be considered a bullet.
| | 00:48 | Let's go ahead and select one of these.
| | 00:50 | And then if we want to insert that, all you need is
place your text cursor where you want the bullet.
| | 00:55 | I am going to add it down at the end of
the story to show that this is the end.
| | 00:58 | I will double-click on that to switch to the type tool.
| | 01:01 | I will zoom into 400% with Command
4 on the Mac or Ctrl+4 on Windows,
| | 01:06 | and then I will simply double-click on the glyph I want to use.
| | 01:10 | That inserts it in place.
| | 01:12 | I love the Glyphs panel, it keeps track at
the last 10 characters that I have inserted.
| | 01:16 | That makes it so easy to go back and insert them again.
| | 01:19 | But what if I have more than 10 than I use frequently,
well, that's where glyph sets come in handy.
| | 01:25 | A glyph set is a collection of any characters from the same
font or from many different fonts that you want to put together.
| | 01:32 | And you can create a new glyph set by going to the
Glyph panel flyout menu and choose new Glyph Set.
| | 01:38 | You can call it anything you want.
| | 01:39 | I will call it David's Glyph Set.
| | 01:43 | I will click OK and now, we have a glyph set
to work with, though we can't see it quite yet.
| | 01:49 | You can add any character to a glyph set,
first by finding it in the Glyph panel.
| | 01:53 | For example, I will come down here to ornaments, see all the
different ornaments in this and then I can either select it
| | 02:01 | and go to the flyout menu and choose
add to the glyph set and of course,
| | 02:04 | we could have multiple glyph sets,
but in this case, we just have one.
| | 02:07 | So I will click on that and it's added to my glyph set.
| | 02:10 | Another way to add something to a glyph set is to simply
right-click on it and you can say add to the glyph set here.
| | 02:17 | I will just add a few different ones
here, add this to the glyph set and so on.
| | 02:22 | I can also change the font to something different.
| | 02:25 | Let's say Myriad Pro and look for a
character that I want it to add here,
| | 02:31 | I have no idea what this character is, but why don't we add it.
| | 02:33 | I will say add this one to the glyph set.
| | 02:36 | To go look at my glyph set, I could go to the flyout menu
and choose view glyph set, but there is a much easier way not
| | 02:43 | as to simply pull it out of the show menu because all
of your glyph sets show up here at the top of this menu.
| | 02:49 | There is my David's Glyph Set and there are
the four glyph sets I have added to the set.
| | 02:53 | Now, the funny thing about glyphs in these glyph sets is that
they usually remember their font, that is if I double-click
| | 03:00 | on this character, it's going to add this character
in the original font, that Myriad Pro font.
| | 03:06 | But there are some characters that I
don't want it to remember the font.
| | 03:10 | For example, let's say I want it to remember the Euro symbol.
| | 03:12 | I will go down here and chose currency.
| | 03:15 | I will grab my Euro symbol and I will add it to my glyph set.
| | 03:21 | But now, let's say I want it to add the Euro symbol up here.
| | 03:24 | If I double-click on that from my glyph set, it adds it
in the original font, not the font that is surrounding it.
| | 03:34 | That's really annoying.
| | 03:35 | I would like to tell InDesign to just use the font of wherever
the text cursor is, don't remember the font with the glyph.
| | 03:42 | Well, you can do that by editing your glyph set.
| | 03:45 | I will go to the flyout menu and choose Edit Glyph Set.
| | 03:48 | And I will select the glyph set that I want
to edit, in this case my David's Glyph Set.
| | 03:54 | There are several things we can do here.
| | 03:56 | For example, we could choose a character and delete it from the
set, I don't know what that is so I might as well just delete it.
| | 04:01 | We can also select the glyph that we want to edit and
come in here and change which font we want to remember,
| | 04:08 | or even turn off the checkbox and InDesign
will no longer remember the font associated
| | 04:13 | with that glyph, it will simply remember the Unicode value.
| | 04:17 | That's why there is a little u symbol there.
| | 04:19 | I also think of that u as unaffiliated with any font.
| | 04:22 | Let's go ahead and click OK and see how it works now.
| | 04:25 | You see the u also appears here.
| | 04:27 | Now, if I click over here just before
the "the," I can add the Euro symbol.
| | 04:32 | And you see that it gives me the proper font.
| | 04:35 | Or if I zoom back to fitting window with Command 0 or Ctrol+0
on Windows and I will click up here before the Dragonwell text
| | 04:43 | and I will add that same symbol, and
you see that it's in the that font now.
| | 04:47 | With all the fonts on your hard drive, you have thousands and
thousands and thousands of different characters at your disposal.
| | 04:53 | The Glyphs panel and glyph sets help you
access those characters quickly and easily,
| | 04:59 | but there is one more challenge you may encounter
when dealing with special glyphs in your document,
| | 05:04 | searching for them with find and change, and
that's what we'll look at in the next movie.
| | Collapse this transcript |
| Finding and changing glyphs| 00:00 | If you are trying to use the Find/Change dialog box to find
special characters such as ornaments or special bullets
| | 00:06 | or some obscure symbol, you have got
a particular challenge ahead of you.
| | 00:09 | It's really hard to use the Find/Change
dialog box to find those things.
| | 00:13 | For example, in this document, I am going to
jump to Page 2 by pressing Shift+Page Down
| | 00:18 | and I will open the Find/Change dialog box by
going to the Edit menu and choosing Find/Change
| | 00:23 | or I could press Command F on the Mac or Ctrl+F on Windows.
| | 00:27 | I will move this out of the way so you
can see things a little bit better.
| | 00:30 | And I would like to find this squashy-looking character.
| | 00:33 | But what on earth, am I supposed to
type here in the Find What field?
| | 00:37 | And more importantly, for frustrating the technical reasons,
this squashy character here and this bullet character,
| | 00:45 | while they look completely different to you or me, to
a computer, they actually look pretty much the same
| | 00:51 | because they both have the same Unicode value.
| | 00:54 | Unicode is a numbering scheme in which every
character has its own number, and there are thousands,
| | 01:00 | there are tens of thousands of different Unicode numbers.
| | 01:02 | But still, bizarrely, this character and
this character have the same Unicode value.
| | 01:08 | And you can actually see that by selecting this, I will
double-click up here in this type frame and I will select
| | 01:13 | that character and I will open the Info panel.
| | 01:16 | And the Info panel shows you the Unicode of any
single selected character that says Unicode 2022.
| | 01:22 | If I come down here and select that bullet point, it's also 2022.
| | 01:27 | It's not weird, that's why if I select this squashed character
and choose Edit, Copy and come over here to the Find What field
| | 01:35 | and choose Edit, Paste, I get the code for a bullet character.
| | 01:40 | That's what character 8 is, it's a code for Find a Bullet.
| | 01:44 | Well, that's not going to help me in this case
because I only want to find those squashed characters.
| | 01:48 | Fortunately, the Find/Change dialog box has
a glyph tab and the glyph tab lets you dial
| | 01:54 | in exactly the character that you are looking for.
| | 01:57 | The glyph tab has two pieces, find
the glyph and change the glyph.
| | 02:02 | So we want to find a very particular glyph.
| | 02:04 | I need this particular glyph and I cannot
go by its Unicode number because as we saw,
| | 02:09 | it's used elsewhere in the document
as a bullet, so Unicode won't do it.
| | 02:14 | I need to choose the GID value, the
GID value, well that's the Glyph ID.
| | 02:18 | If I go to the type menu and choose
Glyphs, it will open the Glyph panel.
| | 02:24 | And we can see that whatever selected here on the
page also becomes selected here in the Glyphs panel.
| | 02:29 | And if I hover on top of it, I can see that this is GID
#510 and Unicode #2022 has a name called bullet, right,
| | 02:39 | it doesn't look like a bullet but that's what it is.
| | 02:41 | And so we want to load this information
into the Find/Change dialog box.
| | 02:47 | Now, I could try and remember that number but for me, trying to
remember something even for two seconds sometimes is too much.
| | 02:53 | So let me show you a little trick.
| | 02:54 | If you right-click on the glyph,
you can choose load glyph and find.
| | 02:59 | And if I choose that, you can see that it
grabs that information and drops it right
| | 03:04 | into the glyph tab of the Find/Change dialog box.
| | 03:07 | Isn't that great?
| | 03:08 | Now, I would like to change that to
some other different kind of ornament.
| | 03:11 | So I need to go find a different ornament now and
I am going to choose it from a different font.
| | 03:15 | Before I change my font, I better deselect all because I
don't want to actually change the font of that character.
| | 03:20 | So I will click out here and then I will
just press Command Shift+A or Ctrl+Shift+A
| | 03:25 | and that deselects everything on my document.
| | 03:28 | Then I will go grab a different font.
| | 03:30 | I could choose a different font from up here in the Control
Panel or down here, I am going to just pick this Garamond Pro,
| | 03:36 | it looks like it was highlighted here already.
| | 03:37 | But you can pick any font you want out of this popup
menu or out of the popup menu in the Control Panel,
| | 03:42 | it doesn't matter, the Glyph panel will update.
| | 03:45 | Here in the Glyph panel, I am going to choose
ornaments from the show menu and I would
| | 03:49 | like to use this particular glyph here from Adobe Garamond Pro.
| | 03:54 | Again, if I hover over it, it gives me information about it.
| | 03:56 | But in this case, I am going to right-click on it and choose load
glyph and change, and it loads all of that information into here.
| | 04:04 | Now, I can determine the scope of the change; for example,
I could change this from document to all documents.
| | 04:09 | Let's say I had 30 different documents open at the same time,
I could make this one change across all those documents,
| | 04:15 | click change all and it said, well
in this case, one replacement made.
| | 04:19 | But use your imagination, maybe there
were hundreds of changes made here,
| | 04:22 | click OK and you can see that now we have got
the new ornament in the new font, perfect.
| | 04:27 | Sometimes, you just need a tool that does
one thing and does it really, really well,
| | 04:32 | and that's the glyphs tab of the Find/Change dialog box.
| | 04:35 | It's not elegant, but it certainly does its job.
| | Collapse this transcript |
| Using footnotes| 00:00 | Footnotes have along been the bane of many designers'
existence, how to make them, how to format them,
| | 00:06 | how to keep them near the text they refer to.
| | 00:08 | Microsoft Word makes footnotes easy so
people figure that InDesign should too.
| | 00:13 | Of course, there is a big difference between a
Word processing program and a page layout program.
| | 00:18 | That said, InDesign CS3 does make footnotes pretty easy
as long as you don't want to do anything too fancy.
| | 00:26 | Let's see how to add a footnote.
| | 00:28 | First, I need my type tool and then click on
the text wherever I want to add my footnote.
| | 00:33 | Then I go to the type menu and choose Insert Footnote.
| | 00:37 | It's as simple as that.
| | 00:38 | If you can see this down at the bottom of the screen, the
cursor is flashing where the footnote is going to be placed.
| | 00:44 | I will zoom in on that place by pressing
Command 2 on the Mac or Ctrl+2 on Windows.
| | 00:49 | Now, I can type my footnote whatever I want it to be.
| | 00:52 | Here is my footnote, there you go.
| | 00:55 | Now, don't worry about the fact that it looks really
ugly here, we will deal with formatting later.
| | 01:00 | In the meantime, let me just add one more footnote.
| | 01:03 | How about I will add it right after this text?
| | 01:06 | So I click up there, click Type, Insert Footnote
and I will type, I Don't Know, there you go.
| | 01:14 | And we can see that the footnote reference
marker, that little 2 was added right there
| | 01:20 | and the footnote was added at the bottom of the column.
| | 01:23 | If you are not sure where a footnote reference
marker is in the text because it's easier
| | 01:27 | to lose track of those things, here's a little trick.
| | 01:30 | Place your cursor inside the footnote, then go up to
the type menu and choose Go to Footnote Reference.
| | 01:37 | The cursor immediately jumps right
back up to that reference mark.
| | 01:40 | Here's one more footnote trick that you should know about.
| | 01:43 | Footnotes appear in the story editor.
| | 01:45 | You know how much I love the story editor.
| | 01:47 | So I am going to go to the Edit menu
and choose Edit in Story Editor,
| | 01:51 | and you can see that all the footnotes
show up right in place in your text story.
| | 01:55 | Here's the text and then here's the footnote.
| | 01:58 | If I click on this little blue area, it condenses it
so that I don't have to look at the whole footnote.
| | 02:03 | If I click again, I can actually see it and I can type in here.
| | 02:08 | And you can see that as soon as I edit
this, it updates down here as well.
| | 02:12 | I will close the story editor so it's easier to see that.
| | 02:15 | Great, we have added some footnotes,
now it's time to format them.
| | 02:18 | We could apply formatting right here; for example, I could
select that and change it to Italic or whatever you want.
| | 02:25 | You can apply formatting directly on to the footnote itself.
| | 02:29 | But if you are trying to change the Fill
of all the footnotes in your document,
| | 02:32 | it's much better to use your document formatting options.
| | 02:35 | I am going to move this page over so we can
see our footnotes while the dialog box is open,
| | 02:40 | and I will choose from the type menu, Document Footnote Options.
| | 02:44 | There we go.
| | 02:45 | So here's our dialog box and here's our footnotes,
and this is where we control all the Look in Fill,
| | 02:50 | the formatting of our footnote and make it look pretty.
| | 02:53 | There is all kinds of options here.
| | 02:55 | For example, we can choose do we want
numbers or symbols or letters or stars.
| | 03:00 | I want to leave this set to numbering for right now.
| | 03:02 | You can say what number you want it to start at.
| | 03:05 | Do you want it to restart at every page, change
over every section and so on, in this case, no,
| | 03:11 | I am just going to let it increment
throughout the entire document.
| | 03:13 | You can also say "Do you want to show a
prefix or a suffix around the reference?"
| | 03:18 | That means do you want something before
or after the number up here or down here.
| | 03:24 | In fact, I am going to change this to both reference and text.
| | 03:27 | I am going to add, let's say, a bracket before
it and a bracket after it and you can see
| | 03:32 | that because my preview checkbox is turned on,
you will see these changes happen in real time.
| | 03:37 | So I have added brackets around those.
| | 03:39 | You can change it to anything you want really.
| | 03:41 | Now, we get down to the formatting itself.
| | 03:44 | Do we want to apply formatting to the
footnote reference number in the text itself?
| | 03:48 | For example, right now, it's set to superscript.
| | 03:51 | We could also say apply subscript or
just leave it alone, apply normal.
| | 03:55 | I am going to leave it set to superscript.
| | 03:57 | And if I had some character style that I wanted
to apply to that, let's say make it a color
| | 04:01 | or change the font or something, I could choose that here.
| | 04:04 | The footnote formatting applies to the
footnotes at the bottom of the column.
| | 04:08 | And in this case, you are applying a paragraph style.
| | 04:11 | I have a paragraph style in this document called footnotes.
| | 04:15 | So I will choose that out of this popup menu.
| | 04:17 | And we can see that immediately that
style is applied to the text.
| | 04:21 | I could choose any paragraph style I want
or I make my footnote style anywhere I want.
| | 04:25 | I just happen to make it like this.
| | 04:27 | There is a lot of space between the footnote number
over here and a text, in fact, it's actually a tab
| | 04:33 | and we could change the width of that tab
by editing the footnote's paragraph style.
| | 04:37 | But in this case, I am just going to change this and not have
a tab; instead, I will erase that and change it to an M space.
| | 04:43 | That way, it will be a little bit closer,
we only have an M space between those.
| | 04:47 | So you have a lot of control about how the footnote looks.
| | 04:50 | But we are not done.
| | 04:51 | Let's switch over to the layout tab
of the footnote options dialog box.
| | 04:55 | And we have even more control here.
| | 04:57 | For example, the amount of space before or between
footnotes, and in this case, I want to add some space.
| | 05:04 | This text down here is too close to the line.
| | 05:07 | So I am going to make, there'd be a minimum space before
the first footnote, maybe 2 pica, something like that.
| | 05:13 | And you can see that now it creates a
buffer zone between the text and that line.
| | 05:18 | First baseline is a little bit of a misnomer.
| | 05:21 | This is really more like how much space
do you want between each footnote.
| | 05:25 | For example, if I change the offset to cap height,
you can see that these get very, very tight.
| | 05:31 | Basically, here they are getting pushed up
against each other because the full height
| | 05:35 | of the footnote is only the size of a capital letter.
| | 05:38 | So I am not sure why you would want to
do that, but isn't it nice that you can?
| | 05:42 | There you go.
| | 05:42 | We will just change this back to letting and move on.
| | 05:45 | Now, this next checkbox plays end of
story footnotes at bottom of text.
| | 05:50 | A lot of people misunderstand this, they think this
means that this will place all their footnotes at the end
| | 05:56 | of their story, in other words, create ending notes.
| | 05:59 | And unfortunately, InDesign does not have
an end notes feature, it only has footnotes.
| | 06:03 | This will not place your footnotes at the end of the story.
| | 06:05 | In fact, this only applies to the footnotes at the end of the
story, that is the footnotes on the last page of your story.
| | 06:14 | And this says "Do you want your footnotes to be all the way
at the bottom of the column or do you want them to be flushed
| | 06:20 | up against the bottom of the story if the story
doesn't go all the way to the bottom of the column?
| | 06:25 | That's what that's about.
| | 06:26 | In this case, it's not really relevant so I will leave that off.
| | 06:29 | Allow Split Footnotes tells InDesign whether or not a
single footnote, let's say you have a really long footnote
| | 06:34 | like a whole paragraph, is it OK to split
that across two columns if it needs to.
| | 06:39 | And if you turn this on, it will split
that across but only if it needs to.
| | 06:43 | Now, what about that rule, this big thick 1-point rule?
| | 06:46 | 1-point rules are ugly, far too thick.
| | 06:48 | Let's go ahead and change this to maybe a
1/2-point rule and we could change the type
| | 06:52 | if you want it to make it, let's say, dotted.
| | 06:54 | The main thing I am going to do here is
move it up a little bit with the offset.
| | 06:58 | So I will place my cursor in this field and then
I will just use the arrow keys to move it up
| | 07:03 | and down, let's say move it up to about three points.
| | 07:05 | That just gives a little bit more
breathing room above the footnote.
| | 07:09 | Finally, I will click OK and I am good to go.
| | 07:12 | Of course, footnotes will update automatically.
| | 07:14 | Let's say I add some text here and
suddenly, I am on the next page.
| | 07:18 | Well, this stays at #2, but the footnote now is at
the bottom of this column, not the first column.
| | 07:24 | I have already mentioned that you can't do end
notes in InDesign, but there is actually a lot
| | 07:29 | of other limitations to footnotes in InDesign as well.
| | 07:32 | For example, you can't straddle two columns.
| | 07:36 | Let me show you an example of this.
| | 07:38 | Let's take this away so we can actually get two footnotes again.
| | 07:41 | If I have a long footnote, let's
just add a bunch of random text here.
| | 07:46 | If I had a really long footnote here, and this text
frame had two columns, so I will go the object menu
| | 07:52 | and choose Text Frame Options, we saw how to do this in
an earlier movie and I will change this to, let's say,
| | 07:58 | two columns with 1 pica 10 between, click OK.
| | 08:02 | And you can see now that each footnote is only one column wide.
| | 08:07 | There is no way to tell InDesign to
make a footnote go across both columns.
| | 08:12 | That's a limitation.
| | 08:12 | A lot of people want to do that but there is
just no way to do that in InDesign at this time.
| | 08:16 | We are actually seeing another limitation
of footnotes in InDesign.
| | 08:20 | See this text that's sitting over here, shouldn't it be
wrapping around this, shouldn't it be forced out of here?
| | 08:25 | Well, in InDesign, there is no such thing as
text wrap with footnotes, that's a problem.
| | 08:30 | Let me undo this, go back to a one column.
| | 08:33 | You will really see it here, the
footnote goes right into the graphic.
| | 08:36 | There is no way to put your footnotes in the
margin instead of the bottom of the column,
| | 08:40 | it's always going to go in the bottom of the column.
| | 08:42 | There is no way to create different
styles for different kinds of notes.
| | 08:45 | For example, you can't have one numbered footnote
and then on the same page have an estrous footnote.
| | 08:51 | You know, ultimately, Adobe FrameMaker
is still the king of footnotes,
| | 08:56 | and it does all kinds of long document
features better than InDesign.
| | 09:00 | But InDesign is catching up as it adds more of
these kinds of features with every new version.
| | 09:05 | But even with these various limitations, InDesign's footnotes
do offer plenty to keep most document creators happy.
| | Collapse this transcript |
| Creating outlines| 00:00 | In an earlier chapter, I showed you how you can
convert text to paths and this is super helpful
| | 00:05 | when you need to apply some special effect to the text.
| | 00:07 | For example, maybe you want to stretch a single character out
in some unnatural way that the font designer never intended
| | 00:14 | or maybe you want to create a logo making
the characters as in a font all intertwined.
| | 00:18 | Whatever the case, there are two basic
ways to convert text to outlines,
| | 00:23 | converting a whole frame or converting just the selected text.
| | 00:27 | Here let me show you.
| | 00:27 | I am going to select this text frame inside my Javaco Magazine
file and I am going to zoom in on it by pressing Command+
| | 00:34 | on the Mac or Ctrl+ on Windows a few times, just
to zoom in on it so we can see a little bit better.
| | 00:40 | Now, I can convert this whole text frame and all the text
inside of it to outlines by choosing Type Create Outlines.
| | 00:49 | I just pull Create Outlines right out of the type menu and
all the text in that text frame gets converted to outlines.
| | 00:55 | It's a single object, made up of
multiple paths, that's a compound path.
| | 01:00 | And we can see all those paths by switching to the
Direct Select tool, which I will just press A to jump
| | 01:07 | to the Direct Selection tool, and I can see all
of the points on those paths, it's no longer text.
| | 01:12 | Once it's paths, I can do all kinds
of weird things to it of course.
| | 01:15 | I could grab this little segment at the
bottom of the F and just drag it down.
| | 01:20 | And of course, because it's a path, it's an object, it's a
frame, I can actually even put a picture into it if I want to.
| | 01:26 | I will got to the File menu, choose Place and then I will
grab a picture, let's say beans.jpg and I will click Open
| | 01:33 | and there you see the picture actually went inside of that frame.
| | 01:37 | Here's the second way to convert text to outlines.
| | 01:40 | I could double-click on this text inside
the frame and select just that one word.
| | 01:45 | Now that the one word is selected, I can
choose from the type menu Create Outlines.
| | 01:50 | Now, only this word is selected.
| | 01:52 | It's still an object made up of a compound path and it looks
| | 01:57 | like it's a separate object floating
on the page but it's actually not.
| | 02:00 | It actually is automatically embedded or
anchored in this text line as an inline frame.
| | 02:07 | It's an anchored frame in that paragraph.
| | 02:10 | This technique can be useful if you
want to apply a special effect just
| | 02:14 | to a single word or a range of text inside of a frame.
| | 02:17 | For example, now that this is an object and not
text, I can apply a transparency effect to it.
| | 02:23 | I will go to the Effects panel and I will give it, let's
say, an Outer Glow, just use it as default settings there.
| | 02:29 | And we can see that this text has an Outer Glow around it
while the rest of it doesn't because it's a separate object.
| | 02:35 | Now, in both of these cases, whether
we are converting entire frame
| | 02:39 | or just some text inside, InDesign
actually deleted the original text.
| | 02:44 | The original text is gone, it's nowhere on my page.
| | 02:47 | But if you need the original text for
some reason, you can still maintain it.
| | 02:51 | Let me scroll down over here, close the
Effects panel, we don't need that right now.
| | 02:55 | I am going to convert this whole frame to outlines but
instead of just choosing Create Outlines from the type menu,
| | 03:02 | I am going to hold down the Option key or the Alt key on Windows.
| | 03:06 | Now, I get two objects.
| | 03:09 | It maintains the original, let me use the
Selection key to just move this off to the side.
| | 03:14 | I maintained the original text frame and it
converted all the text in that frame to outlines.
| | 03:21 | Note that if there is more than one line in a text frame when
you convert it, you actually get a group of separate objects.
| | 03:28 | Each line is its own object and they group together.
| | 03:31 | So I can go to the Object menu and choose Ungroup and you can see
| | 03:35 | that each line is now a separate
object that was grouped together.
| | 03:38 | Same thing goes with converting text inside of a text frame.
| | 03:42 | I will choose this word New and instead
of going to just choose Create Outlines,
| | 03:47 | I will hold on the Option or Alt
key and then choose Create Outlines.
| | 03:51 | And here, it looks the same as it did before,
but it actually did not delete the original
| | 03:57 | and I can use my Selection key to actually show you that.
| | 04:00 | I will drag the converted one off to this side and
you can see that the original text is still there.
| | 04:05 | And in this case, it did create a brand new
object which has nothing to do with the original,
| | 04:10 | it's not anchored at all into the original text.
| | 04:13 | Now, I want to be clear about something.
| | 04:15 | I do not recommend that people convert
a lot of their text to outlines.
| | 04:19 | For example, if your printer tells you that you really
should convert everything in your document to outlines,
| | 04:25 | I suggest grilling them on exactly why they want that.
| | 04:28 | It's typically a very bad practice to do that
and it's almost always unnecessary, and plus,
| | 04:33 | if you do that, you may lose some really important stuff.
| | 04:37 | For example, if you have used the Rule Above or Rule Below
feature, well those just disappear when you convert to outlines.
| | 04:43 | You have to be very careful when creating
outlines and proof your document carefully.
| | 04:48 | It's much better to send a printer a PDF
file with all the fonts embedded if you can.
| | 04:53 | That's much better than converting to outlines.
| | 04:56 | But for the occasional letter or word or some text you
want to apply some kind of a special effect to, sure,
| | 05:02 | Create Outlines is great for that kind of thing.
| | Collapse this transcript |
|
|
7. Long DocumentsBuilding a multi-document book| 00:00 | InDesign lets you make a single document thousands of
pages long, but I really, really would not recommend it.
| | 00:06 | It's usually better to break long
files down into smaller chapters.
| | 00:11 | And there are no hard and fast rules about
how long each of those files should be.
| | 00:15 | I have created books where a single
document had almost 200 pages in it.
| | 00:20 | Other folks like keeping files down to 50 pages or so.
| | 00:24 | And some magazines are actually laid out where
every two-page spread is a different InDesign file.
| | 00:29 | The good news is that InDesign lets you combine
multiple documents together into a book.
| | 00:35 | The key is to create a book file by choosing
from the File menu under the New submenu Book.
| | 00:42 | Or if your welcome screen is open, you
can simply click on the Book button.
| | 00:47 | I am going to create a new book based on the TBook
files that are inside the Exercise files folder.
| | 00:53 | I will just call it TBook Book, there you go.
| | 00:58 | And you will notice that the extension
is .indb, that's InDesign Book file.
| | 01:04 | I will click Save and the Book panel
opens up on my screen, great.
| | 01:10 | Now, I need to start adding files to my book.
| | 01:12 | I will click on the + button here and it
will ask me what files do I want to add.
| | 01:18 | I am going to add all of these by clicking on
the first one and Shift-clicking on the last one.
| | 01:24 | You can also click individual ones by pressing
the Command key on the Mac or the Ctrl key
| | 01:30 | that will actually let you select or
deselect individual ones from this list.
| | 01:34 | I will go ahead and add those again and click Open.
| | 01:37 | InDesign adds all of those files to my panel and
puts them in the order that they were in that list.
| | 01:43 | If you want to reorder files inside the panel
here, you simply click them and drag them
| | 01:48 | and you will see the black bar tells you where it will drop.
| | 01:51 | I am going to move this TOC file to the very beginning.
| | 01:54 | It's easy to remove files from the panel if
I've added one accidentally, simply click on it
| | 01:59 | and click on the - button, that removes it from the panel.
| | 02:02 | But in this case, I am going to leave all of these files
in my Book panel because I want to use all of them.
| | 02:07 | Once we have made changes to the Book
panel, we may want to save our changes.
| | 02:11 | Unfortunately, if you go to the File menu,
there is so Save option available here.
| | 02:16 | That's because this Save only applies to files.
| | 02:19 | If we want to save the entire book and the changes we
have made here, we need to use the Book panel flyout menu.
| | 02:26 | There are many options in this flyout menu and we will be
covering these throughout the rest of the movies in this chapter.
| | 02:31 | But for right now, you can see that
you can Save Book or Save Book As.
| | 02:35 | In this case, we are simply going to save the book.
| | 02:38 | You can also save books by closing the Book panel and it
will ask you "Do you want to save the changes you have made?"
| | 02:43 | Let me say a few other things about Book panels.
| | 02:46 | One is they act just like any other kind of panels
so we can put them anywhere we want on our screen
| | 02:50 | or we could even drag them into a doc on the side.
| | 02:53 | We can also minimize them like any other
panel by double-clicking on the title bar.
| | 02:58 | And that will minimize it so it takes up less room on the screen.
| | 03:01 | Double-click again and see the whole thing.
| | 03:03 | One of the coolest things about the Book panel is that you
can put one of these book files on a server and then more
| | 03:09 | than one InDesign user can access it at the same time.
| | 03:13 | So different people can be working on
different chapters in the book at the same time,
| | 03:17 | but the Book panel actually updates
to recognize what's going on when.
| | 03:22 | So that's very, very clever, very handy.
| | 03:24 | One more thing about the Book panel; if you add files
to your book that are old, let's say InDesign Cs2 files
| | 03:31 | but this is InDesign CS3, InDesign will ask you every
time you add a file "Do you want to convert it to CS3?
| | 03:37 | What do you want to save it as?"
| | 03:39 | And that can get really annoying.
| | 03:40 | You can go to the Book panel flyout menu
and choose Automatic Document Conversion.
| | 03:46 | And when that's turned on, InDesign will automatically convert
older files into newer files when you add them to the book.
| | 03:53 | There are several great reasons to
combine your files into a Book panel,
| | 03:57 | and the first of course is that you can find each file easily.
| | 04:00 | But more importantly, InDesign can manage
your page numbering and even make your colors,
| | 04:06 | styles and master pages consistent across all of these documents.
| | 04:10 | That's what we are going to be looking
at in the rest of this chapter.
| | Collapse this transcript |
| Page numbering across books| 00:00 | In the last movie we added a bunch
of documents to our book panel.
| | 00:03 | Each of these documents are chapters in a book and
we want the page numbers to update properly so that
| | 00:09 | where one document's page number ends the next begins.
| | 00:13 | The good news is that InDesign has
already done this for us automatically.
| | 00:17 | Look at the page numbers here in
the right column of the book panel.
| | 00:20 | I didn't set those page numbers myself, each of these documents
used to just start on page number 1 but as soon as I added it
| | 00:27 | to my book panel InDesign updated the numbering so that where
the first file ended on page 6 the next file begins on page 7.
| | 00:36 | We can open one of these files simply by double clicking
on the name of the file over here that opens the file.
| | 00:42 | If we go to the Pages panel we can
see that this begins on page 7.
| | 00:46 | Because this is chapter 1 I would like to actually start
it on page 1 and we can always override the page numbering
| | 00:53 | by selecting the page in the Pages panel, going to the Pages
panel fly-out menu and choose numbering and section options.
| | 01:00 | But there is actually even a faster way.
| | 01:02 | I can simply click on these numbers in the book panel
| | 01:06 | and that opens the Document Numbering
options dialog box for this particular file.
| | 01:11 | You can see that it's set to Automatic Page Numbering right now
| | 01:14 | so that it will automatically follow the
page numbering from the previous document.
| | 01:19 | But if I change this from 7 back to 1 now it's
going to start the page numbering at page 1.
| | 01:26 | I will click OK and you can see that InDesign will
automatically update all the numbering throughout my book.
| | 01:33 | This first file the TOC file is the front matter
and I am going to use Roman numerals for that.
| | 01:38 | So I will double click on the page numbering
here and InDesign will open that file
| | 01:43 | and immediately take me to the Book Numbering Options Dialog box.
| | 01:46 | I will set the style of this document to Roman numerals,
click OK and you can see that now the book panel updates
| | 01:53 | so that this is Roman numerals but the rest of the
book stayed the way it was with the regular numerals.
| | 01:58 | I want to show you a few more things about
how page numbering works in book panels.
| | 02:02 | First take a look at Chapter 2.
| | 02:05 | This one currently ends on page 21.
| | 02:08 | Chapter 3 then starts on page 22.
| | 02:11 | That's an even number page and even
number pages are left hand pages.
| | 02:16 | If I double click on Chapter 3 here you can see
that this document now opens on a left hand page.
| | 02:23 | If that's what you want then great, no problem but if you only
want your chapters to start on a right hand page then you have
| | 02:31 | to change the book numbering options and we can
do that by going to the book panel fly-out menu,
| | 02:37 | scrolling down to Book Page Numbering options and opening
that dialog box and you can see that currently it's set
| | 02:45 | to continue the page numbering from the previous document
even if that means starting it on left hand page.
| | 02:51 | If we want to make sure it starts on a right hand page then we
will set this to continue on the next odd page and when we do
| | 02:58 | that you will see that this checkbox appears Insert Blank Page.
| | 03:03 | If I turn that on when I click OK you will see that Chapter 2
will no longer end on page 21 it will actually end on page 22.
| | 03:12 | Why? Because InDesign will add a blank page
to the end of this previous document for me,
| | 03:18 | click OK InDesign goes through all the documents in
my book and there we go this now ends on page 22.
| | 03:24 | I will double click on Chapter 2 to open that, I will scroll to
the bottom and you can see that InDesign has added a blank page
| | 03:31 | at the bottom of this document just so Chapter
3 will open on a right hand page, pretty clever.
| | 03:38 | Let's go back to the Book Page Numbering options dialog
box and I want to point out the automatically update page
| | 03:45 | and section numbers checkbox, this is what tells InDesign to
automatically update all your numbering throughout your document
| | 03:52 | and there are times that you want that on and
there is times that you want to turn that off.
| | 03:56 | If you are going to be making a lot of edits
in your documents adding pages, removing pages,
| | 04:00 | reformatting things to the text flows and so on you probably
want to turn off this checkbox because every time you save one
| | 04:07 | of those documents InDesign is going to say oh this is part of
a book and it's going to renumber all the documents in that book
| | 04:13 | which can take a long time if there is a lot
of documents, that's really quite annoying.
| | 04:17 | So turn this off then click OK, make your edits and then later
when you want to update it go ahead and turn this checkbox back
| | 04:25 | on or you can also force all the numbers to update by
going to the fly-out menu, going down to update numbering
| | 04:32 | and then choosing Update Page and Section
Numbers or Update All Numbers either one
| | 04:37 | and this will actually update all the numbers even
if that automatically update numbers is turned off.
| | 04:44 | One other thing you need to know about books and page
numbering, I want to go ahead and close all of these documents
| | 04:49 | that I have been working on and I will
save these as I am going so I will close.
| | 04:53 | I am just pressing Command W on the Mac or Ctrl W on
Windows to close the document and now I am going to open one
| | 05:00 | of these documents, I will just use the Welcome screen to open
any of them, it doesn't really matter, let's say chapter 5
| | 05:05 | and I am going to make an edit to one
of these, in this case I am just going
| | 05:08 | to use the arrow keys on my keyboard to nudge it a little bit.
| | 05:11 | I have nudged it to the right, nudged it
back, pressed Command S or Ctrl S on Windows
| | 05:15 | to save it and now I am going to close the document.
| | 05:18 | Now in this case everything worked fine.
| | 05:22 | I have no warnings in my book panel but now
let me show you it with the book panel closed.
| | 05:27 | I will close the Book panel, go ahead and save the changes I have
made there and one more time edit my file, just nudge it over,
| | 05:35 | nudge it back, save it with a keyboard shortcut, close
it and now I am going to open that book panel again.
| | 05:41 | File, Open, grab my book panel and click Open,
move this up so you can see it better here.
| | 05:50 | Look at that little warning icon next
to Chapter 5 the one that I edited.
| | 05:54 | What is that doing there?
| | 05:56 | Well InDesign had no idea what I did there.
| | 05:59 | Because the book panel was closed when I made that change
InDesign says look I can see that something was done to that file
| | 06:06 | but I really don't know what, I don't
know if any pages were added
| | 06:09 | or removed so I am not sure if this page numbering is correct.
| | 06:13 | You can update that page numbering by going to the fly-out
menu and choosing Update Numbering and then Update Page
| | 06:20 | and Section Numbers but this will actually update all the pages.
| | 06:23 | There is a much faster way.
| | 06:25 | And that is simply to open that document
while the book panel is open.
| | 06:28 | I will open it up by double clicking on it.
| | 06:31 | InDesign looks at it and says oh I guess no pages were
added or removed, no problem, now I will just close it again
| | 06:37 | with a Command W or Ctrl W on Windows and the warning goes away.
| | 06:41 | As you can see InDesign's page numbering is quite
simple though it does have some real depth to it.
| | 06:47 | In the next movie we will take numbering a step
further and look at how you can use Chapter numbering.
| | Collapse this transcript |
| Chapter numbering| 00:00 | In most multi-document books that is documents combined into
a book panel each file has some logical unique identifier.
| | 00:08 | For example if you are laying out an actual book like this one
each document might be a single chapter with a chapter number.
| | 00:15 | In a catalogue each file might be a section of a catalogue
like Section A Widgets, Section B do-dads and so on.
| | 00:23 | But what happens to your numbering if you suddenly
need to rearrange the files and put do-dads first?
| | 00:29 | Well it's no big deal if you have been
using Automatic Chapter Numbering.
| | 00:33 | Here is how it works.
| | 00:34 | I am going to double-click on these numbers inside the
book panel and that will open that document and take me
| | 00:40 | to the Document Numbering options dialog box.
| | 00:42 | At the bottom of the dialog box is the Document Chapter
Numbering area and we can choose what kind of numbering we want
| | 00:49 | for our document either regular numbers
or Roman numerals or A B C and so on.
| | 00:54 | I will just leave this set to the regular Arabic numerals.
| | 00:58 | This chapter is Chapter 1 and now it's all very well
and good, I am going to leave it set to that click OK
| | 01:04 | but chapter 2 we don't want to be Chapter
1, we want that to be something different.
| | 01:08 | Now will double click on these numbers, come down here and
change this to Continue from Previous Document in the book.
| | 01:16 | In a moment we will see that InDesign
will change this to Chapter number 2.
| | 01:19 | Now If that first chapter were really, really long and
we wanted to split it up into two different chapters,
| | 01:25 | two different documents well we could choose this third
option instead Same as Previous Document in the book.
| | 01:31 | In this case it would continue with the same chapter
numbering as the previous one instead of increasing by one.
| | 01:37 | But here this is Chapter 2 so we will leave it set
to Continue from Previous Document in the book.
| | 01:42 | Now when I click OK InDesign will warn me that it's
not going to update the numbering automatically for me,
| | 01:48 | I have to go and update these numbers manually from the book
panel fly-out menu and I will show you that in a minute.
| | 01:54 | I will click OK.
| | 01:55 | Now I will do this to Chapter 3, we will set this to Continue
from Previous Document in the book and you get the idea.
| | 02:01 | You want to go through and update all of those files and it's
a little tedious but at least you only have to do it once.
| | 02:07 | By the way let's go to the Pages panel menu and double click
on this little black triangle that takes me to the Numbering
| | 02:13 | and Section Options dialog box and you will see that
here we also have the document chapter numbering,
| | 02:18 | it's the same thing as we got by opening the
numbering dialog box from the book panel.
| | 02:23 | But even though this shows up in the Section Options dialog
box this doesn't apply to individual sections of your document.
| | 02:31 | Lot of people make that mistake, this is still document chapter
numbering and that means any changes you make here will apply
| | 02:38 | to the entire document not to individual
sections of your document.
| | 02:42 | OK let's go ahead and click OK here.
| | 02:44 | I am going to jump back to chapter one and I am
going to add the chapter numbering to my master page
| | 02:51 | so it shows up here on the first page of my document.
| | 02:54 | I will jump out of Preview Mode by pressing
W and then I will go to my master page
| | 02:58 | by double clicking on A Master in the Pages panel.
| | 03:02 | Actually that was the wrong master page that's the document
page, I better scroll down here and go to B Master there we go.
| | 03:08 | I will double click on B Master, I will scroll over here
so we can see it better, this gives me a little text frame
| | 03:14 | where I can put my chapter number so I will click inside of
that with my Type tool and I will type Chapter and then I need
| | 03:21 | to get InDesign to insert the chapter number automatically.
| | 03:25 | So how do I do that?
| | 03:26 | I will go to the Type menu and go down
to text variables and then I am going
| | 03:32 | to insert a variable called Chapter Number there it is.
| | 03:36 | Now if your insert variable popup menu does not have one of
these in your documents then you need to define one yourself.
| | 03:42 | We talked about that in the Essential Training Title.
| | 03:45 | You can go to Define, click New and
then make a new chapter number variable.
| | 03:50 | But in this case I am going to cancel that, click
Done, go ahead and choose Type, Text Variables,
| | 03:57 | Insert my Chapter Number and there it is we are in chapter one.
| | 04:00 | Of course I would also want to make this change adding
the chapter number to all the other documents in my book
| | 04:06 | but later on in this chapter I am going to be showing you
how you can update all of these throughout the entire book
| | 04:12 | with one click instead of having to open each
document and type in the chapter number manually.
| | 04:18 | So I will wait till then to show you that.
| | 04:21 | For now let me go back to page 1 in my document and we can see
| | 04:24 | that it's updated here so that the
chapter number starts properly.
| | 04:29 | What about the numbering in the other chapters?
| | 04:31 | As we saw in that alert dialog box those will not
get updated, they will all say Chapter 1 until we go
| | 04:38 | to the book panel fly-out menu, scroll down to Update Numbering
and then we will choose Update Chapter and Paragraph numbers.
| | 04:46 | You must do that for InDesign to go through each one
of the documents and update the numbers properly.
| | 04:51 | If you later rearrange the chapters in your document
so that the chapter numbering is off again, no problem,
| | 04:57 | again go down and choose Update Chapter and Paragraph Numbers and
all of the numbers will be put back in the proper order again.
| | 05:04 | Not everyone needs chapter numbering even when
making books but it is a small convenience
| | 05:09 | that can make your workflow go easier especially
when chapters or sections have to be rearranged.
| | 05:15 | Nevertheless these are still only
chapter numbers not chapter names.
| | 05:20 | In the next movie we will look at how you can name
your chapters and even better for some folks have more
| | 05:26 | than one section name within a single document.
| | Collapse this transcript |
| Using the Section Marker| 00:00 | As we saw in the last movie each file in a book can have its
own number but you can also name each chapter in your book too.
| | 00:07 | In fact the naming is actually based on sections and as we saw in
the Essential Training Title you can have more than one section
| | 00:14 | in a single document that means you can assign a
different name to different parts of even one file.
| | 00:21 | There are two techniques for doing this using
a Section Marker or using a text variable.
| | 00:25 | I am going to show you both of those methods in this movie.
| | 00:28 | I have Chapter 1 open from the T-book and I am going
to jump to page 3 by pressing Command J on the Mac
| | 00:34 | or Ctrl J on Windows typing 3 and then hitting Enter.
| | 00:38 | I would like the name of my chapter to
show up here in the header of these pages.
| | 00:43 | I see that this text frame has a dotted
edge and that means it's a Master Page item.
| | 00:48 | So if I am going to change that I better go to the Master Page.
| | 00:51 | I will click on the pages panel, I will double-click on Master
Page A and then I will scroll over with Options Spacebar
| | 00:59 | or Alt Spacebar on Windows so we can see this text.
| | 01:03 | Why don't I zoom in to 200% here
Command 2 on Mac or Ctrl 2 on Windows
| | 01:07 | and I want to replace this name with the name of the chapter.
| | 01:11 | So I will delete that and I am going to add a section marker.
| | 01:15 | I will do that by going to the Type menu,
choosing Insert Special Character going
| | 01:21 | to the markers submenu and then choosing section marker.
| | 01:25 | Now it says section here because we are on a Master Page.
| | 01:29 | If we go back to page 3 we can see
that it's completely blank here.
| | 01:33 | Why? Because I haven't set up my section marker yet, now I
need to set up the section marker what that text should be.
| | 01:40 | So I am going to double-click on
this little black arrow above page 1
| | 01:44 | and that opens the numbering of section
options dialog box for page 1.
| | 01:49 | I will type in the section marker field the name of
the chapter in this case it's the Cup of Humanity.
| | 01:57 | There we go.
| | 01:58 | As soon as I type it in here and click OK you will see it
appears wherever the section marker is used on my Master Page.
| | 02:05 | Now what happens if I create a new section in my document?
| | 02:08 | I will choose page 4 by single clicking on it in the
pages panel and then I am going to right click on that
| | 02:14 | to open the Contacts menu but here I have opened a contacts
menu and I can choose Numbering and Section Options dialog box.
| | 02:21 | That is the same thing as choosing Numbering and Section
Options out of the fly-out menu of the pages panel.
| | 02:27 | Here I am going to say this is a new section, I am going to
get rid of this silly section prefix thing which as I talked
| | 02:33 | about in the Essential Training tittle I hate that little
prefix and I am going to put in a new section marker here called
| | 02:39 | "this is another section", I don't remember what the section's
going to be called I will just put that in the marker area,
| | 02:45 | click OK and then I am going to go to page 5 by double
clicking on it and I will use Option Spacebar or Alt Spacebar
| | 02:53 | and we will see that now that header has changed.
| | 02:56 | So on page 3 it says the Cup of Humanity but
here on page 5 it says "this is another section".
| | 03:02 | Now I am going to show you a second technique for
setting up these running heads using variables
| | 03:06 | and in fact this is even easier than using section markers.
| | 03:09 | I am going to go up to the File menu and choose Revert just so
I can get back to where I was when I first opened this document.
| | 03:16 | Now I am going to go back to my Master
Page just like I did before.
| | 03:19 | I will scroll over clicking this text frame with the type
tool, I will zoom in to 400% with Command 4 on the Mac
| | 03:26 | or Ctrl 4 on Windows and I am going to replace this text, I
will hit Delete, I am going to replace that with a variable.
| | 03:33 | So I will go to the Type menu, I will choose Text Variables
and I will look for my insert variable for chapter name.
| | 03:40 | I don't have a chapter name so I better go create one myself.
| | 03:45 | I will choose Define, click New and I will say
this is going to be my chapter name variable.
| | 03:52 | We saw how to do this in the Essential Training tittle but
just a quick review we type in the name here and we choose
| | 03:58 | from the type pop-up menu running
header paragraph style and I am going
| | 04:03 | to choose the first use of the paragraph
style called Chapter head.
| | 04:08 | The name of the chapter in this document has
been tagged with this particular paragraph style
| | 04:13 | so I am going to go grab it with this variable.
| | 04:17 | I will click OK, click Done and now in the Master
Page header I can say this is Chapter number I want
| | 04:26 | to get the number we saw how to do this in the previous movie
from the Type menu, choose Text Variables, Insert Variable number
| | 04:34 | and then I will type space and why don't I just put a vertical
bar in here in another space just to break this up a little bit
| | 04:39 | and then I will say Type Variables Insert Chapter
Name, there is the variable we just created.
| | 04:46 | Now because we are on the Master Page it doesn't know what
to type in there so it just says the name of the variable.
| | 04:52 | But as soon as we go back to page 3 we can see that
it updated automatically, there are no section markers
| | 04:58 | in here remember we reverted back to the previous
version without the section markers so it just went
| | 05:03 | and grabbed the first instance in this document of that
paragraph style and stuck it here and it will show up there
| | 05:10 | on every subsequent right hand page
very, very easy, very convenient.
| | 05:15 | Of course we could also change this to update not based on
the chapter name but based on the section headers or whatever,
| | 05:22 | let me zoom back with a Command Option 0 or Ctrl Alt 0 on
Windows and I can see that instead if I wanted to base the header
| | 05:31 | on this paragraph style instead of the chapter
name paragraph style, I could do that as well,
| | 05:36 | I would simply have to update the paragraph style.
| | 05:39 | So why don't I go do that type Text Variables,
define and I am going to change the chapter name.
| | 05:45 | So I will click on Edit and I will change this to section name.
| | 05:50 | You can name it anything you want and I
will change this to Heading 1 instead.
| | 05:54 | As soon as I click OK and click Done, you
see that it updates on that page immediately.
| | 05:59 | So now this says Chapter 1 but it gives me the
section name instead, littleness of great things
| | 06:05 | which is the first instance on this page of that section.
| | 06:09 | If I go to the next spread by pressing Option+PageDown or
Alt+PageDown, here it says tick Alt and that's reflected
| | 06:17 | up in my header as well where it says tick Alt.
| | 06:20 | Before section marker and variables I just spent way too
much time updating my page headers now it's all automated,
| | 06:27 | just change the section name in one place and boom it's updated.
| | 06:30 | It's so easy I love it.
| | Collapse this transcript |
| Creating "Continued on page..." numbers| 00:00 | Here in our Javaco Magazine file from the exercises
folder I can click on this frame and I can see
| | 00:06 | that this story jumps to some page later in the document.
| | 00:09 | Let me zoom in on this.
| | 00:11 | And if I knew exactly where this story jumps to well it would
be easy for me to go in here and let's say choose the type tool
| | 00:20 | and drag out a type frame and it says
continued on page I don't know what page
| | 00:26 | to put there because I don't know where this goes right.
| | 00:29 | What we need is someway of adding a continued on
page marker which will update automatically for us.
| | 00:35 | And in fact we can do that by going to the
type menu, choosing Insert Special Character,
| | 00:41 | going to the markers submenu and then choosing next page number.
| | 00:45 | It inserted the number 6 which is actually
the page number that we are currently on.
| | 00:50 | I will press the Escape key to jump back to the selection
tool and then press W to go out of preview mode and we can see
| | 00:56 | that this frame is sitting all by itself out
here on the page, it's not threaded to anything
| | 01:02 | so InDesign doesn't know what number to put there so it simply
puts the regular page number whatever page it's sitting on.
| | 01:09 | What we want to say is that this text frame and in particular
this marker, this page number marker should refer not
| | 01:16 | to the text frame itself but to this frame
up here the one that has the story in it.
| | 01:22 | We can do that by dragging this text frame on
top of that frame if that frame is touching
| | 01:29 | or on top of the other frame, it will update the number.
| | 01:33 | Here it's just barely touching that other frame
and you can see that number updates to page 8.
| | 01:39 | That is the page that this story is linked to is threaded to.
| | 01:43 | I am going to double-click on this to switch back to the type
tool, I will select all with Command A or Ctrl A on Windows
| | 01:49 | and then use Command Shift I on the Mac or
Ctrl Shift I on Windows to make it Italic,
| | 01:54 | that way it just stands out a little bit more.
| | 01:56 | Now I will press Escape to go back to the
selection tool again and I am going to copy it
| | 02:00 | to the clipboard from the Edit menu and go to page 8 itself.
| | 02:04 | In this case I know that it's just below here so I
will use Option Spacebar and I will just drag down here
| | 02:09 | until I see page 8 there it is that's what it's linked to.
| | 02:12 | Now I am going to paste that frame here and I will move it
in and in this case we don't want to say where it's going
| | 02:19 | to so I will delete that we want to say where it's coming from.
| | 02:24 | So I will go back to the Insert Special Character down
to the markers submenu and choose previous page number.
| | 02:31 | The previous page number doesn't mean anything until I
drag that frame over until it snaps up against this frame.
| | 02:39 | Now we can see that this is continued
not on page 6 but continued from page 6.
| | 02:45 | There we go.
| | 02:45 | This is very convenient but it becomes really convenient
when we change something like the page numbering,
| | 02:51 | if the pages got rearranged or let's go ahead and change
the section numbering of page 1 I just double-clicked
| | 02:57 | on that little black triangle so that this page is
going to start on page 47 instead let's say, click OK,
| | 03:04 | come back to where we were, go back here
now all the page numbers are updated.
| | 03:09 | So I will go back to where we were let's say page 52 now,
I will scroll down until I get to the bottom of the page
| | 03:16 | and we can see that this story is now continued on page 54.
| | 03:20 | It updated it for us.
| | 03:22 | Have you ever sent a file to press with all the wrong page
numbers in it because the proof reader didn't check them all?
| | 03:28 | If you use this automatic page numbering and
continued on page markers that will never happen again.
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| Synchronizing documents in a book| 00:00 | The more documents that you have added to a
book panel, the more likely it is that one
| | 00:04 | or more of them contains settings
that are inconsistent with the others.
| | 00:08 | For example maybe you made a change to chapter 1 and
then forgot to make that change in the other chapters
| | 00:14 | or perhaps your art director decided to change a
Pantone color in one of the documents and now you need
| | 00:19 | to update all the colors in the other documents in the book.
| | 00:22 | Fortunately the book panel has a synchronize option that lets
you ensure consistency throughout all the documents in your book.
| | 00:30 | So let me jump over to page 3 here by
pressing Shift Page Down a couple of times.
| | 00:34 | You can see that I changed the running head here by adding
a chapter number and the name of the chapter and I would
| | 00:40 | like all those changes the ones that
I made on the master page in chapter 1
| | 00:44 | to be pushed out to all the other chapters in this book.
| | 00:48 | To do that I first need to make sure
that I have the master document set.
| | 00:52 | The master document is whichever document has this little funny
icon next to it and you can click next to any of these files
| | 00:59 | in here to set the style source for the master document
but in this case we do want to set to chapter 1.
| | 01:04 | So I am good to go here.
| | 01:06 | The next thing we need to do is choose
which documents we want to synchronize.
| | 01:10 | I can select let's say chapters 1 through 4 by
clicking on the first one and then shift clicking
| | 01:16 | on chapter 4 and that selects all of those in a row.
| | 01:19 | I can also add noncontiguous chapters by holding down
the Command key on the Mac in clicking and that adds
| | 01:26 | or removes discontiguous files the ones that are in between.
| | 01:30 | In this case however I want to apply my synchronization to
all the chapters so I am going to click in this blank area
| | 01:37 | down at the bottom of the panel and that deselects everything
and selecting none is the same as selecting everything.
| | 01:44 | I will go to the book panel fly-out
menu and choose synchronize options.
| | 01:49 | Here's where I can tell InDesign what I want to
synchronize and what I don't want to synchronize.
| | 01:54 | In this case I don't want to synchronize my styles and
swatches and I don't want to synchronize all this other stuff
| | 02:00 | but I do want to synchronize my master pages.
| | 02:02 | I can now click the Synchronize button and InDesign will go
through and synchronize everything so that it matches chapter 1.
| | 02:12 | When it's done it tells me it completed successfully, click
OK and now all of these should have my new master page.
| | 02:20 | I will go look at chapter 5 for example, I will open it up and we
can see that suddenly I have my chapter numbering and if I jump
| | 02:27 | to the next spread with Option Page Down
or Alt Page Down on Windows I can see
| | 02:32 | that my running head has been updated appropriately as well.
| | 02:34 | Now let's try this one more time but with paragraph styles.
| | 02:38 | I will go to my paragraph styles panel and I am going to edit the
heading one style by right clicking on heading one saying edit
| | 02:46 | on heading one but we are going to edit the paragraph
style options dialog box, we will assign a color.
| | 02:52 | Here's a little trick.
| | 02:53 | You can actually add a color, if you don't have a color in here
| | 02:56 | that you wanted you can actually add
it by double clicking on the swatch.
| | 03:00 | It's a little known trick there.
| | 03:01 | So we can say we want a new color, make it a spot color, I
will choose pantone solid coded let's say pantone 123 this kind
| | 03:13 | of gold yellow color, terrific, click OK and then
I will add that to my fill of my heading one.
| | 03:20 | So when I click OK you can see that I have not only changed
the style here I have also added a new pantone color.
| | 03:28 | Now I want to push that change out to all my other documents in
my book so I need to first set my master document by clicking
| | 03:36 | to the left of chapter 5 just to be
safe I am going to save this document
| | 03:41 | and then I am going to synchronize all the documents in my book.
| | 03:45 | The synchronize button is grayed out, why, because I
have just one document selected here so I will click
| | 03:51 | in the blank area at the bottom and now synchronize.
| | 03:55 | Oh but I better not synchronize yet because I forgot to
change my options so I will go out to the fly-out menu,
| | 04:00 | choose synchronize options in this case I do want to
synchronize my styles and swatches I don't really need
| | 04:06 | to synchronize all these other things and I will click OK.
| | 04:09 | I could have clicked synchronize there if I wanted to but
I really want to click on this button boom click on that.
| | 04:15 | Why do I want to click on that button?
| | 04:17 | No reason, it's just fun to click on that button.
| | 04:19 | So it's completed successfully, click OK.
| | 04:22 | Now let's go back and look at one of these other chapters.
| | 04:24 | I will go look at chapter 3 and we will scroll through this
with the Option Page Down, Alt Page Down on Windows to go
| | 04:31 | through one spread at a time until I find a heading one and you
can see that the paragraph style has been updated and if I look
| | 04:39 | in the swatches panel, I can see that
this color has in fact been added.
| | 04:44 | It was pushed out into all the other documents in my book.
| | 04:47 | I do want to point out that if you have a color swatch or
a style or a master page in one of these other documents
| | 04:54 | that doesn't exist in the master document it doesn't get wiped
out, it doesn't get deleted or something it can exist all
| | 05:00 | by itself, it's only the styles or swatches that
either don't exist in them that get pushed into them
| | 05:06 | or if they have exactly the same name then
they get overridden when you synchronize.
| | 05:11 | Synchronizing the documents in a book can't take a long time,
you know the more files the longer of course but it's far faster
| | 05:19 | and more reliable than having to update all that stuff manually.
| | 05:22 | In the next movie we will take a
look at another automation feature
| | 05:25 | that saves you a huge amount of time,
building a table of contents.
| | Collapse this transcript |
| Tables of contents| 00:00 | Most people see Table of Contents under the
Layout menu and they think it's just for books,
| | 00:05 | you know heading one in a book and heading two and so on.
| | 00:08 | And sure, I can do that but this powerful feature
lets you build collections of any kind of paragraph.
| | 00:14 | For example, you could build a list of advertisers in a
magazine or a list of catalog items or a list of figures.
| | 00:21 | Anything that you have applied a paragraph
style to, you can collect with this feature.
| | 00:25 | Here's how you do it.
| | 00:27 | I am going to create a Table of Contents
in this book, not in chapter 1,
| | 00:31 | but in my ToC document, which is sort of my front matter.
| | 00:34 | I will double-click on that to open it and I am now
going to go the Layout menu and choose Table of Contents.
| | 00:41 | To build my Table of Contents I need to tell
InDesign which kinds of paragraphs to collect.
| | 00:46 | In this case, I am going to grab everything that's a Chapter
Heading, that's the name of the chapter and then I will click Add
| | 00:52 | and that adds it to my Include Paragraphs Styles List.
| | 00:55 | Then I will come down and I will add on my heading once.
| | 00:58 | You can also just double-click on this to add it to the list.
| | 01:01 | But I don't want my Table of Contents
to look like my document pages;
| | 01:06 | that is I don't want my chapter heads
to be listed in a chapter head style.
| | 01:10 | So InDesign lets me map this style to a different style.
| | 01:15 | I am going to say everywhere that it collects a chapter head;
it should apply in the Table of Contents my ToC chapter head.
| | 01:23 | I built this paragraph styles ToC chapter head and ToC
headings, I built those in advance for this document
| | 01:29 | and I will choose ToC chapter head to map with this.
| | 01:32 | Then I will click on heading 1 and I will say
everywhere you find a heading 1 in the Table
| | 01:37 | of Contents, you should show it in a different style.
| | 01:41 | I would say ToC headings, so that's pretty much it.
| | 01:45 | The last thing I need to do is turn on Including Book Documents.
| | 01:49 | Because a book panel was open, when I open the Table of Contents
dialog box, it gives me the option of including the entire book.
| | 01:57 | That way I get a Table of Contents of
the book, not just as one document.
| | 02:00 | I will click OK and it goes through and
collects all of those chapter names and headings
| | 02:06 | from the book and loads them into my place cursor.
| | 02:10 | I will press Shift+PageDown a couple of times
to jump to page 3 and then I will just click
| | 02:15 | over here on my page to add the Table of Contents.
| | 02:19 | It places the Table of Contents in here, it grabbed all
the right page numbers, grabbed all the chapter heads
| | 02:26 | and headings and so on and it's looking pretty good.
| | 02:29 | Now, I need to tell you a couple of things
about Table of Contents in InDesign.
| | 02:33 | One is that it's not a live update; that is if I
go in here and change some heading in chapter 4,
| | 02:40 | it does not automatically get updated in my Table of Contents.
| | 02:44 | I have to update it manually and to do that I
simply place my text cursor inside the story,
| | 02:49 | I just double-click to switch the type
tool and then I go to the layout menu
| | 02:53 | and choose Update Table of Contents, that's how you update it.
| | 02:57 | I don't need to update it right now, but I just want
| | 02:59 | to let you know that's how you would update
your Table of Contents if anything changes.
| | 03:02 | Let's say your page numbering changed or something like that.
| | 03:05 | The second thing I want to point out is how to make this a
little bit more pretty, right now it is kind of looking plunky,
| | 03:11 | you know the page numbers are not all
the same, they are not consistent.
| | 03:14 | I would really like all these page numbers to be along the right
edge of my text frame and stuff like that, how do we do that?
| | 03:21 | Well, some of it we can change by changing the paragraph styles,
| | 03:24 | but some of it we have to change in the
Table of Contents dialog box itself.
| | 03:28 | So I am going to go back to Layout menu, choose
Table of Contents, and then I am going to click
| | 03:35 | on the More options button, that gives me
a bunch more stuff that lets me find tuned
| | 03:41 | and tweak my Table of Contents to look at little bit better.
| | 03:44 | For example, I can say that between the entry and the
number I don't want a regular tab that's the code for tab,
| | 03:51 | so I am going to delete that and instead I am going
to use this little Flyout menu to say give me the code
| | 03:56 | for a right indent tab, right indent tab as we learned
in the Essential Training Title means push it all the way
| | 04:02 | to the right indent, which is of course
in this case the edge of the text frame.
| | 04:07 | And I want to apply a character style to that
right indent tab, I am going to choose Dot Leader,
| | 04:12 | this won't actually add a dot leader as we will see in a minute,
| | 04:15 | but well you understand why I have applied
that character style in just a moment.
| | 04:19 | Then the page number itself is going to appear after the entry.
| | 04:24 | I could say I wanted it before the
entry or no page number if I want to.
| | 04:27 | But in this, I want to say, I wanted to appear after the
entry and I wanted to be in a style called ToC number.
| | 04:34 | I have created this character styles
in advance, so that I could apply them.
| | 04:39 | Now, I need to do the same thing to my chapter head, so I
click on Chapter Head, it all resets, so I better change this,
| | 04:45 | I will remove that, I will change this to right indent tab.
| | 04:49 | I will apply my character styles one more time.
| | 04:52 | The page number itself is going to
be ToC number and I am good to go.
| | 04:56 | There are all kinds of other things we can do in this dialog box.
| | 04:59 | For example, we could sort the entries in alphabetical
order, which is not appropriate for a book Table of Contents
| | 05:05 | but maybe if it was a list of advertisers or something like that.
| | 05:08 | We can also create PDF bookmarks; we will be
talking about that in a movie in the next chapter.
| | 05:13 | And we are going to replace the existing
Table of Contents with all of these settings.
| | 05:19 | The run-in check box, means take these settings that chapter
head followed by headings and make them all one single paragraph
| | 05:26 | as opposed to one paragraph after another, so I am not going to
use run-in, but just so you know that's what's going on here.
| | 05:32 | The other things are pretty self-explanatory,
hidden layers and number of paragraphs and so on.
| | 05:37 | I will go ahead and click ok and InDesign will go build the
Table of Contents one more time, but with my new settings.
| | 05:43 | It says that it has been updated successfully,
so I click OK and you can see that it has.
| | 05:48 | Now, all my page numbers are consistent because
they have a character style applied to them
| | 05:54 | and they are flushed against the right edge of a frame.
| | 05:56 | I would like to add dot leaders in here, so to do
that I need to change the paragraph style itself.
| | 06:01 | I will open the Paragraph Styles panel; in this case
I am going to click on the ToC Chapter Head Style
| | 06:08 | because I know that the other ones are mapped to that.
| | 06:10 | I will Right Click on it or a Ctrl+Click with 1 button mouse
on a Mac and edit that style in order to give it a dot leader.
| | 06:18 | To do that I will go to the Tabs panel, let me
move this down so we can see what we are doing,
| | 06:23 | oh I need to turn on preview, yeah preview checkbox is turned on.
| | 06:26 | I need to add a leader, a little dot to that tab, but there is
no tab here, because it's a right indent tab, so what do I do?
| | 06:35 | Well, as we learned in the essential training
title, I can apply a leader to a right indent tab,
| | 06:40 | just by adding a leader to any random tab in here.
| | 06:42 | So I am just going to click randomly on my Tab Ruler here and
give is dot leader and when I do that, I will click up here,
| | 06:50 | when I do that, you can see that it added a dot
leader to this tab and the right indent tab picked
| | 06:58 | up the leader from that tab and used it in my paragraph.
| | 07:02 | So I will click OK and I am done.
| | 07:04 | By the way, you will notice that these are not just one
dot after another, they are kind of spaced out right,
| | 07:10 | let me select that by double clicking on it, that's because I
applied that dot leader character style to the right indent tab.
| | 07:18 | That dot leader character style made each
of those little dot smaller down to 6 points
| | 07:23 | and applied tracking, so that it spread them out.
| | 07:26 | So sure, we have used this Table of Contents
feature to build a normal book table of contents,
| | 07:32 | but you can see that this feature could
easily be used to build a table of anything,
| | 07:36 | as long as you have used your paragraph styles consistently.
| | Collapse this transcript |
| Indexing documents| 00:00 | Computers are supposed to make life easy for us, right.
| | 00:03 | And creating an index for a book seems
like a great way for a computer to help us.
| | 00:08 | So many folks look around and design for a
button that says "Make the index for me."
| | 00:13 | Well, unfortunately, indexes don't work that way.
| | 00:16 | For example, you can't just get a list of
all the words that appear in a document
| | 00:21 | and where they appear, and that's a concordance, not an index.
| | 00:24 | You know I don't want the word Eighth to show up in my
index, I don't want the word Entered to show up in my index.
| | 00:31 | If you do want something simple like that, you should get
the Sonar Bookends InDex plug-in from Virginia Systems.
| | 00:37 | It's great at doing that kind of thing,
you know for a catalog or something.
| | 00:41 | But if you want a real index for a book, you are going
to have to build it yourself, one index entry at a time.
| | 00:47 | Now, I have spent way, way too much time indexing my own books
over the years; first, by using 1000 note cards and markers,
| | 00:54 | later using the tools inside PageMaker,
then QuarkXPress and now in InDesign.
| | 00:59 | And I can tell you with some confidence that
none of these tools makes indexing pleasant.
| | 01:04 | InDesign's indexing features are pretty good
but they are just nowhere near as powerful
| | 01:09 | as the software that professional indexers use.
| | 01:12 | That said, in this movie, I am going to give you a quick
overview of how to add index entries to your documents.
| | 01:18 | And then in the next movie, I will cover how to actually
collect all of those entries to build the index itself.
| | 01:24 | I do want to point out however that it's best to wait until
the text won't be edited anymore before you start indexing.
| | 01:31 | That way, index entries won't accidentally
get cut or moved in the text.
| | 01:36 | I do want to point out that you can index a document
at any time, it doesn't have to be at the end.
| | 01:42 | But you should wait until after the text has been edited, so that
you don't accidentally lose your index entries along the way.
| | 01:51 | So let's start adding index entries.
| | 01:53 | The key to adding these entries is,
not surprisingly, the Index panel.
| | 01:58 | OK, so let's start adding index entries.
| | 02:00 | The key to adding these entries is, not surprisingly, the Index
panel which you can find by choosing from the Window menu,
| | 02:07 | the type and table submenu and then choosing Index.
| | 02:12 | At first, the Index panel is completely blank
now when you start adding index entries to it.
| | 02:18 | I am going to add the phrase 8th Century.
| | 02:21 | So I select that on my page and click the New Page
Reference button or I could go to the Index flyout menu
| | 02:29 | and choose New Page Reference from the menu or
press Command U on the Mac or Ctrl+U on Windows.
| | 02:35 | Whatever the case, it opens the New
Page Reference dialog box and here,
| | 02:38 | we can see exactly what it's going to
look like in the index, 8th Century.
| | 02:43 | And rather this would be 8th Century, 8th, in my index entry.
| | 02:48 | So I am going to change that.
| | 02:51 | However, I really would like to have it sorted in
my index not at the beginning under the number 8,
| | 02:56 | but rather under the word "eight", so I want it at the E section.
| | 03:01 | The Sort By field makes that very easy because
we can say that we want this index entry
| | 03:06 | to be sorted under where the word "eight" would be.
| | 03:09 | It's pretty rare that you would use the Sort By field, in
this case, it makes sense but usually I just leave that blank.
| | 03:16 | Now, we change the type popup menu.
| | 03:18 | The type popup menu is split into two sections, the
range at the top or at cross references at the bottom.
| | 03:25 | I will cover cross references in just a moment.
| | 03:27 | For right now, I want to focus on the range.
| | 03:30 | We can see that by default, just the current page
number will show up in the index entry, just Page 1.
| | 03:36 | But if I had a longer section I was trying to index,
I could say well, index until the next style change
| | 03:42 | or until I use a particular style or
until the end of the story and so on.
| | 03:47 | You have a lot of control over how large
the range of your index entry will capture.
| | 03:53 | I am going to leave this set to current page.
| | 03:56 | I want to talk about the Number Style Override checkbox.
| | 03:59 | This is another pretty rare one, I don't use this very often.
| | 04:03 | But let's say you wanted your index entries
for figures, captions under figures,
| | 04:08 | to be different than the other regular body text index entries.
| | 04:12 | Well, in that case, you could turn on this checkbox
and then choose a character style from here.
| | 04:18 | And if you had let's say a bold character style,
| | 04:21 | you can apply the bold character style
to all of those particular index entries.
| | 04:25 | Again, pretty rare but it's nice to know that it's there.
| | 04:28 | I will go ahead and click OK and move on to the next one.
| | 04:32 | Before I do though, note that the index entry
has now been populated with all of the letters
| | 04:38 | and we can see a little triangle next to E. If I click on that
triangle, it expands to show that 8th Century is now in my index.
| | 04:46 | And if I click on the triangle next to that,
we can see that 8th Century shows up on Page 1.
| | 04:52 | I can see that the word China is in
here and Japan is in here and so on.
| | 04:56 | It looks like we are talking about Asia, but the
word Asia doesn't appear on my page anywhere.
| | 05:01 | That's OK, I can simply click anywhere inside my
text frame and click on the New Page Reference button
| | 05:07 | and I can say I want the word Asia to be in my index.
| | 05:11 | I just type that myself.
| | 05:12 | That will be a first-level index entry and I want it to be,
let's say the entire story going to be listed under Asia.
| | 05:20 | Let's click OK and move onto another one.
| | 05:22 | I'll index the phrase philosophy of T. Again, click in here.
| | 05:26 | It looks pretty good there.
| | 05:27 | In this case, I am going to say index the
entire section, not just this one page,
| | 05:32 | but until the next use of the style heading one.
| | 05:35 | So it's going to grab this entire section from
heading one to the next use of heading one.
| | 05:40 | Alright, I will go to the next page by pressing Shift+Page Down.
| | 05:43 | Let's look at some other ones.
| | 05:45 | Oh here's Japan, so I will select Japan, I will come over here,
click the button, I could have pressed Command U on the Mac
| | 05:51 | or the Ctrl+U on Windows and I will say I want Japan to be in
here under the current page, actually, not just this current page
| | 05:58 | but I want to find all the uses of
the word Japan inside this document.
| | 06:02 | So I am going to click the Add All button.
| | 06:05 | Add All means search my whole document for this word
and add the current page for all of those instances.
| | 06:12 | Click Add All and boom, they are done.
| | 06:15 | I also want to add Japan underneath the word Asia as a
second-level index entry because Japan of course is inside Asia.
| | 06:23 | So here's what I do.
| | 06:25 | First, I click the Down Arrow button and that
moves the first-level entry to the second-level.
| | 06:30 | So now, Japan is going to be a second-level entry.
| | 06:33 | Now, I need to get Asia up here.
| | 06:35 | But to make sure I spell it correctly, I am going to look in my
list down here and I see a little expand triangle so I will click
| | 06:42 | on that, and there is the word I am looking for.
| | 06:44 | I am going to double-click on Asia and that adds
it up here as a first-level entry, pretty cool.
| | 06:50 | Now, I will click OK.
| | 06:53 | Now, we can see under the A is Asia and under
the Asia is the entire chapter and also Japan.
| | 07:00 | If we scroll down, under J, we can see that under
Japan, we have four entries on pages 1, 2, 3, and 5.
| | 07:08 | That's where all of the instances of
the word Japan show up in this document.
| | 07:13 | Now, here's the word Tism, I am going to add that to my index.
| | 07:16 | So I will click on New Page Reference and I will
say this one is going to be a cross reference.
| | 07:22 | I am going to say C, well let's see what should it be,
| | 07:25 | let's say C philosophy of T. I am not
exactly sure how I spelled that before.
| | 07:29 | So once again, I will scroll down
here until I find the P section.
| | 07:33 | Open that up and see there is philosophy
of T, that's what I already indexed.
| | 07:37 | So I am going to grab this and drag it up to the section.
| | 07:41 | If I double-click on it, it will
actually edit as the first-level entry.
| | 07:44 | That's not what I want, I actually want to
drag it up into that field to get it there.
| | 07:50 | So I will click Add, and that adds that cross reference.
| | 07:54 | Actually, I want to add this one more time.
| | 07:55 | I am going to put Tism underneath philosophy of T. So I will
come up here and move that down, come over here and open P
| | 08:02 | and then I am going to double-click on philosophy of T,
| | 08:04 | and it will also show up as a second-level
entry underneath philosophy of T, great.
| | 08:09 | Click OK, and that's pretty good.
| | 08:11 | I have got a lot of index entries
here and I think we are good to go.
| | 08:16 | In the next movie, we will take all of these index entries
that we have created and actually build the index itself.
| | Collapse this transcript |
| Generating an index| 00:00 | In the last movie, we looked at how to
insert index entries into your documents.
| | 00:05 | Now, it's time to collect all those entries and make our index.
| | 00:09 | The first step is simple.
| | 00:10 | I am going to deselect everything in my document by
pressing Command Shift+A or Ctrl+Shift+A on Windows,
| | 00:16 | and then I am going to go to the Index
panel flyout menu and choose Generate Index.
| | 00:21 | Or even simpler, I will click off that, I
can simply click on the Generate Index button
| | 00:26 | which is the third button at the bottom of the Index panel.
| | 00:30 | At first, this dialog box looks pretty simple.
| | 00:32 | We have got the title which is the text that's going to
show up at the top of the index, we'll just say index;
| | 00:37 | the paragraph style that will be applied to that title; the
ability to include book documents, yeah, we want to entire book
| | 00:45 | and we get that because the Book panel is open currently;
| | 00:48 | and the E ability to include entries on
hidden layers if we want to, no big deal.
| | 00:53 | But I really want to encourage you
to click the More Options button.
| | 00:57 | We better move this up so you can see everything.
| | 00:58 | This is kind of crazy, it looks like there is a lot of
options here and I know that it's very tempting to make all
| | 01:04 | of these go away and go back to the Fewer Options dialog box.
| | 01:07 | But this really is simpler than it
looks if you take it one step at a time.
| | 01:11 | Besides, you get a lot of control here
that you wouldn't ordinarily have.
| | 01:15 | For example, you can choose Nested index entries versus Run-in.
| | 01:19 | Nested means each index entry will be on its own paragraph,
and that's typically what you see in indexes these days.
| | 01:26 | Run-in indexes mean put all the second-level entries
or third-level entries and so on in a single paragraph.
| | 01:34 | And so you get this long almost paragraph type of indexes, and I
don't find this very useful but in some cases people want that.
| | 01:40 | We are just going to use a regular Nested
index like we see in most documents.
| | 01:45 | Include Index Section Headings means do you want the alpha
characters like A, B, C to be added to the index or do you want
| | 01:54 | to just leave those out and just have your index entries.
| | 01:56 | We will leave those in.
| | 01:57 | And if you are going to include those Index Section Headings, the
A, B, C, and so on, what do you want to do with the empty ones,
| | 02:03 | like if there is nothing under J, do
you want it to show up or not, well,
| | 02:08 | I will leave that out so we don't get those empty ones.
| | 02:11 | Now, which paragraph styles do you want to
apply to the index entries for your index?
| | 02:16 | You have four levels to choose.
| | 02:18 | In the last movie, we just used level 1
and 2, so 3 and 4 won't matter at all.
| | 02:23 | But you can choose any paragraph
style you want for your index entries.
| | 02:28 | By default, InDesign actually makes paragraph styles
for you called index level 1, level 2 and so on.
| | 02:34 | And I am going to go ahead and just use those that it
will make for me, and then I can format them later.
| | 02:39 | You can also control a formatting applied
to other elements within the index.
| | 02:43 | For example, what paragraph style do you want to apply to those
Section Headings, what character styles do you want to apply
| | 02:49 | to all of your page numbers, if you have
some sort of special character style,
| | 02:53 | you want to apply to page numbers, you can choose out there.
| | 02:55 | In a cross reference, do you want the word C
or C also or C herein, whatever you have used,
| | 03:02 | do you want those to have a character style applied to them.
| | 03:05 | And again, by default, InDesign will actually
build one for you called Index Cross Reference,
| | 03:10 | and we will see in just a moment that set to Italic.
| | 03:13 | In the same thing, what character styles do you
want to apply to the topic within cross references.
| | 03:18 | So you have a lot of control over the
formatting of all of these elements.
| | 03:22 | Same thing with the punctuation that it uses;
for example, usually following the topic,
| | 03:27 | there is just a space here, regular little space.
| | 03:29 | I am going to delete that because instead
of a space, I would rather have an N space.
| | 03:34 | It's a little bit bigger and just gives me a little
bit more room between the topic and the page number.
| | 03:39 | You can also choose what punctuation do
you want between each of the page entries,
| | 03:45 | you can also choose what punctuation do you want between
the topic entries if you have more than one on the line.
| | 03:51 | In a page range, usually it's an N-, and that's
appropriate, so that's the symbol for an N-
| | 03:56 | between the page numbers and between cross references and so on.
| | 03:59 | Some people like putting a period
at the end of every index entry.
| | 04:03 | So you can just type that in here just to say that
that's the end of the line, completely up to you.
| | 04:08 | When you finish figuring out what you want your index
to look like, go ahead and click OK and InDesign will go
| | 04:14 | through your entire document or in this case the entire book and
it will create our index, and it loads it up in our place cursor.
| | 04:22 | Now, you get to choose where you want to place this text.
| | 04:25 | In this case, I really should have just made a new document
or at least build the index in the last document of the book.
| | 04:32 | But I will just put it in here for
now on the last page of the document.
| | 04:35 | And it still is loaded up here, I am still not placing it yet.
| | 04:38 | I better add a new page.
| | 04:40 | So I will use the Command Shift+P or Ctrl+Shift+P on Windows, and
I will scroll over here with my Option+spacebar or Alt+spacebar
| | 04:48 | on Windows, so I can see this better, and
I will just click here to add my index.
| | 04:53 | So that's it, it added my index entry, it showed the section
markers, but it left out the ones that we didn't already have,
| | 04:59 | we actually did have a J 1 so that one was not empty.
| | 05:02 | You can see that if we zoom in here, I will do a
Command 2 or Ctrl+2 on Windows, we can zoom in.
| | 05:07 | We can see that the period is at the end of every 1.
| | 05:09 | There is N space in between each one.
| | 05:12 | The 8th Century, just like we saw in the last movie, 8th Century
was actually sorted under the E instead of elsewhere up here
| | 05:20 | in the 8th section which doesn't exist and the number sections.
| | 05:23 | All our index entries have been added, even the cross references.
| | 05:26 | And you can see that the Cross Reference
styles have been applied.
| | 05:29 | Let's go ahead and open the Character Styles panel and we can see
that index cross reference, that was on in this document before,
| | 05:35 | InDesign actually created that character style
and put it in there when we built the index.
| | 05:41 | Of course, later if something changes in our document and
we need to rebuild the index, no big deal, you just go back
| | 05:48 | and click Generate Index again and fill this out one more
time, but this time we would say replace the existing index,
| | 05:56 | and it will go ahead and erase the one
that's there and replace it with the new one.
| | 06:01 | You know, indexing a document is not fun, but at least with
these basic indexing tools and a good dose of patience,
| | 06:08 | you will be able to create your indexes without too much trouble.
| | Collapse this transcript |
| Printing or exporting a book| 00:00 | Putting all these documents into a Book Panel isn't much help
that you can't Print or Export the whole thing at one time.
| | 00:07 | Fortunately if you peak inside a Book Panel's
Flyout menu, you will see a bunch of options
| | 00:12 | for Preflighting, Exporting and Printing your documents.
| | 00:15 | However note that it only Prints or Exports
the files you have selected in the Book Panel.
| | 00:21 | If you want to select more than one you can use Shift+Click
to select more than one in a row or hold down the Command key
| | 00:28 | on the Mac or a Control key on Windows
and click to select individual documents.
| | 00:34 | In this case we want to Print or Export all of the documents.
| | 00:37 | So we are going to click in the blank area at
the bottom of the panel to deselect everything.
| | 00:42 | When none is selected it says, no they are all selected.
| | 00:45 | Now we can go up to the Flyout menu and preflight
the entire book or package the entire book.
| | 00:51 | But in this case we want to export or print it.
| | 00:54 | You can also use the Print button
here in the bottom of the Book Panel.
| | 01:00 | If you click on this it will print the whole book or here
is a little secret trick, if you hold down Option on the Mac
| | 01:06 | or Alt on Windows it turns that into and Export button.
| | 01:10 | This will export your entire book as a PDF file.
| | 01:13 | I will go ahead and click Save and it will
open the Export Adobe PDF Options dialog box.
| | 01:19 | We are familiar with this dialog box.
| | 01:21 | We covered this in detail back in the Essential Training title.
| | 01:25 | If we have printed the document it would have open the Print
dialog box which is a same thing, it's a normal print dialog box
| | 01:31 | but in both cases note that you cannot change
the range, you cannot specify a page range,
| | 01:37 | you always get the entire document
or in this case the entire book.
| | 01:40 | Some people like turning on the Spread's
checkbox when they have a facing pages document.
| | 01:44 | They think they need to do that if they have the left and
right hand page but you do not want to have this turned
| | 01:49 | on if you are sending something to a Printer or
an Output Provider you know for final artwork.
| | 01:55 | Spreads is really only for proofing a document so you
can see the pages together it's not for final output.
| | 02:02 | In this case I am going to view my PDF after exporting
and I will go ahead and change this a little bit.
| | 02:06 | Why don't I turn on my Crop Marks and Page Information actually
well I would just turn all my printer marks that will be easier
| | 02:12 | for us to see and I can go through and make sure
everything else is the way we want it to be.
| | 02:17 | Transparency flattener is on high, I don't think
I have transparency in here but just in case I
| | 02:21 | like making sure this is set to high, all the
normal things that we see in Export dialog box.
| | 02:26 | Then I will click Export and it will go through the entire
book and quickly make a PDF of every page all 88 pages of it.
| | 02:33 | I will click OK and it will quickly make my PDF, it
will go through the entire book panel opening each one
| | 02:39 | of those documents behind the scenes turning it into a PDF
and saving it to disk as one big single PDF, 88 pages long.
| | 02:47 | Here we have opened it in Acrobat and I
will view this in Windows so we can see
| | 02:51 | that we have got the Crop Marks and
the Page Information and so on.
| | 02:55 | And if we go through a document you see all
the information is there, the entire document.
| | 03:01 | So that's it we have created a whole book from
Soup to Nuts from Table of Contents to an Index.
| | 03:06 | Then we exported it as a single PDF file.
| | 03:08 | And that's great if it's a book headed for print but
what if our readers would be viewing this on screen.
| | 03:15 | Well in that case it would be helpful if
we edit some buttons or maybe even movies
| | 03:19 | and hyperlinks to turn it from a book into an eBook.
| | 03:22 | That's what we are going to be looking at in the next chapter.
| | Collapse this transcript |
|
|
8. Interactive DocumentsHyperlinks| 00:00 | If you can remember way back to the late 20th Century you may
remember a time when computers didn't react to your actions,
| | 00:08 | when text was simply presented on a screen
without any option for clicking on it.
| | 00:13 | Those with the dark edges, today's savvy readers
expect a little bit more in the way of Interactivity.
| | 00:19 | So in this chapter we are going to explore your options
from making your documents do stuff and we will start
| | 00:25 | with the simplest interactivity of all, building hyperlinks but
before I go any further I want to point out that when I talked
| | 00:32 | about building interactive documents
I mean interactive PDF documents.
| | 00:37 | You can Import movies and make buttons
and all kinds of things in InDesign.
| | 00:41 | And I will be discussing those in the following
movies but those things don't do anything
| | 00:46 | until you Export the file as a PDF and open it in acrobat.
| | 00:50 | I will show you the key to doing that in just a moment.
| | 00:53 | First, how to build a hyperlink?
| | 00:55 | Hyperlinks are essentially buttons or hot areas
that you can click on and then they do something.
| | 01:01 | And you can apply a hyperlink to either text or an object.
| | 01:05 | So you got to do both here in this movie.
| | 01:07 | Let's jump to page 2 of the Javaco sheet document, I will do a
Shift+PageDown and I will zoom In by selecting this text frame
| | 01:14 | and pressing Command+2 or Ctrl+2 on Windows and
let's find some text to apply a hyperlink to.
| | 01:21 | Let's apply it to this phrase here, Green Teas that sounds good.
| | 01:25 | To apply a hyperlink we need the hyperlinks panel
and you can find out by going to Window menu,
| | 01:31 | scrolling down to Interactive and then choosing Hyperlinks.
| | 01:35 | There is our Hyperlinks Panel, move it up
here so we can see it a little bit better.
| | 01:38 | I need to apply a hyperlink here in this panel.
| | 01:41 | Now there are two different kinds of hyperlinks in InDesign.
| | 01:45 | There are named hyperlinks and unnamed
hyperlinks, what's the difference?
| | 01:49 | You want to use a named hyperlink whenever you are going
to be using that link a bunch of times you know 5 or 10,
| | 01:55 | 20 times in a document but if you are
only going to be using a link maybe once
| | 01:59 | or twice then it's better to use and unnamed links.
| | 02:02 | So let's start with unnamed links.
| | 02:04 | To make an unnamed link go to the Hyperlinks Panel Flyout
menu and choose New Hyperlink or you can simply click
| | 02:11 | on the New Hyperlink button down here
in the bottom of the Hyperlinks Panel.
| | 02:15 | I know I said we were creating an unnamed
hyperlink but you still have to give it a name.
| | 02:19 | And the name is what's going to show up in the Hyperlinks Panel.
| | 02:22 | And so I am just going to leave it set to the default which is
basically whatever text was selected on the page Green Teas.
| | 02:28 | The Document Pop-up menu let's you choose which
document you want this hyperlink to be saved in.
| | 02:32 | And the answer is this document, so leave that one
alone, I don't even know why that Pop-up menu is there.
| | 02:37 | The Type Pop-Up Menu gives you an option of what kind of
hyperlink you are going to make, you can choose a page hyperlink
| | 02:42 | which will actually take you to a particular page or a text
anchor, I don't like text anchors, I find them unreliable.
| | 02:48 | So I am going to skip that or URL to go
to some web page, let's make this a URL.
| | 02:53 | So I will choose URL and then we have a
choice to make a named or unnamed one.
| | 02:58 | The Named Pop-up menu lets us choose a named hyperlink
destination if we had one or leave it to set to unnamed.
| | 03:03 | In this case we don't have any named destinations yet
so we are just going to leave this set to unnamed.
| | 03:09 | And then you can choose what you URL you wanted to send this to.
| | 03:11 | I will just send this to my personal domain that sounds good.
| | 03:15 | We are just testing this out here.
| | 03:16 | Now you have an option of the appearance,
this is how it's going to show up in the PDF.
| | 03:20 | And you can choose to make it invisible so that
people can't tell that it's a URL or visible.
| | 03:27 | And visible sounds like you would want to do but what
visible does is it makes it a big rectangle around the thing
| | 03:32 | and it's just so obvious and ugly that
no one is going to enjoy looking at it.
| | 03:36 | So I choose to set this to invisible and I will show
you a different way of making this look like a URL.
| | 03:42 | I will click OK and then it's a hyperlink now it's there.
| | 03:46 | If I select it, it shows up in the Hyperlinks Panel but
it doesn't look like a hyperlink so let's go make it look
| | 03:52 | like a hyperlink, I will go to the Character Styles
panel and I am going to create a new Character Style,
| | 03:56 | well you can call anything you want,
I am just going to call it URL.
| | 03:59 | It will change its color to let's say 85% black
instead and we will turn on and underline.
| | 04:05 | And basically we will make it look kind of like a hyperlink.
| | 04:09 | So I will move this down a little bit.
| | 04:11 | If will sounds good click OK and now when we apply
that to the text it looks kind of like a hyperlink.
| | 04:17 | In other words it looks different from everything
around at and that will draw people's attention to it
| | 04:21 | and it will make them want to go click on it.
| | 04:23 | So that's the whole point of having
a hyperlink type of effect here.
| | 04:27 | OK now what about making a hyperlink that we are
going to use a lot of times, a named hyperlink.
| | 04:32 | Well to do that we go to the Hyperlinks Panel
Flyout menu and we choose new hyperlink destination.
| | 04:38 | And we can say what kind of hyperlink destination
do we want at Page or Text Anchor or URL.
| | 04:43 | In this case I am going to be saying a URL and I want my URL to
be, oh let's just say we are going to send it to a www.lynda.com.
| | 04:50 | It will type the HTTP for me which is nice, but I still
need to type the URL so it's going to go to this URL.
| | 04:55 | This is my named hyperlink destination, click OK.
| | 04:59 | Now you will notice that those destinations do not appear in
the Hyperlinks Panel because there is nothing sent to them yet,
| | 05:05 | there is no hyperlink in the document that is going
to that destination, but if I select some text here,
| | 05:12 | now I can say make this be a hyperlink to that destination.
| | 05:16 | So I will click on my new hyperlink button,
well I will just leave that the way it is.
| | 05:19 | And then I will say the document that has to leave that the way
it is, it is going to be a URL that leave that the way it is.
| | 05:24 | And the name in this case we are not doing an
unnamed one, we are doing a named destination.
| | 05:30 | And this is simply choosing the name out of it and this is
telling us what that URL is, where it's going to be going.
| | 05:36 | We can actually edit it here and it will change the
definition so be very careful about editing this
| | 05:42 | because you are going to be changing the definition.
| | 05:44 | Again I am going to leave this set to invisible rectangle,
click OK and I will apply my URL style, here we go.
| | 05:50 | So now I have actually applied this
hyperlink and that's good we have got it done.
| | 05:55 | And we actually have applied this style we
can see it here in the Hyperlinks Panel,
| | 06:00 | the problem is that we can't see where it's going to.
| | 06:02 | Fortunately if you hover on top of a
hyperlink it will tell you where it's going
| | 06:07 | and it will tooltip, says this one is going to www.lynda.com.
| | 06:10 | It will hover over this one and it says this one is going to 63P.
| | 06:14 | Now the great thing about named hyperlink destinations
is that you can use them over and over again,
| | 06:19 | right so we can simply choose some text here I
have created a new one and say great we are going
| | 06:24 | to use the www.lynda.com style again we don't have to
type the URL over and over again, click OK and so on.
| | 06:30 | The other great thing about Named Destinations is that it's
very easy to change it later if we needed to change those later
| | 06:36 | on because simply go to their Hyperlinks Flyout
menu and choose Hyperlink Destination Options
| | 06:43 | and this that says Edit our named destinations.
| | 06:46 | So I will say I am going to edit the one called www.lynda.com
and I am going to say I want www.lynda.com well I am just,
| | 06:52 | let's change it completely to let's say
www.google.com and I will change the name to whatever.
| | 06:57 | You can change the name to anything
you want as long as the URL is setup.
| | 07:01 | And I will click OK and now all of these links are not going
to www.lynda.com anymore they are going to www.google.com
| | 07:07 | and we can see that by hovering on top of them.
| | 07:09 | So I showed you how to edit a named destination,
| | 07:12 | what about editing one of these destinations
up here, the unnamed destination.
| | 07:16 | Well that's as easy as double clicking.
| | 07:18 | Just double click on the hyperlink up here.
| | 07:20 | In this case I place my text cursor in the link so it
would highlight so I know which one is connected to which,
| | 07:26 | double click on that, it opens up the Hyperlink Options dialog
box and then I can change it to whatever I want to in here.
| | 07:32 | In this case I will leave it set to as it is, click Cancel
and let's look at one other kind of hyperlink we can create.
| | 07:39 | So I am going to zoom back to fit in Window with
Command+0 or Ctrl+0 on Windows then I am just going
| | 07:45 | to make a big giant empty frame here, because I want to show
you that you can assign hyperlinks to objects as well as text.
| | 07:53 | So I have made a big frame here, OK so now while that is
selected I am going to come over here to the Hyperlinks Panel
| | 07:59 | and I am going to click on New Hyperlink and I will call this
one Go To Page 1 because I want this whole area no matter
| | 08:07 | where they click inside this area and I
want Acrobat to take them back to page 1.
| | 08:11 | So it is going to be inside this document, yes we will
leave that alone, the type is not going to be URL,
| | 08:17 | it's going to be a Page Hyperlink and we are going to say
we want this one to be an unnamed page link to page 1.
| | 08:24 | So click on here, it's going to take us to page 1.
| | 08:28 | We also have an option for the zoom setting in other words
what zoom setting should people be at, when they get to page 1?
| | 08:34 | And in general I like going back to
fit in Window but you can choose any
| | 08:38 | of these different options you know the
Fit-width in the Window or whatever.
| | 08:41 | I am going to set this to fit in Window and I will click OK.
| | 08:45 | Now I will copy this whole frame and I am going
to go back to page 1 by pressing Shift+PageUp
| | 08:52 | on Mac or Windows and I will paste this in place.
| | 08:55 | And when you Copy and Paste something that has a
hyperlink on it, the hyperlink gets copied as well.
| | 09:00 | And you can see that copied here into Hyperlinks
Panel but I want this one not to go back to page 1.
| | 09:06 | We are already on page 1, I want this one to go to page 2.
| | 09:09 | So I will double click on it and I will change its name up
here so it shows up differently in the Hyperlinks Panel.
| | 09:15 | And I will say this one is going to
go to page 2 and fit in the Window.
| | 09:19 | There we go, we are done, click OK.
| | 09:21 | Now we have got hyperlinks for navigation
as well as hyperlinks to various URLs.
| | 09:26 | You know earlier I told you that hyperlinks only
work in that final PDF and it wasn't entirely true,
| | 09:33 | you actually can use the Hyperlinks Panel
to navigate this within the document itself.
| | 09:38 | And the way you do that is with these arrows
at the bottom of the Hyperlinks Panel.
| | 09:42 | The one on the left means choosing object
which is tagged with this hyperlink.
| | 09:46 | So for example, if I click on Go To Page 1 and click on this
left arrow, it says oh I am going to go grab that object.
| | 09:54 | Here is the object on page 2 because that
was tagged with this particular hyperlink.
| | 09:59 | I can also say activate this hyperlink, do this thing, go
to page 1 and I do that by clicking on the right arrow.
| | 10:07 | The right arrow means go do this hyperlink, go to the
destination, click on this and it will actually take me
| | 10:12 | to page 1 because that hyperlink was Go To Page 1.
| | 10:16 | Of course I should point out that I can remove a hyperlink
simply by selecting it and clicking on the Trashcan
| | 10:23 | in the lower right corner that will remove
the hyperlink from the document entirely.
| | 10:27 | It won't necessarily remove a named destination.
| | 10:30 | A named destination will still be hiding
in the background ready to be used later.
| | 10:34 | It will simply remove it from the page itself.
| | 10:37 | For example, if I selected this and why don't we go find that
text, I will click on the left button and it highlights here
| | 10:43 | on the page, now I can remove that, it will say do you
really want to do it, yeah let's go ahead and do that.
| | 10:48 | And I will zoom into Command+2, 200%, Command+2
on the Mac or Ctrl+2 on Windows and we can see
| | 10:54 | that actually removed that entire hyperlink from that text.
| | 10:58 | Let me scroll down using Options+Spacebar
or Alt+Spacebar on the Windows.
| | 11:04 | And we can see that there is a URL down here,
somebody has already typed the URL here.
| | 11:08 | And I can grab that and turn this into
a hyperlink automatically by going
| | 11:14 | to the Hyperlinks Panel and choosing new hyperlink from URL.
| | 11:19 | And when I do that it automatically
shows up here in the Hyperlinks Panel.
| | 11:23 | It has actually done two things.
| | 11:25 | It first made a hyperlink destination to this URL
and then it added that hyperlink to the page itself.
| | 11:32 | Unfortunately when it did that it only did it
to www it didn't add the http at the beginning.
| | 11:39 | So I am going to have to go in here and manually go to Hyperlink
Destination options, choose that destination that it created,
| | 11:47 | edit it, coming here and say the URL is
supposed to be http:// and so on and so on.
| | 11:54 | And then click OK and now it will update properly.
| | 11:57 | The other problem is that it's going to be hard to see this but I
will deselect it and you can see that there is a black rectangle
| | 12:02 | around it that black rectangle is going to show up
in the PDF as well because it automatically assigned
| | 12:08 | that visible rectangle which I find really annoying.
| | 12:11 | So I am going to double click down in the hyperlinks and
set this to invisible rectangle or else we are going to see
| | 12:16 | that really annoying black rectangle around it, click OK.
| | 12:19 | So in general this new hyperlink from URL, it
seems nice and simple and great but the truth
| | 12:25 | of the matter is it just adds more work for
you because you have to clean up a lot of it.
| | 12:29 | So no, I don't use that very often, I would rather
just make a bunch of unnamed hyperlinks whenever I can.
| | 12:34 | OK we are basically done with added a bunch of
links, let's go test it out in the PDF itself.
| | 12:39 | So I will go the File menu and choose Export, I
will type in the name of the PDF and click Save
| | 12:46 | and in the Export Adobe PDF dialog box we
can setup any kind of settings we want here.
| | 12:51 | I will just set this to Smallest File Size but you have to
remember that hyperlinks only work with Acrobat 5 or later.
| | 12:59 | So it won't work if you have Acrobat 4 file.
| | 13:01 | Now I am going to set this to Acrobat
6 because most people have that.
| | 13:05 | And we will say Hyperlinks, we want our
Hyperlinks so we have to turn on this checkbox.
| | 13:10 | If you don't turn that checkbox on
you will not get your hyperlinks.
| | 13:14 | And this is the number one problem people have you
know they follow this entire movie, they add hyperlinks
| | 13:19 | and then they forget to turn on that checkbox.
| | 13:22 | And they say where is our hyperlinks, there looks like a
hyperlink on the page but nothing happens when I click on it.
| | 13:27 | You must turn that checkbox on.
| | 13:28 | OK let's click Export it will export both pages of this,
| | 13:32 | I will just click past that because it was exporting
an RGB instead of CMYK so it was warning me about that.
| | 13:38 | And here we are, here is our PDF.
| | 13:40 | Let me zoom back to fit the entire page in the window here.
| | 13:44 | And as I am moving my cursor on the page it
doesn't look like there is anything special
| | 13:48 | but I know that this whole left side is a navigation unit.
| | 13:52 | So if I click on that area you will see the cursor changes,
I click there it takes me to page 2, that's pretty cool.
| | 13:58 | This whole left area over here will take me back to page 1.
| | 14:02 | So I now have a navigation built in.
| | 14:04 | Now of course in your documents you wouldn't have it,
be at hold just empty blank area but I wanted to point
| | 14:09 | out that you can create any object on your page that you
can create, you can turn into a hyperlink, so there we go.
| | 14:15 | We have got navigation left and right, if I hover over here
the cursor changes and I can see that that's going to take us
| | 14:21 | to that URL that we have created, let's go ahead and press that
Command+2 or Ctrl+2 on Windows to fit the width in the Window.
| | 14:28 | And we can see our URLs here work just as well that one is
going to take us to 63, that one is going to take us to Google.
| | 14:33 | If there is any chance your documents will be right on screen
you overt to yourself and your readers to create hyperlinnks
| | 14:40 | that help them navigate the document or jump to other resources.
| | 14:43 | In the next movie we will look at a second
form of navigation and PDF files, Bookmarks.
| | Collapse this transcript |
| Bookmarks| 00:00 | Any PDF document that's meant to be read on screen
if it's longer than a few pages needs bookmarks
| | 00:06 | and bookmarks let your reader jump directly to the
section of the document that they want to read.
| | 00:11 | We don't have any bookmarks in this InDesign
document so let's go ahead and add them.
| | 00:14 | To do that we will go to the Window menu, go down
to the Interactive sub-menu and choose Bookmarks.
| | 00:19 | We can see that the Bookmarks Panel is
currently empty so there are no bookmarks
| | 00:23 | and there is two ways to make bookmarks in InDesign.
| | 00:26 | The first easiest way is to simply go to the page that you
want to, I will place a bookmark on in this case the first page
| | 00:33 | of the document and then click on the Bookmark button.
| | 00:36 | This adds a bookmark but it's not very interesting because it
just says Bookmark1 but it doesn't let us name it or anything
| | 00:42 | so I am going to undo that with Command+Z or Crtl+Z on Windows
and instead I am going to hold on the Option Key or the Alt Key
| | 00:49 | when I click on the button and that makes the
bookmark and immediately lets us rename it
| | 00:53 | so I will call this let's say Cover Page there we go.
| | 00:57 | We have the bookmark.
| | 00:58 | I will click anywhere else to activate that and
so now it's a real bookmark you know document.
| | 01:03 | The second way to make a bookmark uses table of contents and
we talked about making a table of contents in the last chapter.
| | 01:09 | Let me do that quickly here and I will
show you how to make bookmarks out of them.
| | 01:13 | Go to the Layout menu, choose Table of Contents and I
will quickly make a table or contents here based on all
| | 01:19 | of the article heads in this magazine and I know that those
are set to Article Title so I will double click on that.
| | 01:27 | There is another one called Article Head 2.
| | 01:29 | I will add that one.
| | 01:31 | The article headings are kind of interchangeable here.
| | 01:33 | Some of them are article titles, some of them are Article Head 2.
| | 01:36 | We haven't really been consistent here in what we have
called these article titles and so I want both of these
| | 01:41 | to be pretty much equivalent in our bookmarks.
| | 01:44 | The thing is that this one, the first one currently is
set to Level 1 and this one is currently set to Level 2.
| | 01:50 | And that means all of these Article Head 2 are going to
be indented slightly in our bookmarks and that's annoying.
| | 01:56 | I actually want them all to be on the
same level to be treated the same.
| | 02:00 | So I am going to set this one back to Level 1 and that's kind
of saying this or this whichever one you encounter first,
| | 02:07 | just go through the list so I like setting these both to Level 1.
| | 02:11 | Now here is the important checkbox, the great
PDF bookmarks checkbox as long as that's turned
| | 02:16 | on we will get bookmarks in our Bookmarks Panel.
| | 02:18 | I will go ahead and click OK and it's going
to warn us that there is some over set text.
| | 02:23 | That's OK we don't worry about that right now and we can
see that they all show up here in the Bookmarks Panel
| | 02:28 | but we also load our table of contents into the place cursor.
| | 02:32 | If I hit Escape then the contents will not be placed in here
and all my bookmarks will go away so the rule is you have
| | 02:41 | to place your contents somewhere on your page.
| | 02:44 | You actually don't even have to have it on the page it just
has to be somewhere in your document and I am just going to put
| | 02:49 | out here on the Paste Board because I don't want to see the
table of contents in this document I just want it to be active
| | 02:56 | in the document somewhere because I
want my bookmarks to show up here.
| | 03:00 | I wish there were ways to delete this and still
get my bookmarks but there isn't right now.
| | 03:04 | So here is all the bookmarks in order of
the articles so we got the cover page.
| | 03:08 | We added that one ourselves and here are our different articles.
| | 03:11 | Now some of these they don't look right because it
just grabbed exactly the way it looked on the page,
| | 03:17 | fancy french roast in all lower case, I would like to
rename that so I am going to go to the Flyout menu here
| | 03:22 | and choose Rename Bookmark and then that gives me an opportunity
to change this so I will just change this to capital letters,
| | 03:31 | takes a little bit of time but you get the idea.
| | 03:32 | I can do the same thing here with leaves of
destiny, leaves and of course I have to be able
| | 03:39 | to type it properly Leaves Of Destiny there we go.
| | 03:43 | Click OK great and I could go through
an update renaming all of these.
| | 03:47 | By the way I can also reorder these for example I can
grab this one and move it to the top after Cover Page.
| | 03:54 | You can order them anyway you want.
| | 03:55 | They still are bookmarks to the original place in
the document but they are just ordered differently
| | 04:01 | and they will show up differently in Acrobat as well.
| | 04:03 | Now the cool thing is that these bookmarks work in your
InDesign documents too even before you export them as PDF
| | 04:09 | and that means they are great for navigating
your files especially really long ones.
| | 04:14 | For example, if I wanted to go to Fancy French
Roast this article here I would simply double click
| | 04:18 | on it and that takes me directly to that page.
| | 04:21 | OK now it's time to export this file.
| | 04:23 | Let's go ahead and see what it looks like in Acrobat.
| | 04:25 | Let's say File Export and I will choose the name.
| | 04:29 | I will just leave that set to that PDF click
Save and here is the key, the Bookmarks Checkbox.
| | 04:35 | You have to have the Bookmarks Checkbox turned on in order to get
your bookmarks out into your PDF so I will leave that set to On.
| | 04:43 | I will leave this set to the way it is and I will view
my PDF after exporting so I can see it immediately.
| | 04:49 | Click Export.
| | 04:51 | It warns me again.
| | 04:51 | There is over set.
| | 04:52 | I am not going to worry about that right now.
| | 04:54 | I will Click OK.
| | 05:01 | Now here is the PDF in Acrobat.
| | 05:03 | I will zoom back here so we can actually see the
whole page and now where do we find the bookmarks.
| | 05:08 | They live in here.
| | 05:09 | They live in the bookmarks tab inside Acrobat.
| | 05:12 | Different versions of Acrobat actually show the bookmarks
in slightly different places but you will get the idea.
| | 05:17 | The bookmarks actually show us all the bookmarks we made,
the Cover Page, the Herbal Chai which actually takes us
| | 05:23 | to the last page of the document if I click on it actually takes
us to page 9 but it's placed up here second because we dragged it
| | 05:29 | up and there is Fancy French Roast and so on.
| | 05:32 | By the way here in Acrobat we can actually tell this
document to always open with the bookmark showing
| | 05:38 | by going to the File menu and choosing Properties.
| | 05:41 | I will click on initial view and then in a Navigation
tab set this to Bookmarks Panel and the Page so now
| | 05:50 | when we open this document it will
automatically show us the Bookmarks Panel.
| | 05:54 | Then I will save this document with a Command+S
or Ctrl+S on Windows and we are good to go.
| | Collapse this transcript |
| Buttons| 00:00 | If I asked you what kind of frames InDesign had, you
would probably answer text frames and graphic frames,
| | 00:06 | maybe unassigned frames that don't have anything in them.
| | 00:09 | But InDesign has another kind of frame too that most folks
don't know about, Button frames, usually just called Buttons.
| | 00:16 | Buttons are only useful when you are making interactive PDF files
but they can do all kinds of things like jump to another page,
| | 00:23 | play a movie or even hide or show other objects on the page.
| | 00:26 | The fastest way to make a button in
InDesign is to use the Button tool.
| | 00:30 | Over here, underneath the other frame tools, is the
Button frame tool, and most people don't even see it there
| | 00:36 | because they are not used to doing interactive PDF files.
| | 00:39 | But I can make a button simply by selecting
that tool and dragging out an area.
| | 00:44 | Here we go, there is our button.
| | 00:45 | Now, buttons are frames just like text frames or graphic
frames, so I could place a picture or text in there
| | 00:51 | by choosing place from the File menu if I want to.
| | 00:53 | Or I could simply put some text in here using the type tool.
| | 00:57 | I will zoom into 200% with Command
2 on the Mac or Ctrl+2 on Windows,
| | 01:01 | and I will just click inside that
frame and then say this is button.
| | 01:07 | Here we go.
| | 01:07 | We have got some text inside of our button.
| | 01:10 | Here is another way to make a button.
| | 01:12 | I will use my selection tool to select this text frame
over here, and then I am going to go to the object menu,
| | 01:18 | scroll down to the interactive submenu
and choose Convert to Button.
| | 01:23 | Now, it's a button.
| | 01:23 | It looks the same but it actually works as a button now.
| | 01:27 | If we didn't want it to be a button
anymore, it's easy to turn it back.
| | 01:30 | We can just go to the object menu, choose
interactive and choose Convert from Button.
| | 01:35 | That turns it back.
| | 01:35 | But in this case, we really do want it to be a
button, so I am going to leave it set to that.
| | 01:39 | Buttons act like normal objects.
| | 01:41 | They print just like anything else on your
page but you can also apply behaviors to them.
| | 01:45 | So to do that, we need the Button Options dialog box.
| | 01:49 | I will go ahead and select this button,
the first one we made with a Button tool.
| | 01:52 | I will go to the object menu, go down to the
interactive submenu and choose Button Options.
| | 01:58 | The Button Options dialog box gives
us the option to change the name.
| | 02:02 | I will just leave it set to Button 1.
| | 02:04 | You can type in a description if you forget
what it is or what it's supposed to be doing,
| | 02:07 | and you can also set its visibility in the PDF.
| | 02:09 | You have four options here; visible in the PDF or hidden, do
you want it to start off hidden, do you want it to be visible
| | 02:17 | but not print, now a lot of buttons you don't really want them
to print out from the PDF, you just want them visible there,
| | 02:22 | or do you want them hidden but they print, and this is
an interesting one because sometimes you want information
| | 02:27 | that doesn't appear on the page when they
look at it in Acrobat but it does print.
| | 02:32 | So you have a lot of options here to play around with.
| | 02:34 | Let's go over to the Behaviors tab, and here is where
you start adding different behaviors to your objects.
| | 02:39 | The first thing you need to do is choose an event.
| | 02:42 | What event do you want to apply a behavior to?
| | 02:44 | Mouse up means when you click down with the mouse and then let
go, when you let go with the mouse button, that's mouse up.
| | 02:51 | You can also choose mouse down so when the mouse button
gets clicked down or for rollovers which we will talk
| | 02:57 | about in just a moment, mouse enter or mouse exit
when you roll over something or roll off of it.
| | 03:01 | And focusing blur in Acrobat, you can tab to an object.
| | 03:06 | Any of these buttons you hit the tab key to go over to it.
| | 03:08 | And focus means you tab on to it, blur means you tab off of it.
| | 03:13 | So that's just a little terminology
there, that's what those events are about.
| | 03:16 | But we are going to leave this set to mouse up for
right now and we are going to choose a behavior.
| | 03:21 | And you have a lot of different behaviors here.
| | 03:23 | For example, you can do something with movies or
sounds, and we will be talking about those later
| | 03:28 | in this chapter, and you can change the view zoom.
| | 03:31 | Let's change something else here.
| | 03:32 | Let's say Go to Next Page.
| | 03:34 | So it will just grab the next page and show
it to us, and you can choose the zoom here.
| | 03:39 | Don't forget to click Add.
| | 03:41 | Click the Add button and now this is part of our behavior.
| | 03:44 | I will click OK, and now we have a
behavior assigned to that button.
| | 03:48 | Now, I need to tell you something about how InDesign handles
text frames in buttons, so that is text inside of a button.
| | 03:55 | It actually makes a text frame inside a button frame, and we
can see that easily by selecting this with the Selection tool
| | 04:02 | and going up to the Select Content button in the Control Panel.
| | 04:06 | When if I click on that once, you will see that now
the text frame is selected inside the button object.
| | 04:12 | And if I press the arrow keys on my keyboard, you can
see I can actually pull this right out of the text frame.
| | 04:18 | It's still there.
| | 04:19 | I am just clicking on the arrow keys but
it's moving around inside that button object.
| | 04:24 | It's nested in here.
| | 04:25 | So I am just going to use the arrow keys to
position this where I want it on the page.
| | 04:29 | Let's talk about rollovers for a moment.
| | 04:31 | I want this text over here, this headline, to look
different when I roll the cursor on top of it.
| | 04:37 | So I need to change not its behaviors but its state,
and you can do that by going to the Window menu,
| | 04:43 | going down to the interactive submenu and choosing States.
| | 04:46 | There is actually two different ways
of doing rollovers in InDesign,
| | 04:49 | and I am going to show you both of
them; first, with the States panel.
| | 04:53 | Let's just see the button name here and I am going to change
that to Dragonwell heading just so I know what that is.
| | 05:00 | I better type that properly.
| | 05:01 | Here we go, Dragonwell heading.
| | 05:03 | And we can see that this currently
only has one state, the Up state.
| | 05:07 | That's the regular resting state of this
object when I am not doing anything to it.
| | 05:11 | But if I click on the New State button,
we now get a state called Rollover.
| | 05:16 | Now, this is really wacky what this does.
| | 05:19 | Let me scroll this down so we can see this whole text here.
| | 05:21 | We can see that this now has an Up state and a Rollover state.
| | 05:25 | And the Rollover state can look completely
different from the Up state.
| | 05:28 | And I am going to use the Effects
panel to show you how you can do that.
| | 05:31 | First, I am going to select the text frame inside that button.
| | 05:35 | So I will choose Select Content like we saw just a moment ago.
| | 05:38 | Now, we have got the text frame inside that button.
| | 05:41 | I will go to the Effects panel and I am
going to change the effect of this rollover.
| | 05:45 | I double-clicked on the Effects icon
here to open the Effects dialog box
| | 05:49 | and I am going to say "I want this to have an Outer Glow."
| | 05:52 | I will just make some really big wacky Outer Glow.
| | 05:54 | Let's say preview is on.
| | 05:56 | Let's increase the spread here so we
can really see that more dramatically.
| | 06:00 | I make that bigger.
| | 06:01 | Here we go.
| | 06:01 | We have got a glow that's going to show up
but only when we have rolled over the object.
| | 06:08 | So I will click OK and we can see that
back in the States panel, it's blank.
| | 06:12 | Why is it blank, because we don't have the button
selected, we only have the text frame selected.
| | 06:16 | So I need to click on here as well or I could
come up here and click on Select Container
| | 06:21 | because the container of this text frame is the button.
| | 06:24 | And as soon as I do that, we now see that the button
itself has to two states, an Up state and a Rollover state.
| | 06:30 | Right now, rollover is selected, so that's what we are seeing.
| | 06:33 | But if I click on up, we can see that that effect goes away.
| | 06:36 | So we have two different states, up and rollover.
| | 06:39 | It's as simple as that to make a rollover.
| | 06:41 | I will close the Effects panel here and I am going
to show you a different way of doing a rollover.
| | 06:47 | In this case, I want my rollover to be when I
rollover this text, I want this image to appear
| | 06:52 | and when I am not rolled over it, I want that image to be hidden.
| | 06:55 | So I am going to select both of those, go to
the object menu and choose Convert to Button.
| | 07:00 | So now I have got two different buttons because
you can only hide or show another button.
| | 07:05 | So I had to turn this into a button even though
I am not going be assigning any behaviors to it.
| | 07:08 | Now, I will select just this object.
| | 07:11 | I will do a Command Shift+A to deselect
everything or Ctrl+Shift+A on Windows,
| | 07:14 | and I am going to go to Button Options for this text frame.
| | 07:18 | Now, I could open the Button Options dialog box by going down
to the object menu, going down to interactive submenu and so on.
| | 07:23 | But it turns out that I can get there
faster by option double-clicking on the Mac
| | 07:27 | or Alt+double-clicking on Windows on a text frame.
| | 07:30 | Or if it's an image frame, I can simply double-click on it.
| | 07:34 | Just double-click on this and it opens it right up.
| | 07:36 | In fact, I will do that right now.
| | 07:38 | I just double-clicked on this image,
it brings me up to Button Options.
| | 07:41 | And why don't' I give this a name, I'll call this Teapot.
| | 07:44 | And I am going to make the visibility in this PDF hidden so
when I first open this PDF file, that image will be hidden.
| | 07:53 | I will OK.
| | 07:54 | Now, as I said I am going to Option double-click
on this text frame or Alt+double-click on Windows,
| | 07:59 | and I will just call it Text 1, you
can call it anything you want.
| | 08:01 | And I am going to change it to behavior so that on mouse
enter, in other words, when the mouse enters the object,
| | 08:09 | do something, the behavior will be show or hide fields.
| | 08:13 | Fields is another bit of Acrobat terminology.
| | 08:16 | A button is technically a field but you just have to
know that button field is kind of interchangeable.
| | 08:22 | So Show/Hide fields, which ones do we want visible?
| | 08:26 | We want the Teapot to be visible.
| | 08:28 | So I am going to click in this little checkbox here and we
see a little i. That little i icon means make it visible.
| | 08:34 | Then I will click Add and we can see that
on mouse enter, we are going to show that.
| | 08:39 | Now, on mouse exit, we want to hide it.
| | 08:42 | So I will click twice on it, one to show and twice
to show, we can see a little red line through that,
| | 08:48 | that means hide it again and I will click Add.
| | 08:51 | So now, I have created a rollover for this
object which will hide or show this image.
| | 08:56 | Click OK and we are good to go.
| | 08:58 | There is no special states for this one so I might as well
put that panel away so we don't need to look at it anymore.
| | 09:04 | And that's it, we have got an interactive document to work with.
| | 09:07 | Let me zoom back here with a Command
0 or Ctrl+0 on Windows and look at it.
| | 09:11 | It looks pretty good.
| | 09:12 | Let's make our PDF.
| | 09:13 | We will go to the File menu, choose Export.
| | 09:17 | We are going to make it a PDF file and click Save.
| | 09:20 | In earlier movies, I pointed out how you
have turn on bookmarks to get the bookmarks
| | 09:24 | or the hyperlinks checkbox to get the hyperlinks.
| | 09:27 | For buttons, you must turn on interactive elements.
| | 09:30 | Buttons are interactive elements.
| | 09:32 | So you have to have this one turned
on in order to get your buttons.
| | 09:35 | I will click Export and InDesign
exports our PDF and opens it in Acrobat.
| | 09:41 | We can see the button here.
| | 09:42 | If I hover over it, the cursor changes to a little hand sign.
| | 09:45 | Go off of it and we get the regular sign.
| | 09:47 | So this actually is a functioning button.
| | 09:50 | Also, when we roll over the headline,
you can see it's a functioning rollover,
| | 09:55 | it just gives us exactly the effect
that we assigned to that rollover.
| | 09:58 | This one doesn't do anything, though if I click on it,
it highlights but there is no behavior applied to it.
| | 10:03 | And now, let's look at our second rollover.
| | 10:05 | Hover over the text down here and the image appears,
go out of the text and that image disappears.
| | 10:12 | So you have two different kinds of rollovers,
one using states and one using behaviors.
| | 10:18 | And then finally, let's see if this button works.
| | 10:20 | I am going to click on that and yes, in fact, it takes us to Page
2, the next page, which is exactly the behavior we told it to do.
| | 10:27 | Obviously, any part of your document can become
a button, from text to graphics, even lines.
| | 10:33 | Once you are in Acrobat, you can do even
more things with buttons than in InDesign.
| | 10:37 | If you want more information on that, check out
the Acrobat Professional Beyond the Basics title
| | 10:42 | into Lynda.com Online Training Library.
| | Collapse this transcript |
| Movies| 00:00 | Movies in InDesign why would you want
to put a movie on an InDesign page?
| | 00:05 | Well once you get your head around the idea that
you can create a whole multimedia experience inside
| | 00:10 | of InDesign movies and animations are just a natural extension.
| | 00:14 | Now like buttons movies don't do anything inside of InDesign
but they can come to life when you export a PDF file.
| | 00:21 | InDesign treats movies just like graphics.
| | 00:23 | So to put one on my page I go to the File menu and choose Place.
| | 00:27 | I will select my movie out of my
links folder from the exercises files.
| | 00:31 | I am going to choose this one the tea pouring web.mov.
| | 00:34 | It's a QuickTime movie and when I
click Open it loads my place cursor.
| | 00:39 | I will click out here in the margin and it places it on my page.
| | 00:43 | It doesn't look like much, it looks like a
big black box but it is a movie, trust me.
| | 00:47 | Why don't I position this on my page?
| | 00:49 | I think I will replace this teapot so I will just delete that
and move this into place and then I will scale this by holding
| | 00:56 | on Command Shift or Ctrl Shift on Windows and scaling it
by dragging a corner maybe make it little bit bigger here.
| | 01:04 | Now it looks pretty good.
| | 01:05 | I will zoom in to 200% by pressing Command 2 or Ctrl
2 on Windows and still it just looks like a black box.
| | 01:12 | I will put a black border around it by pressing the
D key that just puts a 1 point black border around it
| | 01:17 | and why don't we give it a Drop Shadow 2 command
option and on the Mac or Ctrl Alt M on Windows,
| | 01:23 | let's make this a little bit smaller via 4 point drop shadow
and you can see that we have a drop shadow behind our movie.
| | 01:29 | Now there are a couple of things I need to tell you
about putting movies in your InDesign documents.
| | 01:33 | First of all, QuickTime movies work best.
| | 01:36 | Technically you can import a flash file a SWF file into InDesign
but there are some inconsistencies and problems when you do that,
| | 01:45 | Acrobats in QuickTime are not getting along these days.
| | 01:48 | It's a moving target, maybe in the future it will work better.
| | 01:51 | QuickTime is an important element here.
| | 01:53 | Acrobat itself cannot play the movies so it relies on
QuickTime both on Macintosh and Windows to play those movies.
| | 02:01 | That's an important thing to keep in mind.
| | 02:03 | Here is another limitation.
| | 02:04 | I scaled this picture down, this movie down and
that's OK but you don't want to crop it down.
| | 02:09 | You don't want to do any kind of cropping or
clipping that will remove part of the picture,
| | 02:13 | Acrobat kind of freaks out when you try and do that.
| | 02:16 | One more thing that you should keep in mind don't put anything on
top of your picture, don't put any text on top of it or something
| | 02:22 | like that because when you play the movie it
immediately comes to the front obliterating everything
| | 02:27 | that is behind it or would have been in front of it.
| | 02:30 | So that's just one more thing that you should keep in mind.
| | 02:33 | Now we have a movie on our page but we need to give it
some behaviors, we need to tell InDesign when to play it.
| | 02:38 | So I will double click on it to open
the movie options dialog box.
| | 02:42 | I could have gone to the Object menu then down to interactive
| | 02:45 | and then show movie options but double
clicking is a little bit faster.
| | 02:49 | We have the name of it here.
| | 02:51 | This is the filename but you can
change this to anything you want.
| | 02:54 | You can type a description in here if you want and
you can choose any movie file that you want here.
| | 02:59 | I am going to embed this picture, this movie in the PDF.
| | 03:02 | If you don't embed it, it will just sort of flop off on the side
as an extension of the PDF and that's not very useful at all
| | 03:09 | in my book so I want to embed that movie in the PDF.
| | 03:11 | I am going to skip past the URL thing
here for a minute down to movie options.
| | 03:16 | The poster is what the viewer, your audience,
the person who is looking at this PDF
| | 03:22 | in Acrobat will see when the movie is not playing.
| | 03:26 | That's what a poster is.
| | 03:27 | And the default poster is basically
just the first frame of the movie
| | 03:30 | in this case it's a black frame so it's not very interesting.
| | 03:33 | None would make the movie invisible.
| | 03:35 | That also would not be particularly interesting.
| | 03:37 | Standard is well it's this crazy looking graphic that Adobe seems
| | 03:42 | to think means movie just kind of a
film strip I don't like that either.
| | 03:46 | Now Choose Image as Poster is an interesting one.
| | 03:49 | You can actually choose any image of your hard drive as the
poster and if you choose a high res image like a TIFF file
| | 03:56 | or a PSD file as your movie poster well when the
person prints the PDF they will get that high res data
| | 04:03 | and when they see it on screen they will get the movie.
| | 04:06 | Isn't that cool?
| | 04:07 | It's very helpful.
| | 04:07 | You kind of get it both ways both high-res and movie.
| | 04:10 | But in this case I am going to say choose a movie
frame as the poster and this lets me actually scroll
| | 04:15 | through with our littler controller here, you can actually
see I am actually scrolling through the whole movie
| | 04:20 | to pick what I want the picture to be and I am
going to stop here right on that www.lynda.com cup.
| | 04:26 | I will click OK and we can see that
is now going to be our movie poster.
| | 04:29 | I want this movie to start playing
as soon as Acrobat displays the page.
| | 04:34 | So I will turn on Play on Page Turn but I don't need a controller
that's a little thing at the bottom that says stop, pause,
| | 04:41 | play and so on and I am not going
to want this to float right now.
| | 04:45 | I will see what that is in just a moment.
| | 04:47 | Great, I am going to click OK and let's bring in another movie.
| | 04:50 | See there is our poster.
| | 04:51 | In this case let me zoom back to 100% by
pressing Command 1 or Ctrl 1 on Windows.
| | 04:56 | I am just going to drag out a regular frame it doesn't really
matter where I do it or what kind of frame it is as long
| | 05:01 | as its empty and I will go back to movie
options on to the interactive sub-menu
| | 05:06 | and I am going to create a new movie from scratch here.
| | 05:10 | Well I am not really creating a movie, I am choosing a
movie and I am going to call this the Jellybricks movie,
| | 05:16 | you will see why in just a moment,
could type a description if you want to.
| | 05:19 | In this case I am not choosing a movie I have, I am going to
specify a movie that's on the web and I can't remember the URL
| | 05:28 | for this particularly but the good news is I have it in my web
browser so let me go over to Safari right now and we can see
| | 05:36 | that here is our movie and here is the URL of this movie.
| | 05:39 | It's the Jellybricks Movie seems to
be some sort of garage rock band.
| | 05:44 | Why don't I select this whole URL and copy it to the
clipboard then go back to InDesign and I am going to paste it
| | 05:52 | into this field Command V or Ctrl V on Windows.
| | 05:55 | There we go.
| | 05:55 | There is the URL for that movie.
| | 05:58 | Now I am going to click the verify URL and movie size
button and that tells InDesign to go across the web
| | 06:04 | and make sure it's a real movie, yes it
really is a movie and grab the movie size
| | 06:09 | so it knows how big the movie is and then I can setup my options.
| | 06:14 | Poster let's say I choose a movie frame from this as a poster.
| | 06:18 | Let's grab some random frame there, click OK.
| | 06:22 | I want this to Play on Page Turn, no that's not Play on Page
Turn the other one is playing on Page Turn let's put this
| | 06:28 | in a floating Window then and also turn on the controller.
| | 06:31 | That's a good idea.
| | 06:32 | So this is going to float in its own little Window in
the upper left corner and I will click OK and we are good
| | 06:38 | to go except that that doesn't look right at all.
| | 06:42 | There is our frame but there is two problems one is it just
looks ugly on the page and two it's cropping down the movie.
| | 06:49 | You remember earlier I said you should not crop
down the movies so I will go to the Object menu,
| | 06:55 | choose Fitting and then choose Fit Frame to Content.
| | 06:59 | There we go.
| | 06:59 | Now it's not going to crop at all.
| | 07:02 | So I will scale this way down.
| | 07:03 | Doesn't matter that it's tiny on my page because
remember the movie will actually be playing
| | 07:07 | in a separate floating window as we will see in a minute.
| | 07:10 | I could create a button for this movie to play
if I want to but in this case I am just going
| | 07:14 | to let it play directly by clicking on it in Acrobat.
| | 07:17 | I will show you what I mean.
| | 07:19 | I will go to the File menu, choose
export and save this as a PDF file.
| | 07:25 | All of the interactive elements in InDesign like movies and
sounds and so on work best with Acrobat 6 or later so I am going
| | 07:33 | to leave that set to Acrobat 6 and I am
going to turn on interactive elements.
| | 07:38 | Movies count as an interactive element so I have
to have this checkbox on or I won't get my movies.
| | 07:43 | You can also choose whether you want all of
your movies to be embedded or linked externally
| | 07:48 | or just to use whatever the setting
was in that movie options dialog box.
| | 07:51 | I am going to leave this set to Embed
All just in case I forgot to embed it.
| | 07:55 | I am pretty sure I told it to embed but I am not sure
so I am going to embed all of the movies in here.
| | 08:00 | Click Export and InDesign makes the PDF and
it will view it in Acrobat after exporting.
| | 08:07 | When it opens up in Acrobat we see that
it gives us this alert saying warning,
| | 08:12 | warning there is multimedia here what do you want to do.
| | 08:15 | This is part of Acrobat security settings and it's trying
to save you from malicious movies or something I don't know.
| | 08:22 | I find it really frustrating and annoying but you have to go in
here and click Play in order to play the movie and you will see
| | 08:29 | that as soon as I click play it will start
playing the movie on the page (Music).
| | 08:33 | So there you go, we have added a movie to our InDesign document.
| | 08:53 | Now here is the other one.
| | 08:55 | This is the one that was going to be streaming over the web
just a little tiny poster here right now but as soon as I click
| | 09:04 | on that it will open a new window and
it starts streaming it over the web.
| | 09:09 | Well first we have to have another security
warning because are you sure you want to go
| | 09:14 | over the web, yes I am sure I want to go over the web.
| | 09:16 | Alright here we go the Jellybricks (Music).
| | 09:40 | I don't know why we have a movie of a rock band playing in
a garage or basement or something in our Dragon tea brochure
| | 09:49 | but isn't it great that we do, it's very compelling.
| | 09:52 | Maybe they are singing a song about tea our
favorite tea, tea, tea, tea we love tea.
| | 09:58 | Whatever the case the important thing here is this music video I
don't even know how big it is might be 10 megabytes or something
| | 10:05 | but it is not making our PDF big because it's streaming over the
web so our file size stays small and that's really, really cool.
| | 10:13 | Building movies into your PDF files can turn a plain old
boring brochure into something really compelling and exciting.
| | 10:20 | So in the next movie we will take this one step
further and look at how to import sound files as well.
| | Collapse this transcript |
| Sounds| 00:00 | In the previous movie we looked at how to import movies
into your InDesign document bow let's look at sound files.
| | 00:07 | But before you get too excited about making a whole
music jukebox inside of InDesign you need to know
| | 00:12 | that InDesign is somewhat limited
in the kinds of files it can import.
| | 00:15 | Specifically it cannot import all of those MP3
files the you have all over your hard drive
| | 00:20 | and no it can't play those rocking tunes while
you are laying out your document either, no,
| | 00:25 | this is for PDF playback while you are in Acrobat.
| | 00:29 | To import a sound file into your InDesign document go to the File
menu and choose Place just like Graphics, Text, Movies whatever.
| | 00:36 | I am going to import an AIF file which is the common
file format called file format called tea pouring web.aif
| | 00:43 | and it's inside the links folder inside your exercise folder.
| | 00:47 | Click Open and it loads it on to the place cursor
and I can click anywhere I want on my page,
| | 00:52 | you will see I get a little sound object on my page now.
| | 00:55 | I will double click on that sound object and
it opens up the sound options dialog box.
| | 01:00 | You could have gotten there by going to object, interactive,
| | 01:04 | sound options but as we have seen
elsewhere double clicking is always faster.
| | 01:08 | Now it grabbed the name of the file and put it in
the name here, we could change that if we wanted to,
| | 01:13 | you could type a description if you want to, if you
later decide to use a different sound, no big deal,
| | 01:18 | just click Choose and you can choose a different sound.
| | 01:21 | You also have an option to choose a Poster.
| | 01:23 | Now the Poster is whatever will be visible
in Acrobat when they look at the PDF.
| | 01:28 | So the standard poster is this little icon here, this picture
I think it's supposed to be of a speaker with sound coming
| | 01:36 | out of something, to me it looks like a spaceship
going through space little space capsule.
| | 01:40 | I find that really dorky.
| | 01:42 | I don't like using that.
| | 01:43 | You could choose an image as a poster any image
that you have on your hard drive will work.
| | 01:46 | I am going to choose None which will make it go away entirely.
| | 01:50 | Now if we wanted that sound to start as soon
as the page opened then I would turn on play
| | 01:55 | on Page Turn, I am not going to do that right now.
| | 01:58 | I don't care whether it's printing the poster or not because
it's invisible but I do want it to embed the sound in the PDF
| | 02:05 | because I don't want the PDF to have to follow
links to sound files all over my hard drive,
| | 02:09 | that would be silly so I am going to embed that sound.
| | 02:12 | I will click OK and you can see that the poster disappears.
| | 02:16 | Now I do need something that's going to play that sound so I
probably need a button let's say, how about we make this button?
| | 02:23 | In previous movies we had made this into a
button before but I have reverted my file back
| | 02:28 | to its original state on disk so I lost all of that.
| | 02:31 | So I am going to right click on this or Ctrl
Click with a one-button mouse on the Mac
| | 02:35 | and scroll down to interactive and choose Convert to Button.
| | 02:39 | Now it's a button so I can option double click
on it on the Mac or Alt double click on Windows
| | 02:44 | to open the button options dialog
box and I will click on Behaviors.
| | 02:48 | In this case I want to set up two behaviors
one on mouse enter and one on exit.
| | 02:53 | Let's say when the cursor goes over
that heading, I want the sound to play.
| | 02:58 | Here's the sound that we imported and I want it to play
when the cursor is on top of it so I will add that.
| | 03:05 | Now on Exit I want the sound to stop, there
we go so we have got a start and stop,
| | 03:11 | don't forget to click Add or else it won't work.
| | 03:13 | Now click OK and we are good to go.
| | 03:15 | We have got an interactive PDF document here with a sound.
| | 03:18 | Let's check it out in Acrobat.
| | 03:20 | Under the File menu I will choose
Export, I will make this a PDF file.
| | 03:25 | As I have said before Acrobat 6 or later is
a good file format for interactive elements.
| | 03:33 | We are going to view the PDF after exporting just for convenience
sake so we don't have to go searching for it later and we want
| | 03:39 | to make sure interactive elements is turned on, if this
check box is not turned on you will not get your sound.
| | 03:45 | Alright let's try it, I am going to click export and
InDesign will make my PDF file and open it in Acrobat.
| | 03:53 | Here it is in Acrobat.
| | 03:55 | If I scroll down the page you see that there is no poster,
| | 03:59 | it doesn't look like there is anything
down here in the bottom part of the page.
| | 04:02 | On other hand if I move my cursor in just the
right place you will see that cursor change
| | 04:06 | to a little hand indicating oh there actually is something
there so you might want to hide that little bit better.
| | 04:14 | OK let's test the sound.
| | 04:16 | I am going to put my cursor on top of the heading, here we go.
| | 04:19 | Oh our security warning whenever we get Multimedia content,
we get the security warning and this will drive me crazy
| | 04:27 | but it's part of Acrobat, we have to put up with it.
| | 04:30 | So I am going to click Play and now it should work.
| | 04:34 | Alright cursor on top of the heading (Music),
cursor off the heading and the music stops.
| | 04:46 | Isn't that beautiful?
| | 04:47 | So we have got start and stop off our
sounds inside our PDF, pretty darn cool.
| | 04:53 | You know you can do a lot of clever
things with sound files inside PDF files.
| | 04:58 | Another good example of using sound would be to make a
button that would start reading the text from the document.
| | 05:03 | Wouldn't that be cool?
| | 05:04 | Because some people learn better by hearing
the words than just reading them on the page
| | 05:09 | so you could have both, let them read it or let them hear it.
| | 05:13 | Whatever you choose to do with sounds I encourage you to use
them, they really add a lot to your interactive PDF documents.
| | Collapse this transcript |
|
|
9. Color TechniquesSetting up Swatch and Style defaults| 00:00 | I am often asked how you can get a color swatch
to show up in every new document you create.
| | 00:05 | For example, let's say your corporate color was Pantone 286.
| | 00:09 | You are sick of creating new documents and
then adding this new swatch every time.
| | 00:12 | Well, here is the trick.
| | 00:14 | Add it once while no documents are open.
| | 00:17 | Let's go ahead and close this document.
| | 00:19 | So we are in the no publication state,
the no pub state while nothing is open.
| | 00:24 | And anything we change while we are in this no pub
state will apply to every new document we create.
| | 00:29 | For example, I can open the Swatches
panel and say give me a new swatch.
| | 00:34 | And I will make this spot color swatch and set it to the
Pantone color we want, let's say a solid coated, loads that in.
| | 00:42 | And I will do the 286 that I mentioned.
| | 00:44 | There we go, Pantone 286.
| | 00:46 | It happens to be my favorite Pantone color.
| | 00:48 | So there we go.
| | 00:49 | And I will go ahead and click OK.
| | 00:51 | So now, we have added Pantone 286 to the Swatches panel
so this will show up in all my new documents, pretty cool.
| | 00:58 | You can also make other changes too, like did you know
you can rearrange the swatches in your Swatches panel?
| | 01:03 | A lot of people don't realize that.
| | 01:04 | For example, registration is right up here right next to black
which is crazy because registration is definitely not the same
| | 01:10 | as black and people accidentally click on
it all the time and get the wrong thing.
| | 01:15 | So I am going to just drag down that the bottom.
| | 01:17 | So it's less likely to be clicked on.
| | 01:19 | I could go and delete the colors I don't need.
| | 01:21 | For example, I will just delete this blue color and so on.
| | 01:24 | So I only have Pantone 286 to work with.
| | 01:26 | This also works with styles; paragraph styles,
table styles, character styles, object styles.
| | 01:32 | Let's go to the Object Styles panel and we can say we want
a new object style, I am going to call it Happy Style.
| | 01:39 | I now want this object to have a Fill with let's say cyan.
| | 01:43 | Every time I apply this style, we will use cyan.
| | 01:46 | Actually, let's use our Pantone 286.
| | 01:48 | We will do a 50% tint of Pantone 286.
| | 01:51 | There we go.
| | 01:52 | Click OK. And now, I have created
an object style in the no pub state.
| | 01:57 | So every time I create a new document now, I will go
ahead and say give me a new document, and there we go.
| | 02:03 | Immediately, I have my object style and I
have my swatches, and they are all rearranged.
| | 02:09 | Now, this will not apply to older
documents that you have already created.
| | 02:13 | I wish they were away to take all of these and
push it back into old documents but you can't.
| | 02:17 | And this is a great example of how you have to take a
little time now to save even more time in the future.
| | 02:23 | Set up your default no pub state
and you will thank yourself later.
| | Collapse this transcript |
| Mixed ink colors| 00:00 | Designers and printers discovered long
ago that if they were printing with 2
| | 00:04 | or 3 inks like Pantone spot colors they could
expand the number of potential colors on their page
| | 00:09 | by printing different tints of the colors on top of each other.
| | 00:13 | For example, let's say we are going to add Pantone
361 to this job I will go to the Swatches Panel
| | 00:19 | and from the Flyout menu choose New Color Swatch.
| | 00:21 | Let's make a new spot color here and it's going to be
a Pantone Solid Coated 361, this beautiful green color.
| | 00:29 | Let's go ahead and make a second Pantone color as well so I
will click Add that adds it while keeping the dialog box open
| | 00:35 | and let's choose another one, maybe 286 that's blue color,
| | 00:39 | click OK and we now have two different
Pantone colors in the Swatches Panel.
| | 00:43 | Hey, by the way, of on attention did you ever notice that your
Pantone colors still have the CMYK little icon next to them
| | 00:50 | and if you hover on top of them you get CMYK breakdowns?
| | 00:53 | Well, that's because the default
InDesign is showing you the CMYK values.
| | 00:58 | It's defining your Pantone colors based
on CMYK values and that's kind of annoying
| | 01:03 | so I am just going to take a quick diversion here.
| | 01:05 | Go down to Ink Manager and set Use Standard Lab Values for
spot colors that's going to give me more accurate values
| | 01:14 | for my spot colors both on screen
and when I print on a color printer.
| | 01:18 | So I will click OK and now the icons
change to show that these are based
| | 01:22 | on the Lab values and CMYK values so that's a good thing.
| | 01:26 | OK, so we have got a couple of spot colors in our document.
| | 01:29 | Now we know how to make tint build like a
swatch of process colors, right so like 20% cyan
| | 01:36 | and 30% magenta that's easy in the Swatches Panel.
| | 01:39 | But what do we do when we want to
make a tint build of Pantone colors?
| | 01:44 | Well, in that case you go to the Flyout menu and
you choose new Mixed Ink Swatch that's the trick.
| | 01:51 | The Mixed Ink Swatch dialog box it's little bit weird to
look at it's a little clunky but it's pretty straightforward.
| | 01:57 | You click on the checkbox next to the inks that you want to mix
and it puts this very strange looking icon I have no idea what
| | 02:04 | that is, maybe an ink well or something but these
are two inks that I am going to be working with
| | 02:09 | and I am going to specify how much of each of them I want.
| | 02:13 | Let's say I want maybe 20% black and
50% of that green color, pretty good.
| | 02:20 | We have to change the name ourselves, I really wish there
was a checkbox here that says name it for me but there isn't.
| | 02:26 | So I will say 20K and 50% of 361.
| | 02:33 | You got the idea you can name it anything you want click
OK and it adds it here at the bottom of our Swatches Panel.
| | 02:39 | We make this a little bit longer so we can see that.
| | 02:41 | There is our swatch.
| | 02:42 | We get a little Mixed Ink icon there and I
will select one of the objects on my page,
| | 02:47 | click on this to fill it and I filled
that with my Mixed Ink Swatch.
| | 02:52 | OK, this is great except that if I needed to make you know 10
| | 02:55 | or 20 of these Mixed Ink Swatches it would get pretty
tiresome doing them one at a time so I am going
| | 03:00 | to show a trick to make a whole bunch of swatches in one go.
| | 03:04 | That is you go to the Flyout menu in the
Swatches Panel and you choose New Mixed Ink Group
| | 03:10 | and the group gives me a whole bunch of swatches all at once.
| | 03:14 | For example, I will make a group between black and 361.
| | 03:18 | I should point out that is interface is very
confusing for anybody even advanced users,
| | 03:23 | so I am going tell you just what I start
with and then you can go from there.
| | 03:27 | I usually start with something like 0% black repeat 3 times
and increment by 20% and then for my spot color I will start
| | 03:35 | with let's say 20 and increment 4 times by 20.
| | 03:38 | Now what this is going to do is this is going to
create 20 different swatches here and if I click
| | 03:42 | on Preview Swatches you will see all of the
different swatches it's creating from light to dark.
| | 03:47 | The first four swatches are going to be 0% black and then 20% of
that color and then 40% of the color and then 60% of the color,
| | 03:55 | 80% of the color and then a 100% of the color then
it's going to increment upto 20% black plus 20%
| | 04:01 | of this color then 40% of this color and so on.
| | 04:04 | It does it all incrementally.
| | 04:05 | I better name this something other than
group one because that's going to confuse me.
| | 04:10 | How about black and 361 mixed ink group?
| | 04:14 | There we go.
| | 04:15 | Click OK and you see all of those are added here.
| | 04:18 | Unfortunately you get a really dumb name black and 361
mixed in swatch one and so on but if you hover on top of any
| | 04:25 | of these you get a little tool tip that tells you what it is.
| | 04:28 | This one is 40% black and 60% Pantone
361 and so on, so we can go through here
| | 04:36 | and click on them until we get the color that we want.
| | 04:38 | Now one of the cool things about Mixed Ink Groups is they have
a group master object swatch thing here and if I double click
| | 04:47 | on that it reopens the dialog box or opens a new
dialog box that says which colors do you want to mix?
| | 04:53 | So I can say black plus anything.
| | 04:56 | Note that I can actually make a Mixed Ink Group with
processed colors as well so this could be very handy even
| | 05:02 | if you are not using spot colors, if you are just
using process colors you can still do mixed ink groups.
| | 05:07 | But I am going to just change it to 286.
| | 05:09 | I better change the name so I don't confuse
myself later, click OK and look at that,
| | 05:14 | all of our Mixed Ink Swatches updated automatically.
| | 05:17 | If I later decide I don't want any of these I can delete
this Mixed Ink Group by click on the Delete button
| | 05:24 | and it will delete all of the swatches underneath
that group for me so that's kind of handy.
| | 05:28 | Of course there are some precautions to take care,
for example spot colors don't always mixed as well
| | 05:34 | as process color inks especially when you are
dealing with fluorescent or metallic inks.
| | 05:38 | Also you really can't trust spot colors that you
see on screen even in a color managed environment.
| | 05:44 | The only way to get an accurate proof
of a spot is to see it on press.
| | 05:48 | Finally, when you are printing the spot colors especially
when you are mixing tints of these together you have
| | 05:53 | to be very careful to set your halftone screen angles so beware
in the Print dialog box of whatever application you are printing
| | 06:00 | from either InDesign or if you are exporting PDFs
from Acrobat, but someone needs to pay attention
| | 06:06 | to those halftone screen angles or you could get more problems.
| | 06:09 | Nevertheless even with all these issues if you are using
any kind of spot color you really overt to yourself to check
| | 06:15 | out mixed ink swatches to get a wider range of colors.
| | 06:19 | Speaking of a wider range of colors that's what we are going to
look at in the next movie too when we tackle printing dual tones.
| | Collapse this transcript |
| Working with duotones| 00:00 | In the last movie we looked at printing two
and more inks together using flat tints.
| | 00:05 | Now when you do this with an image instead mixing different
inks inside the image it's called printing a duotone.
| | 00:11 | When done right duotones can give an image a
sense of depth and richness; when done poorly,
| | 00:16 | it just looks kind of like a colorized picture.
| | 00:19 | For example here are a couple ways to make
a really basic fake duotone in InDesign.
| | 00:23 | I have got my document open to the state it was
from the previous movie and I am going to zoom
| | 00:28 | in on this image here by pressing Command 4 or Ctrl 4 on Windows.
| | 00:34 | To get this looking a little bit better I will go
to the View menu and turn on high quality display.
| | 00:39 | There we go.
| | 00:39 | That's a little cleaner.
| | 00:40 | Now I am going to replace this color image with a grayscale
image so I will press Command D on the Mac or Ctrl D on Windows
| | 00:47 | and I am going to import this 19 gray
tiff file and replace the selected item.
| | 00:52 | There we go.
| | 00:52 | Now we have got more or less equivalent image that's in grayscale
and that's just something to work with here for a duotone.
| | 00:58 | So here's one way to make a fake duotone.
| | 01:01 | I can select that image with the Direct Selection
Tool and then apply one of our mixed swatches.
| | 01:07 | For example I will apply kind of a dark one here and we can
see that it actually applies a duotone effect to this image.
| | 01:16 | It's a mix of black and our Pantone 286, it's not
as good as a true duotone as we will see in a minute
| | 01:22 | but it's a good first step if you want to
just comp something or fake it quickly.
| | 01:27 | Let me undo that.
| | 01:28 | I will press Command Z or Ctrl Z on the Windows a
couple of times to go back to the grayscale image.
| | 01:34 | Let me show you a different way of doing this.
| | 01:35 | I will use the Selection tool to select the frame instead
and I am going to fill that frame with a tint of my color.
| | 01:43 | I will pick 286 and that looks really ugly.
| | 01:47 | But I am going to set the tint of this back to let's say 50%.
| | 01:50 | So we have got 50% fill in the frame not
the image but the frame is 50% of that 286.
| | 01:57 | Now I can choose the image inside the frame, go
to my effects panel and set that to multiply.
| | 02:05 | So the image is now multiplying into
that background tint of the Pantone 286.
| | 02:11 | This 2 is kind of a hack it's not a true
duotone but I just want to give you a sense
| | 02:15 | of couple of things you can do for special effects.
| | 02:17 | The best way to make a duotone image ultimately is to use the
world's best InDesign plug-in yes that's right Adobe Photoshop.
| | 02:24 | So let's switch to Photoshop and do it there.
| | 02:27 | Before I do that though I better undo this tack here Command
Z or Ctrl Z couple of times to go back to the grayscale image.
| | 02:34 | Alright now let's open that grayscale
image in Photoshop by clicking
| | 02:38 | on the Edit Original button in the links panel, there we go.
| | 02:41 | Now we are in Photoshop looking at the grayscale image
and I want to turn this grayscale into a duotone.
| | 02:47 | So I go to the Image menu, I choose Mode and I choose Duotone.
| | 02:51 | You can only change grayscale images into duotones
so if you have a color image you have to convert it
| | 02:57 | to a grayscale first and then into a duotone.
| | 03:00 | And you can see that we have applied a blue
Pantone color plus black to this image.
| | 03:05 | Now how did I get all this set up here?
| | 03:07 | I clicked the Load button and I chose from
among all the presets that ship with Photoshop.
| | 03:13 | It's always a good idea to start with the presets that
ship with Photoshop when you are doing these duotones.
| | 03:19 | Go ahead and cancel that.
| | 03:20 | We can see that the curve for black and I will click on
that once and I can actually see the curve for black is kind
| | 03:26 | of the steep curve with a lot of
contrast here up in the darker areas.
| | 03:32 | Cancel out of that and the curve for
the Pantone color is much more shallow
| | 03:37 | and it never gets all the way solid, it only goes up to 80%.
| | 03:40 | Anyway, you don't necessarily need to know that just
pick a duotone that looks pretty good here, click OK,
| | 03:46 | it applies a duotone and now we need to save it to disk.
| | 03:49 | So I will go to the File menu, I will choose Save As and I
am going to save it back into my links folder not as a gray,
| | 03:56 | I better change this to tell me what
it is, this is going to be a duotone.
| | 04:00 | And I like saving duotones as Photoshop documents
regular PSD files that is just more reliable,
| | 04:07 | it's the best format for duotones these days.
| | 04:09 | I will click Save, I am going to come back to InDesign
and just the Command Tab on the Mac or Alt Tab on Windows
| | 04:16 | and I am going to replace this grayscale with that duotone.
| | 04:19 | So in the links panel, easy to replace, click on Relink the
Relink button, choose my duotone, click Open and there we go,
| | 04:27 | we have got our duotone in our InDesign document.
| | 04:30 | Now the key to importing any image that has a spot color is
to ensure that the color names match exactly with the colors
| | 04:37 | in the InDesign document but sometimes you are not so lucky
sometimes the color names don't match for one reason or another.
| | 04:44 | For example here I will open the Swatches panel, I will
scroll down to the bottom and we can see that when we imported
| | 04:50 | that duotone image that PSD it brought with it the pantone
color and you know what I made a mistake I imported it,
| | 04:57 | it said pantone 72 not 286 the way it was supposed to
so this is actually going to print on the wrong plate.
| | 05:05 | Well all is not lost.
| | 05:07 | In the next movie we will explore the
whacky world of aliasing one ink to another.
| | Collapse this transcript |
| Ink aliasing| 00:00 | When we left off in the last movie, we had a big cliffhanger.
| | 00:04 | I had just imported this duotone image when I realized
| | 00:07 | that I had used the wrong pantone color, I
used a pantone 72 instead of pantone 286.
| | 00:14 | Well what to do?
| | 00:15 | You know maybe if it's just one image it's not such a
big deal to go back to Photoshop and make that one change
| | 00:21 | but what if these were 50 different
images, oh that would be a real hassle.
| | 00:25 | Or what if our art director suddenly came in and
said no we are supposed to be using pantone 361,
| | 00:31 | we want this to be green not blue stop the brushes.
| | 00:34 | Are you doomed to do all of this all over again?
| | 00:37 | Not at all because InDesign has a feature called Ink
Aliasing that lets you map one spot color to another.
| | 00:44 | Now Ink Aliasing is a feature inside the Ink
Manager and Ink Manager shows up in about 5
| | 00:50 | or 6 places throughout InDesign including
the swatches panel here.
| | 00:54 | We can see Ink Manager down here, it also shows up in the print
dialog box and the export PDF dialog box all over the place.
| | 01:01 | One place that I often choose it from is the separation
preview panel so I am going to go down to the output submenu
| | 01:07 | under the Window menu and choose Separations Preview.
| | 01:11 | Separations preview is very cool because when Separations
is on, it gives you a pretty accurate view of your document
| | 01:18 | and we talked about this in the Essential Training Title.
| | 01:20 | We can see that this color if I click on pantone 286 we can see
that this image is on the pantone 272 plate plus black right
| | 01:29 | so we have got black and pantone
272 but we really want it on 286.
| | 01:34 | So what to do?
| | 01:35 | Let me turn off separations for a moment
here and I am going to go to the Ink Manager
| | 01:39 | by choosing it from the separations preview fly-out menu.
| | 01:42 | Now a lot of the features in here have to do with trapping
and I will be talking about trapping more in the next movie.
| | 01:48 | By the way this Ink Manager also lets you convert pantone colors
to process colors, you could convert all of them to process
| | 01:55 | by turning on All Spots to Process or I don't want to do that, I
can also convert one of these at a time, let me scroll down here,
| | 02:02 | you can see we have got three different pantone colors here
and if I click next to it now that one is going to print
| | 02:09 | as a CMYK color instead will actually separate as CMYK
and I actually don't want to do that either right now.
| | 02:15 | What I want to do here is alias this color to another.
| | 02:19 | So I am going to select this color from my ink list, come
down to the ink alias pop-up menu and say I want to alias this
| | 02:26 | to maybe one of the process colors or in this case
we want to alias it to 361 that's the green color.
| | 02:33 | So this duotone is actually going to print with
that green color instead of the blue color.
| | 02:40 | Let's see how it works.
| | 02:41 | Click OK and does it look like it changed?
| | 02:43 | No, it doesn't look like it changed because
Ink Aliasing only kicks in when you print
| | 02:48 | or when you make it a PDF or you can kick it in for the screen.
| | 02:51 | You can see it on screen by going to the
view menu and turning on overprint preview.
| | 02:56 | Alternately you could go to separations
preview and turn on separations.
| | 03:00 | When that's on, you can actually see the separations.
| | 03:04 | Here let's go ahead and turn all of these on and we see
that now it's a green duotone, it was blue in Photoshop
| | 03:11 | but it's green here and in fact if we click on just the green
plate, we can see that all of that information is on green
| | 03:19 | and black not yellow, not magenta and not 286
and look at this 72 doesn't even appear anymore
| | 03:25 | because everything that was in 72 has been aliased to 361.
| | 03:30 | Somebody at Adobe once told me that one of the philosophies there
was to remove stumbling blocks and let people work more flexibly.
| | 03:37 | Well they certainly succeeded with this feature.
| | 03:40 | Ink Aliasing is all about flexibility.
| | Collapse this transcript |
| Trapping color| 00:00 | OK I have got a document here with two different inks, forgive
the very basic design here but it gets the point across well.
| | 00:07 | So I want to use this very simple design first.
| | 00:10 | I am going to zoom in on just this area here and we can see
that there is two inks that are right next to each other.
| | 00:16 | The page hits the printing press.
| | 00:18 | The paper which is flying through at high
speed maybe moves a fraction of a millimeter.
| | 00:23 | Let's see what happens, I am going to fake
this by grabbing this cyan box and I am going
| | 00:28 | to move it over let's say just half of a point.
| | 00:31 | Wow what happens to the colors, they misregister and
you get a sliver of whitepaper between the colors.
| | 00:38 | That looks ugly and a fix for this is called trapping.
| | 00:42 | In trapping someone adds a little bit of color down the
middle just in case these colors misregister on press.
| | 00:50 | Now I want to get two things clear here right at the start.
| | 00:53 | First, not every document needs to be trapped anymore.
| | 00:57 | Printing has come a long way in the past few years
| | 01:00 | and some printers simply aren't even
trapping and they still get great results.
| | 01:05 | It totally depends on the printer, the paper stock,
the press they are using so before you get all head
| | 01:10 | up about trapping check with your printer first.
| | 01:13 | The second thing I need to point out is that
humans should not need to trap documents.
| | 01:18 | Your documents should be trapped by
computer software downstream somewhere
| | 01:22 | like at the printer without you ever even knowing about it.
| | 01:25 | Unfortunately life isn't always fair and we humans are
sometimes forced to know something about trapping ourselves.
| | 01:32 | So with that in mind I will show you a couple
of ways that you can do trapping in InDesign.
| | 01:38 | First, the manual method, the brute force
method I am going to undo this with Command+Z
| | 01:43 | or Ctrl+Z on Windows to go back to where I was.
| | 01:46 | And I am going to open the Swatches Panel and I am
going to apply a color stroke to this cyan frame here.
| | 01:54 | That actually gave me a one point frame which is far more
than I would usually use, go to the Stroke Panel you can see
| | 02:01 | that this is a one point stroke around this object.
| | 02:04 | Usually for trapping you would use
something much smaller like a quarter point,
| | 02:08 | but for the sake of this demo I am going
to make it much bigger like a point.
| | 02:11 | I am also going to make sure that the aligned stroke is set to
the first one, the center of the stroke on the frame edge button.
| | 02:18 | That way half of the stroke will fall over to the left on
top of the magenta frame and half of it will fall on top
| | 02:25 | of the cyan frame that's typically best
practice for doing stroking like this.
| | 02:30 | We have a stroke around this frame
but we need to overprint it on top
| | 02:33 | of the magenta otherwise it will simply
knockout that magenta that's not very useful.
| | 02:38 | So I will go to the Window menu I will open
attributes and I am going to overprint the stroke.
| | 02:44 | Turn on overprint stroke and we can see
that there is a little bit of overlap now.
| | 02:49 | The reason I can see that overlap is because I
had Overprint Preview turned on in the View menu.
| | 02:54 | If you don't have that turned on you won't see your overprints.
| | 02:57 | Alright let's zoom in here even more
as we can see what's going on.
| | 03:01 | Half of the cyan stroke at half the point is overlapping
on top of the magenta and it's overprinting it
| | 03:07 | so we get kind of a purple right along that edge.
| | 03:10 | Now if something happens to misregister
this again let's say the cyan gets pushed
| | 03:14 | over to the side just a tiny bit let's
say it gets pushed over a quarter point.
| | 03:19 | What happens?
| | 03:20 | Well it's covered.
| | 03:22 | It's overlapping enough.
| | 03:23 | So no big deal on the other hand this is
still pretty clunky because look at this,
| | 03:28 | the cyan is sticking out above the magenta
now where it wasn't before and it's messy.
| | 03:33 | To get this really cleaned it takes a lot of work.
| | 03:35 | It's not always worth the hassle but I at
least wanted to point out that you can do this.
| | 03:39 | I am going to undo this with Command+Z or
Ctrl+Z several times to go back to where I was.
| | 03:44 | Now both objects are right next to each
other where there is no stroke on that cyan.
| | 03:49 | I just want to get back to where I was.
| | 03:51 | Nice clean version because I am going to show
you a second way of doing trapping in InDesign.
| | 03:56 | A lot of people don't realize that InDesign has a whole trapping
engine built into it just like in high end trapping software.
| | 04:02 | And they don't know about it because it's kind
of hidden it's inside the Print dialog box.
| | 04:07 | So we are going to go to the File menu and choose Print and
I am going to choose the Output Pane here and we can see
| | 04:14 | that we have different options for our output.
| | 04:16 | If you choose separations or in-RIP
separations you get the ability to do trapping.
| | 04:22 | And the trapping that I am talking about is application built-in.
| | 04:25 | That means use InDesign on trapping engine.
| | 04:28 | If am printing directly to a plate setter or to whatever
printer I have then I would choose a printer here,
| | 04:33 | set this to Separations and then
I could use application built in.
| | 04:36 | On the other hand it doesn't demo very
well so I am going to show you a trick
| | 04:40 | to actually get a PDF file where I can see my trapping in it.
| | 04:43 | I do that by choosing the Adobe PDF driver up here, the
printer itself so I am going to be printing 2 PDF not use
| | 04:50 | as Acrobat's Distiller Program to make our PDF and I am
going to print not separations but in-RIP separations.
| | 04:57 | This gives me a composite CMYK PDF but
I can still have trapping built into it.
| | 05:03 | So that's kind of cool.
| | 05:04 | So I have got PDF in-RIP separations application
built-in and then of course I would setup the rest
| | 05:10 | of Print dialog box the way I would want to have it setup.
| | 05:13 | You do have some control over this
trapping if you look inside the Ink Manager.
| | 05:18 | And I talked in the last movie about how Ink Manager
shows up all over the place here's one more place
| | 05:23 | that it shows up inside the Print dialog box.
| | 05:25 | So a click on Ink Manager and we can see that there is bunch of
stuff here like cyan is a normal type ink with a density of .61
| | 05:33 | and it's sequence 1 and you know what this is highly technical
stuff that you really don't want to be messing around with.
| | 05:39 | I wrote about it in my book Real World InDesign or you can
find information about this in the help docs if you want
| | 05:45 | but I am not going to get into this, it's just way too technical.
| | 05:48 | In general you don't need to mess around with any of this.
| | 05:50 | So I am going to click Cancel, I just
want to point out that it was there.
| | 05:54 | OK let's go ahead and make our PDF and see the trap
that InDesign's trapping engine created for us.
| | 06:00 | So I will click Print and it goes ahead and writes
postscript to disk and it feeds that postscript into distiller
| | 06:06 | and whatever the last used job settings were or
whatever my default job settings in distiller are runs
| | 06:11 | through those job settings and it leaves us
with a PDF file that's out here on the desktop.
| | 06:17 | So there we go, I am just going to go ahead and double-click
on that to open it in acrobat and we see the same page
| | 06:22 | with the same very basic two color design here and let's
zoom in so we can really see this even more, even more,
| | 06:29 | get all the way in here let's say to 64 100%
and we can see the trap that it created.
| | 06:35 | We have got 100% cyan on one side, 100% magenta on the
other side and look at that really sophisticated trap shape
| | 06:42 | that it built right down the edge
that is a really good quality trap.
| | 06:47 | But would I recommend doing this on a final printed piece?
| | 06:50 | Well no, not if they were any chance of a true
in-RIP trapping or if the printer had any kind
| | 06:56 | of trapping software that they could use instead.
| | 06:59 | Most large printers do these days.
| | 07:01 | But you know in a pinch when you have to do the trapping
yourself you use what you have and this is pretty good.
| | Collapse this transcript |
|
|
10. Color ManagementTransparency Blend Space| 00:00 | Whenever you put any kind of transparency effect on a page, a
Drop Shadow or a Photoshop image with a transparent background
| | 00:06 | or whatever, InDesign has to do a bunch
of calculations in order to ensure
| | 00:11 | that what you are seeing on screen is as accurate as possible.
| | 00:14 | For example, here we have some transparency going on
with this bevel effect and when I go to the Pages panel,
| | 00:20 | I can see that transparency because
there is a little Checkerboard icon here,
| | 00:24 | that means there is some transparency on this page.
| | 00:26 | The thing is all these transparency
effects work slightly differently depending
| | 00:31 | on whether you are working in CMYK or RGB space.
| | 00:35 | So in order to get an accurate display, you need
to tell InDesign whether your document is destined
| | 00:40 | for the screen or for a printing press.
| | 00:43 | And the way you do that is to choose a
Transparency Blend Space from the Edit menu.
| | 00:47 | I will go to the Edit menu, choose Transparency Blend Space.
| | 00:51 | And you can see there is two options, RGB or CMYK.
| | 00:55 | You should choose RGB when your final output is for the screen,
maybe a PDF document they are going to be putting on the web
| | 01:02 | or maybe you are exporting a JPEG
for some banner ad or something.
| | 01:06 | So in those cases, you would choose RGB.
| | 01:08 | You might even want to choose RGB if your final
output is to one of those desktop Inkjet printers
| | 01:14 | or maybe even color laser printer, even though those printers use
CMYK inks, behind the scenes, they are sometimes better treated
| | 01:21 | as RGB devices, they are just more accurate sometimes that way.
| | 01:25 | So if your final output is going to be on one of those devices,
let's say you are just making a flyout that you are going
| | 01:29 | to be handing out, then you might want to choose document RGB.
| | 01:33 | But if you are just using one of those devices as a proofer
and your final output is really going to be separations
| | 01:38 | on to a printing press, then you are
going to want to leave this set to CMYK.
| | 01:43 | CMYK is the appropriate blend space if your final
output is really going to be a printing press.
| | 01:49 | Now, you can run into the Transparency Blend
Space issue in a number of different ways.
| | 01:53 | Let me show you an example where people see this most often.
| | 01:56 | I am going to create a new document, I will just use this as
default settings here, and I am going to place a grayscale image,
| | 02:02 | you can really see this with grayscale images.
| | 02:04 | I will just go to my Links folder, from the Exercises folder and
I will click OK and I am going to place this big grayscale image.
| | 02:11 | And that looks fine.
| | 02:12 | On screen, we don't see anything special about it.
| | 02:15 | But let's go ahead and put some text here, I will just
put the word cups, I make this big so you can see it.
| | 02:20 | And right now, there is no transparency in this document.
| | 02:23 | There is no transparency icon.
| | 02:25 | But as soon as I go to the Effects panel and change the
transparency of this word to let's say 90%, click Enter.
| | 02:32 | Did you see the change there?
| | 02:33 | The whole grayscale image changed.
| | 02:35 | Let me undo that Command Z on the Mac or Ctrl+Z on Windows.
| | 02:39 | That's what it looked like before.
| | 02:40 | This is what it looks like after I changed the transparency.
| | 02:43 | So you can see that all the images, in
this case, this one grayscale image,
| | 02:47 | was suddenly forced through the Transparency
Blend Space and it looks different on screen.
| | 02:52 | It probably won't actually print differently, but in this
case, the main thing is it really looks different on screen
| | 02:58 | because InDesign is trying to give us a more accurate preview.
| | 03:02 | I am going to just delete that text frame and we will see that
there is no transparency so it goes back to the way it was.
| | 03:07 | And I want to show you a little trick.
| | 03:08 | There is a way to tell InDesign to force everything through
the Transparency Blend Space to make it look more accurate
| | 03:14 | for our final output without applying a
transparency, and that is to use overprint preview.
| | 03:21 | When I go to the View menu and choose Overprint
Preview, you can see the change happens again.
| | 03:26 | The overprint preview really should be called to make it look
more accurate or force it through the final calculations,
| | 03:32 | and I like working in overprint preview when I can
| | 03:35 | because it often will give me a more accurate
preview of what things will look like.
| | 03:39 | The Transparency Blend Space makes a big
difference in ensuring color consistency,
| | 03:44 | but even more important are the controls
in the Color Settings dialog box.
| | 03:48 | So let's take a look at those next.
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| InDesign Color settings| 00:00 | Everyone wants more consistent color, everyone
wants to trust the colors that they see
| | 00:05 | on screen and get better and more accurate output.
| | 00:07 | But to accomplish this we have to delve
into the realm of color management.
| | 00:12 | Chris Murphy who co-authored the great book Real World
Color Management notes that talking about color management
| | 00:18 | in InDesign can quickly become in his words explosively complex.
| | 00:23 | This is so true in fact even though I am going to talk quite
a bit about color management in this chapter if I use words
| | 00:30 | or concepts that are mysterious to you in anyway
I encourage you to go view his video title
| | 00:35 | in the online training library called
Color Management Essential Training.
| | 00:39 | He goes much further into this than I can in this title.
| | 00:43 | But that said let's dive in and tackle InDesign's Color Settings
dialog box which you can find right here under the Edit menu.
| | 00:51 | I will choose Color Settings and this looks
pretty scary but like all scary dialog boxes
| | 00:56 | in InDesign it's OK if you just take it step-by-step.
| | 01:00 | The first Popup menu Settings gives
you a number of presets that the folks
| | 01:04 | at Adobe recommend for general workflows that you might have.
| | 01:08 | And many people look at this and they
say oh CMS is off, let's do that.
| | 01:12 | It is tempting to turn that color management
off but believe me you do not want to do this.
| | 01:17 | First of all there actually is no way to turn it off.
| | 01:19 | This is just kind of faking it being off.
| | 01:22 | I like calling this flying blind with color management
| | 01:25 | because you still are getting color
management but you have no control over it.
| | 01:28 | That's really a bad idea.
| | 01:30 | Monitor color is like flying blind part II this is also called
the "I believe in Santa Claus Theory of Color Management"
| | 01:37 | because you are busy saying I believe that InDesign will give me
the gift of the perfect color without me having to do anything
| | 01:43 | and that's just also not going to work so monitor color bad idea.
| | 01:47 | General Purpose II is a very good way to go in
InDesign and this is the default for InDesign.
| | 01:54 | It says North America is here in the States but it might say
Japan in General Purpose or European General Purpose depending
| | 02:00 | where you are in the world but General Purpose is a good default
and because it sets up the rest of dialog box really quite well.
| | 02:08 | Some people say no, no I do prepress so I need to choose
the prepress setting and to be honest I used to be one
| | 02:12 | of those people I would always use the prepress
but there are some very strong arguments
| | 02:16 | for why prepress is not the way to go in InDesign.
| | 02:20 | It maybe in other programs and in fact I
do use the prepress 2 settings in Photoshop
| | 02:26 | but I still prefer general purpose here
in InDesign for lots of technical reasons.
| | 02:31 | Now if all of your documents are going to the web you
are only making interactive PDFs then you might want
| | 02:35 | to choose the web internet but even then I still
find that General Purpose is probably the way to go.
| | 02:40 | So I am going to set this here.
| | 02:42 | Now note that this says it's unsynchronized.
| | 02:45 | Adobe makes a big deal over this whole synchronized
color management settings but to be honest
| | 02:49 | like I said I use General Purpose for InDesign and I use
prepress for Photoshop and that works great for lots of reasons
| | 02:56 | and it just makes more sense to me so that's what I use
so I get unsynchronized settings and that's not a problem.
| | 03:03 | You will see an Advanced Mode checkbox here.
| | 03:05 | Advanced Mode when this is on it gives you a couple extra things.
| | 03:08 | First of all you get a bunch of more
profiles that you wouldn't ordinarily get.
| | 03:12 | If you have installed the profile and you can't find it anywhere
then turn Advanced Mode On and you might be able to see it then.
| | 03:18 | The other thing you get are these conversion options
at the bottom and you know for the vast majority
| | 03:22 | of people you would never want to play with that.
| | 03:24 | So to me I leave Advanced Mode Off and I don't worry about it.
| | 03:28 | Now let's talk about working spaces here.
| | 03:30 | Every InDesign document has both a CMYK and an RGB
profile that it uses when it doesn't know what else
| | 03:37 | to use, that's why they are default color spaces.
| | 03:40 | For example, when you define a CMYK color in the
swatches panel which CMYK are you basing it on?
| | 03:47 | That's right that document CMYK working space profile.
| | 03:51 | Let's say you downloaded image off the web and
it doesn't have any embedded profile in it.
| | 03:55 | And when you import that into InDesign which
RGB profile should InDesign assume it is?
| | 04:01 | I mean there is nothing embedded in
there so what do you want it to use?
| | 04:04 | That's right, the default RGB working
space, that's why sRGB kind of makes sense.
| | 04:10 | Because if you download an image from the web or someone sends
you an image and there is no embedded profile there is a very,
| | 04:15 | very good chance that it actually already is in the sRGB mode.
| | 04:19 | So that's a good thing to use.
| | 04:21 | CMYK maybe a little bit different.
| | 04:23 | It's set by default to the swap coded here in North America but
you know that's kind of middle of the road color it's pretty good
| | 04:31 | in most situations but if you know that you are always
printing to another output device reliably printing always
| | 04:38 | to sheetfed coated let's say then you might to choose
sheetfed coated coded here or let's say your magazine
| | 04:44 | and everything you do is printing to a particular paper
stock at a particular print shop with particular inks
| | 04:50 | and so on well you know that you can get a custom profile for
that output condition and maybe your printer can give you one
| | 04:56 | or you could get one made up for you and
in that situation choose that special one.
| | 05:01 | Let's say you have a custom one choose that custom one
if you are always going to going to that condition.
| | 05:06 | You are going to get more accurate color onscreen and so on.
| | 05:08 | So that's in general what you would want to choose for CMYK.
| | 05:11 | If you are printing to a variety of
conditions you are not sure exactly
| | 05:14 | where you are printing then Swap is
probably fine as a middle of the road.
| | 05:19 | Now as for color management policies unless you have a very
good reason to change these I suggest leaving these set
| | 05:25 | to defaults you know I leave RGB set to preserve
embedded profiles that's a very safe thing to do.
| | 05:30 | I will talk about the CMYK policy here just for a minute.
| | 05:34 | The default setting of preserved numbers is safe although
it does mean that any profiles that you have embedded
| | 05:41 | in your CMYK images will just be ignored
and that's probably OK in a fact.
| | 05:45 | And later in this chapter I describe how to overwrite that
setting and use the embedded profile if you really need to.
| | 05:51 | On the other hand if you find yourself in a situation where
you know a lot about color management you are receiving a lot
| | 05:57 | of the CMYK images from different sources around the
world and these images have embedded profiles and you need
| | 06:04 | to respect those profiles then in that case you might
want to change this to preserve embedded profiles.
| | 06:10 | And that would be reasonable in that situation but for really
all the rest of us preserved numbers is the safe way to go.
| | 06:17 | This profile mismatches and missing profiles these checkboxes
here you may have seen a dialog box appear sometimes
| | 06:24 | when you are opening in the InDesign document and it says
there is a mismatch profile or a missing profile or something.
| | 06:30 | Well if you have seen those you know that those
dialog boxes are incredibly complex and confusing
| | 06:35 | and to be honest they are really not
that useful in most circumstances.
| | 06:38 | So I leave these checkboxes set to off in InDesign
because I just don't myself or any of my clients
| | 06:44 | to freak-out when they see those dialog boxes.
| | 06:46 | So it's probably safe to leave those off.
| | 06:49 | There is one other very important thing to note here and
that is the settings that you choose in this dialog box,
| | 06:55 | do not necessarily affect the current document
or any documents that you have already made.
| | 07:00 | This only sets things up for new
documents that you create in the future.
| | 07:05 | As for documents that you have already made like this one in the
background here unfortunately it's quite painful to change any
| | 07:12 | of these policies for existing documents
and that's why you generally want
| | 07:16 | to set these policies up right before you create the document.
| | 07:19 | You can however change the working spaces of your
existing documents with features called a sign profile
| | 07:26 | or a converter profile and that's what I cover in the next movie.
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| Assign vs. Convert to Profile| 00:00 | As I mentioned in the last movie, it looks that you
can change your current document's working spaces,
| | 00:05 | the RGB and CMYK working spaces right
here in the Color Settings dialog box.
| | 00:10 | But you actually can't, these settings are application wide
so they only affect documents you'd create from now on.
| | 00:16 | Instead, if you want to change the default RGB
and CMYK settings for your current document,
| | 00:22 | you have to use either assigned profiles
or convert it to profile.
| | 00:26 | Let me cancel out of that and show you where those
live right here at the bottom of the Edit menu.
| | 00:30 | Let's look at assigned profiles first.
| | 00:34 | Assign profiles lets you tag your document
with a different set of RGB or CMYK profiles.
| | 00:41 | You can even discard the profile entirely so that always uses
the current working space in the application color settings,
| | 00:47 | although it's pretty rare that you'd want to do that.
| | 00:50 | You may want to change your CMYK profile however in assigning
a new working space profile is like saying that colors
| | 00:57 | in this document now mean something
different because cyan now looks like this
| | 01:01 | and magenta now looks completely
different like this thing over here.
| | 01:05 | And that's why when you assign a different profile,
| | 01:08 | the colors you see on screen will almost certainly
change even though the numbers behind the colors,
| | 01:13 | the definitions of the colors won't change.
| | 01:16 | Let me show you, I'll move this off
of the side so we can see it better.
| | 01:19 | And I am going to assign a different profile.
| | 01:21 | Let's say this document is destined for the sheetfed coated.
| | 01:25 | We know it's going to be printed on coated paper on a sheetfed
press and it's not going to be printed on other kinds of devices.
| | 01:31 | So why don't we just tell InDesign that?
| | 01:33 | We'll just say "Hey, InDesign, all your CMYK colors just assume
they are US sheetfed coated colors," and that's a different set
| | 01:40 | of CMYK colors then Swap and we can see the
difference by turning on the Preview Checkbox.
| | 01:45 | I love those preview checkboxes.
| | 01:47 | Turn that on and you can see all the colors change.
| | 01:50 | So that's before and then after.
| | 01:52 | And you can turn that on and off to
see what it's going to look like.
| | 01:55 | Now, this is not really proofing your file, we will
be talking about proofing later on in this chapter,
| | 02:00 | but it does give you an idea of the colors or actually
changing the meanings of the colors actually change.
| | 02:06 | On other hand, the values don't change.
| | 02:08 | Look over here in the Swatches panel and you can see
that this one is 50% cyan, well that stays 50% cyan,
| | 02:14 | it would just mean something different in
the document, it's a different meaning.
| | 02:17 | Now, I am going to cancel out of that
because I don't want to change it quite
| | 02:20 | yet because I want to show you Convert to Profile.
| | 02:24 | Convert to Profile is really pretty much the opposite of
assigned profile and so we need to be very careful with this one.
| | 02:31 | It actually coverts all of the colors that it can in
your document to match the specs in the new profile.
| | 02:37 | That is, it tries to maintain the look
of your colors but not the definitions.
| | 02:41 | Let me show you what I mean.
| | 02:42 | I canceled out of the previous one, so
my current CMYK profile is still Swap.
| | 02:48 | But I am going to say "Let's force this into US sheetfed coated."
| | 02:52 | You may see a few changes in here but it's
usually not as radically as with assigned profile.
| | 02:57 | It's trying to keep with the colors as
consistent as possible from one space to the next.
| | 03:03 | And to do that, it's going to actually change the color values.
| | 03:06 | Look over here in the Swatches panel, what was 50% is now 43%.
| | 03:11 | Look before and after, the red what was 100%
magenta, 100% yellow is now really different.
| | 03:18 | And look at this one, wow, that's radically different, this was
just 100% black but when we convert it, we get four color black,
| | 03:25 | we actually get cyan, magenta, yellow and just 60% black.
| | 03:29 | So that is very different.
| | 03:31 | You really need to be careful when choosing Convert to Profile.
| | 03:35 | It can totally mess up your documents.
| | 03:37 | On the other hand, the Convert to Profile dialog box is very
useful because it's pretty much the only place you can go to find
| | 03:43 | out what your current document's working spaces are set to.
| | 03:47 | So I use it for that.
| | 03:48 | I come in here, I look at that and I say
"Oh", I see it's Swap coated, that's fine,
| | 03:51 | maybe I want to change it with assigned profile, maybe not.
| | 03:54 | Let's go ahead and cancel that.
| | 03:56 | And in the next movie, we'll look at how you can import RGB
images into InDesign and why that's not a bad idea at all.
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| Working with RGB images| 00:00 | I love importing RGB files into InDesign documents
while I am training at conferences and seminars
| | 00:06 | because someone invariably asks you mean you can do that.
| | 00:09 | Can you really import RGB images and they will print OK?
| | 00:13 | And I love looking them right in the
eye and saying, yes it really works.
| | 00:18 | And not just that it works great.
| | 00:21 | There are so many people who spend hours and hours converting
images from RGB to CMYK in Photoshop before they import them
| | 00:28 | onto their pages just because well
that's what we have always done.
| | 00:32 | The only way people can become more efficient is if they
are willing to change and changing to an RGB workflow is one
| | 00:40 | of the best things you can do to become more efficient.
| | 00:43 | Let's import an RGB image into this document.
| | 00:45 | I will go to Page 2 by pressing Shift+PageDown
and I will select this frame
| | 00:49 | and zoom into 400% by pressing Command+4 or Ctrl+4 on Windows.
| | 00:54 | Now I will go to the File menu and
choose Place and choose My Image.
| | 00:59 | This is an RGB image called the SC12.
| | 01:02 | When I go to the Info Panel I can see that this image is an RGB
image and it has an ICC profile of sRGB ICC profile of sRGB.
| | 01:10 | Now that may mean that the sRBG is actually embedded
in the image itself or perhaps the image has no profile
| | 01:17 | and it's simply using the current RGB working space
which is set to sRGB is the Color Settings dialog box.
| | 01:24 | I like RGB images because they are smaller on disk so
they transfer over the network faster but the best reason
| | 01:29 | to use RGB is that they are simply more flexible.
| | 01:33 | One day you are printing an ad on news print and the next day
you need to print the same image in a brochure on coded sheetfed
| | 01:39 | and then the day after that maybe you have to put
the whole thing on the web and you could spend half
| | 01:43 | of your time making multiple versions of the same image
or you could just use the one RGB image for everything.
| | 01:50 | Now just because I think you should import RGM images doesn't
mean that I think you should send them to your printer.
| | 01:55 | There are a number of printers who know how to handle RGB files
and print them to CMYK for you but in most cases I tell InDesign
| | 02:03 | to convert all my RGB images for me
whenever I print or create PDF files
| | 02:09 | and when InDesign does this conversion
is it as good as doing it in Photoshop?
| | 02:13 | Absolutely, because InDesign and Photoshop both share
exactly the same color management engine under their hood.
| | 02:20 | So the results are identical.
| | 02:22 | The only difference is that you may have saved yourself
your boatload of time doing it one way or the other.
| | 02:27 | Now I should point out that I don't push RGB for
all images and for all people all of the time.
| | 02:32 | There are limits.
| | 02:34 | For example, if I were going to print this same document to
the same output repeatedly you know 50 times on different days,
| | 02:40 | well I may want to convert these images to CMYK first.
| | 02:44 | Why? Because converting from RGB
to CMYK takes a little bit of time.
| | 02:48 | It's calculation intensive, so I could choose to do it once in
Photoshop or you know 50 times every time I print, it's up to you
| | 02:55 | or in some cases there are images that you
just need CMYK to do some final tweaking.
| | 03:01 | Maybe you have a model's face that you are trying to get just a
little bit of the black plate out, well you need to be in CMYK
| | 03:06 | to do that probably, so go ahead, fine, do that in CMYK and
then leave it in CMYK, bring that in at CMYK into InDesign.
| | 03:14 | If somebody sends you a CMYK file keep it in CMYK.
| | 03:18 | You know you don't want to convert to RGB just because I said so.
| | 03:20 | It's rare that converting from CMYK back
to RGB would do you any good at all.
| | 03:25 | That said in many cases if you have RGB images to work with,
it's a great workflow to keep them in RGB and then convert
| | 03:33 | to CMYK only when you print or export to
PDF and I will be talking about exactly how
| | 03:39 | to do that conversion later on in this chapter.
| | Collapse this transcript |
| Working with CMYK images| 00:00 | In the last chapter I went on at some length about RGB
images but the truth is that many people still want
| | 00:06 | to import CMYK images into InDesign and that's fine too.
| | 00:10 | But there are a couple of things that you need
to keep in mind when importing CMYK files.
| | 00:15 | I am going to switch to Photoshop here Command Tab on the
Mac or Alt Tab on Windows to switch back over to Photoshop.
| | 00:20 | I can see that I have a CMYK file here and I am going to
save it in this case I will use Save As because I can see
| | 00:27 | that it gives me the option to embed the color profile
| | 00:30 | and it tells me what the profile would
be the US Web Coated SWOP profile.
| | 00:34 | Now do you want to turn that on or off?
| | 00:37 | Most people just leave it turned on and they say sure go ahead
Photoshop is telling me I should do it so I might as well.
| | 00:42 | But do you really want to?
| | 00:43 | I don't know.
| | 00:44 | RGB images I virtually always save the color
profile, it's a good idea to embed those
| | 00:50 | but those are only 1k or 2k large so it's really no big deal.
| | 00:53 | But CMYK profiles can be much larger, these are often average
1 to 2 megabytes and so you know maybe that doesn't seem
| | 01:01 | so big compared to the whole Photoshop
image but if you had 400 CMYK images
| | 01:06 | and you embedded the profile well that's an
extra 400 megabytes that you may or may not need.
| | 01:12 | Besides as we learned in an earlier movie
in this chapter InDesign's color settings
| | 01:16 | by default will simply ignore all
embedded profiles in your CMYK images.
| | 01:22 | So if it's just going to ignore that
well maybe we just leave that turned off
| | 01:26 | and in many cases the answer is yes just
go ahead and turn that off for CMYK images.
| | 01:31 | On the other hand if you are going to be sending
your CMYK image to somebody else for them
| | 01:35 | to do further editing then you probably want to leave that
turned on or if you are using some other weird CMYK profile,
| | 01:41 | some custom profile perhaps and you are sending it off to
somebody else and you want to make sure they have access
| | 01:47 | to that profile because maybe they don't have it
themselves then you want to make sure that's turned on.
| | 01:52 | But if you are doing all the production
yourself you know InDesign
| | 01:55 | and Photoshop then you can typically just leave that turned off.
| | 01:58 | I am going to Cancel out of this because I am
not going to save over my original file here
| | 02:02 | but I am going to go ahead and import that into InDesign.
| | 02:05 | So I will click back over on InDesign and I will go to the File
menu and choose Place and I will grab that image and I am going
| | 02:11 | to turn on Show Import Options because I want to show you
something, click Open and I am going to click on the Color tab
| | 02:18 | of the Options Dialog box and I can see that there is a profile
popup menu here and currently it's set to Use Document Default.
| | 02:26 | That's because my color setting says
ignore any embedded profile in there,
| | 02:29 | just use the document default that's
what Preserve Numbers is all about.
| | 02:33 | But if I click on that popup menu I see that above
| | 02:36 | that setting there is another profile
and this profile is the embedded profile.
| | 02:41 | If there is nothing above that Use Document
Default means there is nothing embedded.
| | 02:45 | In this case there actually was something
embedded and we can see it sitting right here.
| | 02:49 | So that could be helpful.
| | 02:51 | You could choose that or you could choose any other
random profile on here I don't know why you would want
| | 02:55 | to choose a different one in here but
just so you know you can't choose that.
| | 02:59 | In this case I am going to leave this set
to Use Document Default because I want
| | 03:02 | to show you how you can override this
stuff within the InDesign document itself.
| | 03:06 | I will click OK and I will place this over here and why
don't I scale this down to let's say 35% and drag it
| | 03:13 | into position down here in this corner, great.
| | 03:16 | So now I have got the image on my page and let's say
I get an Email from the person who sent me this image
| | 03:21 | and they say oh wait you really want to use the embedded
profile don't use your default document profile, OK,
| | 03:28 | OK well how do I do it now that it's on my page.
| | 03:31 | So I go to the Object menu and I choose Image Color Settings.
| | 03:35 | There we go.
| | 03:35 | We have the same popup menus here
as we saw in the import dialog box.
| | 03:39 | And we can choose a profile either the
default in the document or we can override
| | 03:44 | that with the embedded profile whatever profile was
embedded there or perhaps something wasn't embedded
| | 03:49 | and maybe the person wanted it to be embedded.
| | 03:52 | So they could tell you the one that I was supposed
to use was full gray here so choose that one instead.
| | 03:57 | Now this will force InDesign to override the defaults and
that means it will do a CMYK to CMYK conversion when I output
| | 04:05 | when I print or create an export to whatever
my final CMYK setting is going to be.
| | 04:10 | And that could be OK, you don't typically need
to do it but it could be OK, it will be a problem
| | 04:16 | or I should say it could be a problem if there
are solid CMYK colors in the image itself.
| | 04:21 | For example if there was a big chunk of text in here
that was set to 50% cyan as we saw in the last movie
| | 04:28 | that 50% cyan may change pretty significantly
to some other setting,
| | 04:33 | you won't get pure 50% cyan if you
are doing a CMYK to CMYK conversion.
| | 04:37 | So just something to be aware of, if it's just a photographic
image no big deal, those will translate CMYK to CMYK just fine.
| | 04:45 | Now on the other hand you only need to specify
a profile in here typically if the profile
| | 04:51 | that you are choosing is radically different
from the one you are going to be outputting to.
| | 04:55 | So in most cases you don't need to do this but if it is really
different you know the CMYK inks are totally different then
| | 05:02 | if we chose Use Document Defaults and we just let it preserve
that numbers then the CMYK inks may look really, really weird.
| | 05:09 | So in that case if it is really different then we would
want to choose a profile out of this profile popup menu.
| | 05:16 | But again I just want to be clear in most
cases the Document Default will be just fine.
| | 05:21 | Now how can you tell how well your images will survive a
configuration or how they will look when they are printed,
| | 05:26 | the easiest way is to proof your document on screen called soft
proofing and that's what I am going to cover in the next movie.
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| Soft proofing| 00:00 | Years ago when I was working on my book Real World Photoshop with
the late great Bruce Fraser our publisher Peachpit Press came
| | 00:07 | to us and said they are going to print the
entire thing direct press no film, no film proofs
| | 00:13 | and at the time there was really no good way
to get a printed proof at all in that workflow.
| | 00:17 | So we did the next best thing we proofed our
book on screen and you know what it worked great.
| | 00:23 | In fact in many cases the images looked more
accurate on screen to what we finally got
| | 00:28 | on press than we had ever seen in a Match Print.
| | 00:31 | We were sold proofing on screen also called Soft
Proofing, can be an excellent proofing solution.
| | 00:37 | Note that I said can be.
| | 00:39 | There is just no way you are going to get accurate color
on screen unless you create a custom monitor profile
| | 00:45 | with a hardware device like that little Xright I1
device but once you do have a custom monitor profile
| | 00:52 | and you are viewing your monitor in a reasonably dim
room so there aren't major reflections all over the place
| | 00:57 | and you have a good profile that describes your
output device well then you are in good shape.
| | 01:02 | Here's what you do.
| | 01:04 | You go to the View menu and you choose Proof Setup.
| | 01:07 | There are two built-in setups already that document CMYK and
the default working CMYK for the application but we are going
| | 01:14 | to choose custom and we are going
to choose a custom profile here.
| | 01:18 | Now this will be the final output device and you can choose
either an RGB device or a CMYK device it's completely up to you.
| | 01:26 | For example if you have a custom profile that your
printer has given you then you want to choose that out
| | 01:31 | of here not your proofing device but your final press profile.
| | 01:36 | Now when Preserve CMYK numbers is on here I am telling
InDesign that I am going to be using Preserve Numbers
| | 01:42 | in my print dialog box or the export as PDF dialog box that
is I am not going to let InDesign convert my CMYK images
| | 01:50 | to some other profile well unless we have
overridden the profile and forced the CMYK
| | 01:55 | to CMYK conversion using image color settings
which we looked at in the last movie.
| | 01:59 | But in most cases we are just going to push the
numbers through to the printer just as they are
| | 02:04 | that is I am saying the numbers are more important
than the exact appearance when it comes to CMYK.
| | 02:09 | I am going to come down here and turn on Simulate Black
Ink because I want on screen the black is black to be more
| | 02:17 | like the black is black in the final output not
solid black on screen which is far too black,
| | 02:22 | we can't really print that kind of black typically.
| | 02:24 | But I may not want to simulate paper color.
| | 02:27 | Now I am really of two minds.
| | 02:28 | On the one hand if I am using a paper color which is pretty
significantly off-white I might want to simulate it just
| | 02:34 | to see what it's really going to
look like when it hits that paper,
| | 02:37 | on the other hand when I do simulate paper color
it usually just freaks me out it's just this big,
| | 02:42 | big change and everything gets really dull and the
art director looking over my shoulder looks at it
| | 02:46 | and goes oh we can't do that make it look better.
| | 02:49 | So in most cases I actually don't use simulate paper color when
I am soft proofing on screen but I do simulate the black ink.
| | 02:55 | So I will click OK and I can see that there is a change.
| | 02:59 | Now I want to just mention one trick here that
Bruce Fraser taught me and I really like this.
| | 03:03 | When you see a change you have sort of emotional reaction
| | 03:07 | of oh something is really radically different
here and that may not necessarily be the case.
| | 03:11 | What Bruce taught me is that the human eye while it's very,
very adaptive is also very sensitive to changes in color.
| | 03:19 | So here's what you do.
| | 03:20 | Hover the cursor over proofed colors and then close
your eyes before you let go over the mouse button
| | 03:26 | and then select it, alright and then open your eyes.
| | 03:29 | When you do that you don't see the change so radically, your eyes
have a moment to reshift to the new landscape of your colors.
| | 03:37 | So I do that on and off you know when I am turning it on, I will
close my eyes and then let go and then when I look at it I am
| | 03:43 | like well it's not quite so bad as I expected.
| | 03:45 | If you are going to have troubles with your colors it's
much better to get that news sooner rather than later
| | 03:50 | and the Proof Colors feature can give you a heads
up to any difficulties that you might encounter
| | 03:55 | and that can definitely help especially when
you are trying to optimize your color output.
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| Managing color when printing| 00:00 | It's time for the Print dialog box
where the wheels really meet the road
| | 00:04 | and all of our color management expertise
will be for noting if we don't print properly.
| | 00:09 | So let's go choose Print from the File menu.
| | 00:12 | I can see that I have an Epson Printer currently selected up
here in the Print dialog box and I am going to jump directly
| | 00:19 | to the Color Management Pane that's where most of the
color management features live of course and we can see
| | 00:24 | that we have 2 basic options, Printing
the Document or Printing a Proof.
| | 00:28 | I am going to start with Printing a Proof.
| | 00:30 | How do you get a proof out of InDesign?
| | 00:33 | Well when you choose the Proof option it tells you that
it's going to be applying a disk profile to the document
| | 00:38 | and that profile is whatever profile we
last specified in a Proof Setup dialog box.
| | 00:44 | That's what we saw in the last movie
when we were talking about soft proofing.
| | 00:48 | So whatever we chose there will show up here.
| | 00:50 | That's just kind of a way to encourage you to
soft proof before you actually print a hard proof.
| | 00:56 | Next I am going to switch to the output pane
and figure out what kind of color I want.
| | 01:01 | This printer will print either Gray or RGB and of course
we are printing a color proof so we are going to print RGB.
| | 01:07 | Now the printer is actually using CMYK Inks but we are treating
it like an RGB device and that's no uncommon for Inkjet Printers.
| | 01:15 | In fact many Laser Printers are better treated as RGB as well.
| | 01:19 | OK let's switch back to color management now and we are
going to see that InDesign is going to determine the colors,
| | 01:25 | that's pretty much the only thing we can let InDesign do here.
| | 01:28 | And Printer Profile is going to be set to the Printer Profile,
| | 01:32 | not our Final Device Profile the printing press that's
what we chose up here, that's like Custom Profile we chose
| | 01:38 | but here the Printer Profile what we are actually printing
on right now and here I am going to choose let's pick out one
| | 01:44 | of these custom profiles that I downloaded from Epson.
| | 01:48 | Most Inkjet Printers have their own color profiles here,
just as ICC Profile for this particular Inkjet device.
| | 01:55 | And you want to choose the profile that's
closest to the output conditions you are using,
| | 02:00 | so your printer and paper you are using and so on.
| | 02:03 | I mentioned similar paper color in the last movie when I was
talking about soft proofing and I told you that I don't tend
| | 02:09 | to turn this on unless the paper color of the final output,
| | 02:13 | whatever specified in this profile is
significantly different than what I am printing on.
| | 02:18 | So if it were like a pink paper or really
yellowish paper or something I might want
| | 02:23 | to simulate that by turning this checkbox on.
| | 02:26 | But in most cases when I am printing
a proof I leave that turned off.
| | 02:30 | OK, now let's look at what we would
do to print an actual document right
| | 02:34 | out of InDesign, not of proof but the document itself.
| | 02:37 | In this case I am going to choose a different printer.
| | 02:39 | I will pick this laser printer here just because it
gives us more options but you would pick whatever printer
| | 02:44 | that you will be printing on and I am going to go back to the
output pane and we can see that we have a lot more options now.
| | 02:49 | We could print this as a gray scale, we could print as RGB
if we want to, composite CMYK is typically what we would use
| | 02:56 | but we could also print separations
right out of this dialog box here,
| | 03:00 | right to CMYK separations plus spot colors if we have used them.
| | 03:03 | I am going to leave this set to composite
CMYK and I will head back to Color Management
| | 03:08 | and inside the Color Handling Pop-up menu
we see we have a different option now.
| | 03:13 | Postscript Printer determines colors and I tend not to use that.
| | 03:17 | I tend to prefer letting InDesign
determine all my colors, letting InDesign
| | 03:21 | and Adobe's built-in color management handle
my color management from within InDesign.
| | 03:26 | So Printer Profile, here is where
we choose our final output device,
| | 03:30 | what we are printing on and in this case I have a profile here.
| | 03:34 | There is a custom profile for my job that was created.
| | 03:37 | If you don't have a custom profile then pick a
profile which is closest to your output conditions,
| | 03:42 | if you are printing on sheetfed coated
then you can choose that for example.
| | 03:46 | Where do you get these custom profiles
for your output conditions?
| | 03:50 | Well there are a number of companies out on
the web that you can find that will do this.
| | 03:53 | Chromix is one such company, chromix.com.
| | 03:59 | They do great profiles but there
is a number of companies out there.
| | 04:02 | Just Google Custom ICC Profiles and you will find
a bunch of companies or talk to your printer.
| | 04:08 | Often times your printer will be able to supply you with a
custom profile for their presses, these inks, these paper stock
| | 04:16 | and so on and if you can really dial
that in then you are in good shape.
| | 04:21 | Now because this is a CMYK profile, I know
that all of my RGB images and all my RGB colors
| | 04:27 | and everything are going to be pushed into CMYK.
| | 04:30 | It's actually going to do that high quality
RGB to CMYK conversion at print time
| | 04:35 | but what's going to happen with my CMYK images?
| | 04:38 | Well that's what preserve numbers is all about.
| | 04:41 | We have talked a little bit about that in previous movies.
| | 04:43 | Any CMYK Swatch that we have created, in a Swatches
Panel all those CMYK colors are simply going to be passed
| | 04:50 | through when preserved CMYK numbers is turned on.
| | 04:54 | It's simply going to be sent of to the printer just
as it is and that's typically exactly what we want.
| | 04:58 | It's rare if you want to change those at print time.
| | 05:01 | Also CMYK images that we have imported, if you have
imported a CMYK image by default it also will be passed
| | 05:08 | through without having any kind of conversion
that's the default settings in InDesign.
| | 05:12 | However if you have manually tagged an image with a
particular CMYK profile and again we saw how to do that earlier
| | 05:19 | in this chapter, if you have mainly done
that then it will be taken into account
| | 05:24 | and it will not preserve the CMYK numbers,
it will actually convert from CMYK to CMYK.
| | 05:31 | OK now don't forget to look at the
other panes inside this dialog box.
| | 05:35 | For example, you can determine whether or not you
need your printer marks, you can determine whether
| | 05:39 | or not you have got your transparency
flattened or if you have any transparency
| | 05:42 | in your document you should probably be using high
resolution transparency, not medium, and so on and so on.
| | 05:47 | But that basically gives you an overview of doing color
management inside the Print dialog box and it's time
| | 05:53 | to click a Print but what if you are
not printing directly from InDesign?
| | 05:58 | What if you want to send your file to an
output provider as a PDF file instead?
| | 06:02 | Well let's look at that workflow in the next movie.
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| Managing color when exporting to PDF| 00:00 | I don't like sending my original InDesign documents and
all the native files to a printer or to an output provider.
| | 00:07 | If you trust them then there is nothing inherently wrong with
sending those files but personally I just want more control
| | 00:13 | and I want to minimize the mistakes that could occur.
| | 00:15 | So I almost always send my documents
to print as PDF files actually.
| | 00:21 | To be honest, I do often send the native files separately just in
case they need them in an emergency but I make it clear that if
| | 00:28 | at all possible they should work from the PDF files.
| | 00:32 | Anyway let's look at how to export a
color managed PDF file from InDesign.
| | 00:37 | I will go to the File menu and choose
Export then I will name the file,
| | 00:42 | make sure PDF is selected in the
Format Pop-up menu and click Save.
| | 00:47 | Adobe has created several presets that we can use in
here including high quality prints and some other ones.
| | 00:53 | I tend to shy away from high quality print or press quality.
| | 00:57 | They are just kind of ambiguous and kind
of half baked, not ready for prime time,
| | 01:01 | instead I would rather start with
something like a PDFX1a or PDFX3.
| | 01:06 | Let's go ahead and talk about those first.
| | 01:09 | PDFX1a is in Accrobat4 file that means all the
transparency is flattened and also if we look
| | 01:16 | in the Output tab we can see that this is a CMYK Profile.
| | 01:19 | PDFX1a only includes CMYK colors or CMYK
plus spot colors if I have any and it's going
| | 01:26 | to convert all my RGB images to CMYK when I export this file.
| | 01:31 | Note that this has convert to destination to preserve numbers
so that means everything will be converted to the destination
| | 01:36 | to CMYK but it will also preserve the numbers.
| | 01:40 | I will tell you a story about that.
| | 01:42 | Back in InDesign CS days a lot of people had problems exporting
PDFs out of InDesign because colors like a 100% black,
| | 01:50 | you know just solid black text would
suddenly become fore color black.
| | 01:53 | They would get cyan, magenta and yellow mixed in with the
black and they weren't very happy about that understandably
| | 01:59 | or a color like 50% cyan would suddenly get changed to
something else like 45% cyan and 3% magenta so that's not good.
| | 02:08 | So Adobe added this thing in InDesign CS2 and of
course it's still in CS3 called Preserve Numbers
| | 02:15 | and Preserve Numbers means pass all the
CMYK values through just as they are,
| | 02:20 | so all of your CMYK Swatches they
just get passed through perfectly.
| | 02:25 | CMYK Images by default will also get passed through, we have
mentioned that in some of the movies earlier in this chapter.
| | 02:31 | Your CMYK Images will be passed through without being converted
| | 02:34 | but if you have manually applied a profile
inside the Color Settings dialog box in InDesign,
| | 02:41 | if you have manually applied a profile
to a CMYK Image, it will get converted.,
| | 02:46 | it will not just get passed through,
so that's good to know about.
| | 02:49 | But in most cases Convert to Destination
Preserve Numbers is exactly what you want
| | 02:53 | and it will force everything into that space.
| | 02:56 | Now the destination, usually we will
just leave this set to document CMYK.
| | 03:01 | If you do know that it's going to a
specific output device and you do have
| | 03:06 | that profile then you could go ahead and choose that here.
| | 03:09 | For right now I am just going to leave that set to document CMYK.
| | 03:12 | Now how about PDFX3?
| | 03:13 | PDFX3 is also Acrobat4 so all the transparency is being
flattened but look at the Color Conversion Pop-Up menu.
| | 03:21 | It says no color conversion.
| | 03:23 | That means RGB images will be passed through to the PDF in RGB.
| | 03:27 | CMYK Swatches passed through just as regular
CMYK but what is happening is that all
| | 03:33 | of those profiles are being included inside the PDF.
| | 03:37 | Now the idea here is that your printer,
whoever you are sending this to should be able
| | 03:42 | to do a better conversion to CMYK than you should.
| | 03:45 | They should have better tools for doing that
conversion and better profiles and so on.
| | 03:49 | Well that's not always the case of course.
| | 03:51 | In Europe a lot of printers are quite familiar
with color management and they like PDFX3
| | 03:58 | because they agree they want to do that conversion into CMYK.
| | 04:01 | Around North American there are fewer
printers who are comfortable with that.
| | 04:05 | I don't know maybe they don't like the responsibility
of doing the conversion tot CMYK but a lot of printers
| | 04:10 | in North America would prefer PDFX1a
already preconverted to CMYK.
| | 04:14 | So check with your printer and find out if they are
familiar with PDFX3, if they are happy with that,
| | 04:20 | go ahead and send them a PDFX3 and they would do the
conversion to CMYK and they probably will get a better result.
| | 04:26 | Let me say one thing about PDFX4 on the other hand.
| | 04:30 | PDFX4 is like PDFX3 and that it's not going to do a
conversion, it's going to include all the data in the PDF
| | 04:37 | and let the printer handle it downstream but
look at this, the compatibility is Acrobat5
| | 04:42 | and the big difference there is transparency so any
kind of transparency in your documents will be passed
| | 04:48 | through in the PDF unflattened which is awesome because this
implies that your printer will do the flattening for you
| | 04:56 | and once again they could handle it better
than you can and I really like this.
| | 05:00 | Now PDFX4 is particularly useful in a workflow
where you will be flattening in rip for example,
| | 05:07 | if the printer has an Adobe PDF Print Engine Rip then
they can actually put the PDF directly into the rip
| | 05:14 | and the rip will flatten it, it will color manage it, it
will trap it, it will do everything inside the rip itself
| | 05:20 | and that's where you are going to get the maximum quality.
| | 05:22 | That's pretty awesome.
| | 05:23 | Unfortunately there aren't many PDFX4 rips available right now.
| | 05:27 | That will change over time but in the meantime check
with your printer, encourage them to look into PDFX4
| | 05:33 | and the Adobe PDF Print Engine and
maybe you will be able to use that.
| | 05:37 | Of course don't forget the other
panes in the Export PDF dialog box.
| | 05:41 | We want to always go through and make sure that these are setup
the way we want them to you know do you want marks and bleeds.
| | 05:46 | If you had a bleed you better turn it on here.
| | 05:48 | We will check all of these just to make sure they
are right and then we are ready to click Export.
| | 05:54 | OK, now that we know how to make a color managed PDF it's time
to move on to the next chapter where we are going to learn
| | 06:00 | about some pre-pressed issues that you really should know about.
| | Collapse this transcript |
|
|
11. ExportingTransparency Flattener preview| 00:00 | You can see that this page in the Pages panel has transparency
on it somewhere because of the little checkerboard icon
| | 00:06 | sitting in a corner, but what objects on my page are
transparent? This sort of thing often happens when you
| | 00:12 | are working on a file created by someone else.
| | 00:15 | Wouldn't it be great if you could just
see the transparent areas at a glance?
| | 00:19 | Even better, wouldn't it be nice to figure out what elements on
the page are going to be affected when a document gets flattened?
| | 00:25 | You can with the Transparency Flattener Preview panel
and you can open that panel by going to the Window menu,
| | 00:31 | scrolling down to Output and choosing Flattener Preview.
| | 00:36 | Now I just have to complain about something for a moment here.
Bear with me. This panel was named incorrectly,
| | 00:42 | it does not preview your transparency flattening.
| | 00:45 | It simply alerts you to transparency issues. It really should
be called the Transparency Flattener Alert panel, not Preview.
| | 00:53 | I'm done complaining. I just had to get that off my chest for
a second. Alright. Let's talk about how this thing really works.
| | 00:59 | The first thing you need to do is choose from the Highlight
pop-up menu. This gives you all kinds of options for example,
| | 01:05 | find me everything that is going to be rasterized in
a complex region. I'll skip over that one for a second.
| | 01:11 | How about find me all the transparent objects?
That sounds good, that's exactly what we were looking for.
| | 01:16 | Find me the transparent objects. So I'll select that
and you'll see that everything on the page goes gray
| | 01:21 | and the red stuff is what is going to be transparent.
It has some sort of transparency applied to it.
| | 01:27 | So we can see that the Chinese writing in the background has
transparency. This text, this heading up here has transparency.
| | 01:33 | The text over here, down here, these images
and even the text inside here does not.
| | 01:39 | That's gray text. So there's no transparency applied to those objects,
but there is transparency applied to that big green colored frame behind it.
| | 01:47 | Now you can actually work while you're in this mode. For
example I can select this object, open up the Effects panel,
| | 01:53 | and I can see, oh this is set to Multiply, so I'll set it
to Normal and you'll see that everything goes gray. Why?
| | 01:58 | Well, that's a little frustrating, but this is what happens.
| | 02:02 | The Flattener Preview panel only refreshes when you will first select
something from a Highlight pop-up menu or when you click Refresh
| | 02:10 | or if you have Auto Refresh Highlight turned on.
| | 02:14 | So I'm going to click Refresh and now you can see that it
looks at all the objects now this is no longer a transparent
| | 02:20 | and so it is grayed out but these objects still are.
| | 02:24 | By the way it looks like there's a hidden rectangle
here sort of behind this one and there isn't.
| | 02:29 | I don't know if it's a bug or just some kind of weird feature,
but that's actually the drop shadow behind this object.
| | 02:36 | If we turned the Flattener Preview off and set it to None,
| | 02:40 | we can see that there is a little bit of a drop shadow here
and for some reason it's being reflected as this big box back here.
| | 02:46 | So you need to be a little bit careful and kind of interpret
what you see on screen when you're using the Flattener Preview.
| | 02:52 | There are a bunch of different items in here under the Highlight
pop-up menu for example, all the affected objects, what is going to be
| | 02:58 | affected by transparency, and you can see that actually
a lot of stuff on my page is going to be affected,
| | 03:04 | but not the text and not the graphics. So that could
be good for our output. Only the affected graphics.
| | 03:10 | Oh OK, this object is going to be affected and now you can sort
of look through and figure out why is that object being affected
| | 03:16 | and I think it's because of this a Chinese text
in the background. It may be sitting on top of it.
| | 03:21 | We have to deconstruct the document and find out. So you have
a lot of options here that you can look through and sort of
| | 03:26 | figure out what is going to work and what is
not going to work when you print your document.
| | 03:30 | The Flattener Preview is useful also when you're building new
custom flattener settings because you can pull out a preset
| | 03:36 | from the Preset pop-up menu here and you can
audition your various flattener settings to see
| | 03:41 | which one makes the most sense in your given print situation.
| | 03:45 | When I choose a different one for example if I change this to low-
resolution, everything gets grayed out again so I have to click Refresh.
| | 03:52 | And we can see that there's actually no difference in this document between
low and high resolution. We're going to have the same things affected.
| | 03:58 | Once you figure out which flattener setting you want to be using,
| | 04:01 | you can click the apply settings to Print button,
and that will actually push it out into the Print dialog box,
| | 04:08 | and so set it up automatically for you, so that's kind of clever.
| | 04:11 | If you don't know how to make your own flattener presets
or if you don't know about spread overrides,
| | 04:17 | no problem, that's what we're going to be covering in the next movie.
| | Collapse this transcript |
| Transparency Flattener settings| 00:00 | As we saw in the InDesign Essential Training title,
whenever you have transparency in your documents it has to get
| | 00:06 | flattened somewhere along the line. In the best case scenario,
you can export an un-flattened PDF file, like PDFX-4,
| | 00:13 | and send that directly to a printer's RIP and this is
how the Adobe PDF print engine works and it's great.
| | 00:19 | The RIP does all the flattening and
we humans never have to think about it again.
| | 00:24 | But unfortunately the vast majority of
printers on the planet don't support this yet.
| | 00:29 | So we're back to square one. It's got to get flattened
somewhere. If you're exporting in Acrobat 4 file like
| | 00:35 | PDFX-1A or PDFX-3 or maybe you're going directly to
the Print dialog box. Let's choose a color printer.
| | 00:42 | We'll go to the Advanced pane, we see that we have to apply flattening
here. Ordinarily we just choose high resolution and be done with it.
| | 00:51 | Or if you're making an EPS file out of InDesign you
have to apply transparency there because all of these are
| | 00:57 | situations where you need to flatten right from InDesign.
| | 01:00 | And InDesign is doing the flattening. In the majority of cases,
like I said you choose a high resolution flattening, you're good to go.
| | 01:06 | But some output providers will still want to create their own
custom flattener presets for their particular output conditions
| | 01:13 | and there are even some good reasons for designers to
sometimes make custom settings too. So how do you do that?
| | 01:19 | I'll cancel out of here and I'm going to go to
the Edit menu and choose Transparency Flattener Presets.
| | 01:25 | Here you see the three built-in presets, low, medium and high,
| | 01:29 | and you can't edit those, but you can
create new presets based on those.
| | 01:33 | Let's go ahead and do that. I'm going to select the one that
I want to base a new one off of. I'll choose High resolution,
| | 01:39 | click New, and I'm going to give it a name. I'll say,
"really high res." Now you have several options here.
| | 01:46 | The first option is the raster vector balance and that
tells InDesign how hard should you try before it gives up
| | 01:54 | and rasterizes something. So you have an option from raster
to vector. Rasterizing means turning something into a bitmap,
| | 02:00 | basically turning it into pixels and in worst case scenarios,
it will actually force things into pixels instead of keeping
| | 02:08 | them as vectors like type or complex lines. If this a set to 100,
| | 02:12 | all away to the right here, InDesign will basically try its hardest.
So this is for best quality output, we'll leave this be the set to 100,
| | 02:19 | but in some situations, we might want to increase
this up like 2400. So even in the odd case that it will
| | 02:25 | convert line art or text to pixels and certain kinds
of special effects, what resolution should it use?
| | 02:32 | And that's what this 2400 would be set to.
| | 02:34 | A gradient and mesh resolution. This is the resolution of
things like drop shadows or glows. Blurs and that kind of thing.
| | 02:41 | That- usually you don't even need 300 PPI. I'll leave that
set there but you might choose a lower resolution,
| | 02:47 | because there's no detail there. Right? In a blur or a
drop shadow, there is no detail that's you're trying to keep.
| | 02:52 | So in fact I will change this. I'll lower this down to 200.
You typically don't need anything more than that for a blur.
| | 02:58 | Now we're not going to get into these right now.
Let's go ahead and click OK and create a new one.
| | 03:03 | And I would to create a new one that's just the opposite.
I'm going to set this all way down to Rasters. So basically
| | 03:09 | rasterize everything. I'll call it 'turn it all to pixels'
and this will turn everything to pixels at these resolutions.
| | 03:16 | And this is probably too high. Our PDF would get way too big, but
let's lower the resolution so that the whole thing gets turned to
| | 03:23 | a giant pixel picture and so that's another
kind that we might want to create and it warns us,
| | 03:29 | "Are you sure you want to do this? This is going
to be a really big file." OK that's fine. We'll click OK.
| | 03:34 | OK let's create a third one and this one is going to be
something that will convert all the text to outlines.
| | 03:41 | Now in an earlier chapter I mentioned that sometimes people
want to convert everything in a whole document to outlines,
| | 03:46 | all the text to outlines and I talked about how it's not really
a good idea to do that using the Create Outlines feature,
| | 03:52 | but there is kind of a backdoor way to do it, kind of a sneaky way
to do that and that is to create a custom transparency flattener preset.
| | 03:59 | So I'm going to create a new one here.
| | 04:02 | And this is not going to be rasters. I'll set this all
to vectors and I'm going to convert all my text to outlines.
| | 04:07 | Now why would you want to convert text or strokes to outlines?
| | 04:10 | In general, you might want to turn this on if certain parts
of your page are getting darker than others. For example,
| | 04:17 | if transparency is causing some of your text to get darker
or some of your lines to get darker than other lines on the page
| | 04:23 | or other text on the page then you might want to convert
all your text or all your strokes outlines. That is usually
| | 04:28 | not a problem with really high resolution plate setter and
so on, but they could be for low-res devices like a laser printer.
| | 04:34 | That said, in this particular situation, I'm
not going to convert my strokes to outlines.
| | 04:40 | I'm just going to convert my text to outlines because I
want all the text to be converted to a lines for this trick.
| | 04:47 | I'll call this "convert all text to outlines."
You can call that anything you want.
| | 04:51 | I'm going beef this up just in case...
We're going to maintain vectors whenever possible.
| | 04:57 | And in fact we're going to convert all our text to outlines.
I'll click OK and we now have three transparency flattener presets
| | 05:03 | that we can work with. So I'll click OK here to
save that and let's try them out. We can try it out,
| | 05:08 | we can sort of do a test run inside the Flattener Preview
panel here that we talked about in the last movie
| | 05:13 | and I can say highlight all of the rasterized areas,
| | 05:19 | when we're using the really high res preset that
we made. I'll click Refresh and we can see that
| | 05:26 | nothing is getting rasterized and that's good.
It's good. What if we use turn at all to pixels?
| | 05:30 | And I click Refresh.
| | 05:32 | Whoa! Everything, everything is getting rasterized. Right?
Because that's exactly what we told this flattener preset to do.
| | 05:38 | Let's try a different one. Let's say,
what if we want to convert all text to outlines?
| | 05:43 | OK, nothing is getting rasterized. But what if we are looking for
not rasterized stuff, but what if we are looking for outlined text?
| | 05:50 | There we go. Outlined text.
| | 05:52 | This is getting outlined, that's getting outlined
and everything is getting outlined because
| | 05:56 | that's exactly what we told this preset to do.
| | 05:59 | I need to point out one more thing having to do with
flattener presets and that is in the Pages panel.
| | 06:04 | You can select a page or spread inside the Pages panel
and then from the fly out menu choose Spread Flattening.
| | 06:11 | And this is a way to override any kind of
document-wide flattening that you going to be applying.
| | 06:17 | So let's say you're working on a document, you're trying to
get it to print and one page, one spread is just not printing
| | 06:23 | and you can't figure out why. You think it might
have something to do with the flattening on the page.
| | 06:28 | Well in that case, you could choose None (Ignore Transparency)
and basically it won't try to flatten it all.
| | 06:33 | It just sort of turns it off.
So that's a good troubleshooting technique.
| | 06:36 | Another thing you might do is apply a custom flattener to just
this spread. So you could say, "You know what? On this page,
| | 06:42 | maybe for the whole document we want really high quality,
but on this spread, just to get it to print,
| | 06:47 | because something's really complex about this page,
we're going to knock it down a little bit, maybe to 75.
| | 06:52 | and maybe lower the resolution a little bit just to see
if it's going to print." So there's some things you can do
| | 06:57 | on a per-spread level in a troubleshooting situation. Ultimately
it's pretty rare that you need to worry about making a custom
| | 07:03 | transparency flattener setting at all, but isn't it cool
that the folks at Adobe opened this black box up to us
| | 07:09 | and let us go in and tweak it in so many ways?
| | Collapse this transcript |
| Print presets| 00:00 | I hate making the same changes all over and over again.
| | 00:04 | For example every time I go to the Print dialog box,
| | 00:07 | I have to choose a printer, I have to go through each and
every one of these panes to make sure that it set up correctly,
| | 00:14 | and that just gets really tedious. It's especially painful if
you have two or three different printers that you constantly
| | 00:19 | print to because you're forever making changes.
So that's where print presets come in handy.
| | 00:25 | I mentioned print presets very briefly in the Essential
Training title, and I showed how you can click on Save Preset
| | 00:30 | and then give it a name. 'My Dell printer.'
And you click OK and now that shows up here
| | 00:37 | in the Printer Preset pop-up menu that you can later choose from.
| | 00:40 | That saves pretty much everything in the Print dialog box
inside this one print preset. So when you choose it
| | 00:47 | you get all of those settings and you're good to go.
| | 00:49 | Now, I would be remiss in my duty, if I didn't tell you
about a little secret Easter egg that snuck into InDesign.
| | 00:57 | Easter eggs are just kind of fun undocumented features, and Adobe
snuck this one, because you might know that in QuarkXPress,
| | 01:04 | There was a mean the alien and this little Martian creature
could walk out onto the page and delete stuff from your page.
| | 01:10 | And you know, that was Quark's Easter egg. I thought
that very funny, but the folks at Adobe said,
| | 01:15 | "We want an alien too. We want one, but we want a kinder,
gentler alien." So they snuck one into the Print dialog box,
| | 01:20 | and I can show it to you here. All you have to
do is click on Save Presets and name a preset,
| | 01:26 | doesn't matter what the settings are, just name it, 'Friendly Alien.'
| | 01:30 | That's all you have to do. Click OK and now you have a
Friendly Alien print preset and as long as that is selected
| | 01:36 | in the Print Preset pop-up menu, you can click in the little print
proxy area in the lower left corner of the page and when you do that,
| | 01:44 | you get a little friendly alien.
| | 01:47 | Hello! [Chuckles.]
| | 01:49 | You know it's fun that the folks at Adobe snuck
that in there. It's a little friendly alien.
| | 01:53 | Now I'm mentioned earlier that not everything is saved
inside a print preset, just most of the stuff in here.
| | 01:59 | So let me cancel out of here and show you
how you can tell what is saved and what's not.
| | 02:03 | I'll go to the File menu and choose Print Presets, the submenu
| | 02:08 | and then you can see that all of your print presets are
listed here and we can also choose Define. The Define dialog
| | 02:15 | box lets us go in and edit or create new print presets.
For example you could edit the default print preset, the one that
| | 02:20 | appears every time you open the Print dialog box. I'll edit
'My Dell printer.' Click edit, and first of all I'll capitalize
| | 02:29 | Dell because what was I thinking? And you can change
all kinds of things here. For example you can say,
| | 02:33 | "Every time I print with this print preset,
I want it to print three copies of the document."
| | 02:37 | And you know, that's your prerogative. You could do that
if you want to. What you cannot do is specify a page range.
| | 02:43 | You can't say I only want to print pages 5 through 7
and you know, personally I wish they would let you do that.
| | 02:50 | There are some workflows flows where that would
be useful, but in this case, you cannot do that.
| | 02:55 | But you can specify most of the other things. For example,
page size, marks and bleed, advanced. I'll change this to
| | 03:01 | High Resolution because I always want to be printing with
a high resolution to this printer for example. You can see
| | 03:07 | that my other flattener settings snuck in here.
Those are the ones that I created in the previous movie.
| | 03:12 | Great. I'll click OK.
| | 03:13 | I'm going to click OK here after I've made my changes,
and I want to point out just a couple things about
| | 03:19 | the Print Presets pop-up menu.
| | 03:21 | This little fly out sub-menu, whatever you want call it.
One thing is, if I choose one of these from this menu,
| | 03:27 | one of my print presets from the menu, it will open the Print
dialog box and it will go directly to that print preset.
| | 03:34 | That could be useful if you have a lot of print presets I suppose.
But what's really cool about this is if you hold down the Shift key
| | 03:39 | when you choose one of these, then that it bypasses the Print
dialog box entirely. It just prints that with that print preset.
| | 03:46 | So that's a really cool and very handy
if you're printing stuff all day long.
| | 03:50 | Building a few print presets is one simple way that you can minimize
the tedious work you have to deal and increase your efficiency.
| | 03:57 | I'll be covering even more automation features in the following movies.
| | Collapse this transcript |
| PDF presets| 00:00 | In the last movie, we looked at how to make a print preset
to speed up the printing process, especially when you often
| | 00:06 | have to print a two or more different printers. Well, shouldn't
we be able to do the same thing when exporting PDF files?
| | 00:11 | Sure and of course we can. The process is virtually identical.
I'll go to the File menu, choose Export this time. I'm going to
| | 00:17 | save this as a PDF file. Actually, not going to make my PDF quite yet,
but I am going to click Save and I'll set up my Export PDF dialog box
| | 00:25 | just the way I want it. For example, I'm
the editorial director of InDesignMagazine.com,
| | 00:30 | you can find out more about that at indesignmag.com, and
sometimes I do the production and have to export PDFs myself.
| | 00:37 | So I'll show you how I basically set this up. I'll do an Acrobat 6 file
because it's interactive PDF. I'll turn on all of my various options.
| | 00:45 | I'm going to Embed All. I'll just threw this together quickly.
I want to view my PDF after exporting it because I want to check it.
| | 00:51 | Let's go ahead and set my preferences down. I don't want
it quite that low, but I do want it a little bit lower.
| | 00:58 | I'll go ahead and set my compression down. I'll resample these
a little bit lower than they are right now, although
| | 01:04 | we don't want the image quality be quite that low. We could probably
choose Medium or High for better quality, but we certainly
| | 01:16 | don't need maximum for an on screen viewing. Let's go to Marks and Bleeds.
We don't want marks and bleeds. We are going to say don't convert anything.
| | 01:18 | But we do want to include the profiles because we want people
to see it on screen properly and we don't have to worry
| | 01:23 | about flattening, but we do want it to a subset the fonts
of course, because what the files to be the smallest we can.
| | 01:29 | So anyway that's some of the settings that we do, and once
I set all that up I click Save Preset. I can give it a name,
| | 01:35 | and I'll call it InDesignMag
| | 01:38 | and I'll click OK.
| | 01:40 | Now that shows up in my PDF Preset pop-up menu and every time
I want to print with these settings I just pull it out of the
| | 01:46 | pop-up menu. Nice and easy.
| | 01:48 | I'll go ahead and click Cancel, because I'm not going to export
it right now. I want a show you one other thing. If we go to the
| | 01:54 | File menu, we can go down to the Adobe PDF Presets submenu
and we can see all the different settings here that InDesign has,
| | 02:00 | some of the ones that InDesign ships with of course, plus
the one that we created right here. I should mention that
| | 02:07 | when I create one of these from InDesign, it immediately becomes
available in the other Adobe Creative Suite programs too.
| | 02:13 | So I could use this print preset in
Adobe Illustrator for example or even Distiller.
| | 02:19 | If I click on this InDesignMag from the Adobe PDF
Presets submenu, it will open in the Export dialog box
| | 02:26 | and take me right to that preset, but here's a little trick.
| | 02:29 | If I hold on the Shift key when I click on InDesignMag,
it'll simply ask me where do I want to export this to?
| | 02:36 | And I click Save,
| | 02:37 | and it just does it. It exports the PDF without
me ever having to see any dialog box at all.
| | 02:42 | So that's really efficient.
| | 02:44 | Here we are looking at Acrobat, at the PDF that it created.
| | 02:48 | For people who need to make PDFs fast and furious all day long,
these presets are essential for a smooth workflow,
| | 02:54 | but as you know, there is another way to make PDF
files from InDesign besides exporting them directly,
| | 02:58 | and that's printing PostScript to disc
| | 03:01 | and then using Acrobat distiller to make the PDF.
| | 03:04 | Is that a good idea though? Find out in the next movie.
| | Collapse this transcript |
| Making PDF files with Distiller| 00:00 | Some trainers insist that there's a right way to
do things and a wrong way. Well that ain't me, babe.
| | 00:06 | No, my philosophy is closer to there's a time for everything under...
| | 00:10 | Well under InDesign I guess. So, when the question comes up,
as it so often does, about whether you should export PDF
| | 00:18 | directly out of InDesign or use Acrobat Distiller to create
your PDF files I have to answer yes. Ah, both. Ah, well it depends.
| | 00:28 | The great thing about exporting PDF
directly out of InDesign is that it's faster.
| | 00:33 | InDesign can write PDF directly to your hard drive
without having to export PostScript first
| | 00:39 | and then use Distiller to convert that into PDF.
| | 00:43 | This means writing PDF directly out of InDesign
is sometimes is twice as fast as using Distiller.
| | 00:49 | It's also much easier because you don't have to use some extra program
and ultimately writing PDFs out of InDesign is just cooler.
| | 00:57 | The Distiller has some good points as well.
| | 00:59 | If file size is important to you then Distiller might be the way to go.
| | 01:03 | For example, if you're trying to make a really small file maybe
you're going to put it up on a website, like a one page brochure
| | 01:10 | that you want people to download, Distiller may make a
smaller file. It usually does make smaller files than InDesign.
| | 01:16 | Not always but usually.
| | 01:18 | But your files are also flatter and more bland. What do I mean?
Well in an order for Distiller to work you need a PostScript file.
| | 01:25 | So InDesign has to write PostScript to disc
and PostScript does not support transparency.
| | 01:31 | It does not support any of the interactive features, so there's
no buttons, hyperlinks, and there's no movies, sounds.
| | 01:38 | There's no layers. Any of the cool PDF goodness that you can
get when you export to PDF directly out of InDesign,
| | 01:44 | you can't have any of that when you go through Distiller.
| | 01:47 | It's just plain-vanilla PostScript converted into plain-vanilla PDF.
| | 01:52 | But some people like that plain-vanilla world.
| | 01:55 | Lets see how you do that. I'll go to the File menu,
| | 01:58 | choose Print,
| | 01:59 | and then I'm going to show you how to make a PDF using Distiller.
| | 02:03 | Typically I would choose Adobe PDF from the Printer menu.
| | 02:07 | When you do this in you're telling InDesign to write PostScript
to disc and then automatically feed it into Distiller for processing.
| | 02:14 | There's couple things you should know about when you're
doing this though. Let's goes through these different panes.
| | 02:19 | One is you typically want to set your paper size to
Custom so the paper size will stretch to include all
| | 02:25 | of the different marks and bleeds and so on that you have on there.
| | 02:28 | Here I've turned on all my marks and bleeds
but that's up to you depending on your output.
| | 02:33 | You have an option of doing CMYK or RGB
depending on where you going with it.
| | 02:37 | But one thing I do want to point out is that when
you're printing you want to print the entire font.
| | 02:42 | You don't want to subset your fonts
when you're printing to PDF using Distiller.
| | 02:46 | Choose the entire font.
| | 02:48 | That's usually more reliable.
| | 02:50 | I also like turning Download PPD Fonts on when I do this.
| | 02:54 | Now when it gets a Distiller which job options is it going to use?
Is it going to be PDFX-1A? Is it going to be smallest size?
| | 03:01 | How do you control that?
| | 03:02 | Well from inside the Print dialog box, we can click Printer.
| | 03:06 | In Windows it's a different setup. You choose Properties instead.
| | 03:10 | And you get this warning saying, "Watch out. Some of the changes
you might make may not actually be honored." But that's OK.
| | 03:16 | In this case we'll just click OK and this opens up
the printer driver dialog box, on Mac or Windows,
| | 03:22 | it looks differently, but you have the same basic functionality.
| | 03:25 | We can scroll down here to PDF options and this is
where we're going to control the Distiller options.
| | 03:31 | You can choose your PDF settings from the list here.
| | 03:34 | I'm one a choose PDFX-1A.
| | 03:37 | Then you can choose what is going to happen after
the PDF is made. Do you want it to launch Acrobat?
| | 03:42 | Or just launch nothing? It's up to you.
| | 03:44 | I'm going to have it launch Acrobat.
| | 03:46 | When I click Print, the printer driver says, "OK, where do you
want to save this file," and I'll go ahead and save it right to
| | 03:53 | this folder. I don't need this garbage attached to it.
So I'm just going to delete all of that and then I click Save,
| | 03:59 | and it takes me back to InDesign's Print dialog box.
| | 04:01 | From here, once I've confirmed that all of these settings
are correct, I click Print and InDesign will write the PostScript
| | 04:08 | to disc, it will process it through Distiller and
when it's done, it launches Acrobat and opens that file.
| | 04:14 | Here we go.
| | 04:16 | Now of course the longer the document, the longer it's going
to take for Distiller to work, but in general, it's pretty snappy.
| | 04:22 | Just not as snappy as exporting directly out of InDesign.
| | 04:26 | I want to go back InDesign and show you one other
option for exporting PostScript for Distiller.
| | 04:31 | I'll go to the File menu, choose Print.
| | 04:34 | And this time instead of choosing Adobe PDF,
I'm going to choose PostScript file.
| | 04:39 | In this case InDesign is simply going to write PostScript
to disc and it's up to me to do something with it,
| | 04:44 | like feed it to Distiller later.
| | 04:46 | This could be handy if I'm using Acrobat's Hot Folders feature
so that any PostScript file that ends up in a particular
| | 04:52 | folder would automatically get converted into PDF.
| | 04:55 | For example that folder might be on a server somewhere and
some other version of Acrobat, not on my local drive, is going
| | 05:00 | to be doing the conversion. So that also could be useful.
| | 05:03 | You also need to use this method if you don't actually
own Adobe Acrobat Professional. If you don't have that then
| | 05:09 | you going to have to write PostScript files to disc directly
and then give it to somebody else to convert into PDF.
| | 05:15 | Now if you are you driving PostScript to disc, you want make
sure that the PPD that you're choosing here is the Adobe PDF PPD.
| | 05:22 | If you don't own Acrobat, I guess you are going
to have to try and get that PPD from somebody.
| | 05:26 | But in general, when you choose this, you're
telling InDesign that you're using Distiller.
| | 05:31 | that you're going to be ending up in Distiller.
| | 05:33 | PPD is a PostScript printer description file. It just
describes whatever device you're printing to and in this case,
| | 05:39 | we're saying we're going to be printing to the Distiller.
| | 05:42 | From here, you'd simply click Save and you'd have the same kind
of options. It'll write the PostScript to disc and then either
| | 05:48 | the Hot Folder would kick in, or you'd
feed it to Distiller in some other way.
| | 05:52 | I'll click Cancel, because I don't need to
make that PDF right now. I already made one.
| | 05:57 | I know people who swear that PDFs
made with Distiller are more reliable.
| | 06:01 | I know other people who've had problems with
Distiller files and they'd rather export directly.
| | 06:06 | In general, I guess I recommend exporting directly from InDesign
unless you had a particularly good reason to use Distiller.
| | Collapse this transcript |
| Printing with spot colors| 00:00 | In earlier movies I've talked about spot colors and duotones
and mixed ink swatches, but I need to take a moment to
| | 00:06 | explore a few issues that are particular to printing spot colors.
| | 00:10 | Before I do that though, I want to
deconstruct this document a little bit.
| | 00:13 | I have an image over here and an image
over here that I want to go look at.
| | 00:17 | I'll switch to Photoshop first a look at this one.
| | 00:20 | I'll use my application switcher on the Mac, it's Command+Tab
or Alt+Tab on Windows, and I can see in Photoshop,
| | 00:26 | I have my image with a spot color in it.
| | 00:29 | It's a regular CMYK image, but I can tell that I has a spot
color because in the Channels panel I can see a separate fifth
| | 00:36 | channel called Pantone 361 C. Now I don't want to get
into details about how to make spot color channels in Photoshop.
| | 00:44 | There are plenty of other movies on the lynda.com online training
library about how use Photoshop, but I just want to point out
| | 00:50 | that this has a separate spot channel in here and in fact if I turn
that off, you can see that it's knocking out in the image behind it.
| | 00:57 | Now I've saved this as a PST file, and I imported it into InDesign. Let's
go check out Illustrator. I'll switch over to Adobe Illustrator here
| | 01:05 | and we can see here's our Illustrator graphic and this
graphic right here, this object has been assigned a color.
| | 01:11 | And if I double-click on it in the Swatches panel I can see
that it's a spot color assigned once more with Pantone 361 C.
| | 01:19 | Click OK. We've saved this as an Adobe Illustrator file.
Could be PDF I suppose, but I saved it as AI and let's go back
| | 01:26 | to InDesign and we can see it on our page. The Photoshop image
and the Illustrator image and both of these use spot colors.
| | 01:32 | We can see that when we import those images
into InDesign at the bottom of the Swatches panel,
| | 01:38 | there's our swatch. The Pantone 361 C. It's named exactly the
same because InDesign added that when I imported those images.
| | 01:45 | I've created a new mixed ink swatch based on that Pantone
color as well called 30k and 75% pms361, and I've applied
| | 01:54 | that mixed ink swatch to this text.
| | 01:57 | Before I go any farther, I want to point out one more time
the Ink Manager which you can find in several places
| | 02:03 | including in the fly out menu of the Swatches panel.
| | 02:06 | Inside Ink Manager I want to check this carefully
and I want to turn on Use Standard Lab Value for Spots.
| | 02:12 | That way I'll get more accurate preview of my color
on screen and when I print to a color printer.
| | 02:18 | I can also convert my spots to process colors here by turning
on All Spots to Process or by clicking on the little icon
| | 02:25 | to the left of the name. That changes that color to a process color.
| | 02:30 | But in this case, I don't want to do that.
I want to maintain my Pantone color.
| | 02:34 | Click OK and I'll go look at the Print dialog box
because I want to think about how to print this document.
| | 02:40 | I'll choose Print from the File menu,
| | 02:42 | and I don't have a hide in a printer here to work with here, so I'll
just choose my color laser printer. It'll give us the basic idea here.
| | 02:49 | When you're printing to a- let's say you're printing separations, you'd
choose Separations from the Output pane and then the you have some options.
| | 02:58 | For example, you can set up screening
if you have special screening to do here.
| | 03:02 | Now let me move this out of the way and talk about what's going on
on the page. On the graphic on the right, this Illustrator graphic,
| | 03:07 | the Pantone colors are all solid colors and they're knocking
out anything behind him. So I'd never have to worry
| | 03:14 | about screening here because A, there's no tints in this.
It's just all solid. And it's not overlapping any other colors.
| | 03:19 | So there's no screening problems that could happen.
| | 03:23 | The one on the left, this Photoshop image, is mostly solid
Pantone color, but there may be on the edges some tints
| | 03:29 | of the Pantone color that are kind of
blurring into the images in the background.
| | 03:34 | But even then it's probably not to be enough to worry about
screening problems and the screening problems I'm talking about
| | 03:40 | are more ray angle problems, where you have two tints
of two different inks and they're overprinting and
| | 03:46 | they actually start creating a weird ugly patterns in
the tints when you print the halftones on top of each other.
| | 03:52 | Now over here with this mixed ink color we have
a tint of the Pantone color and the tint of black
| | 03:59 | and watch out. We're going to have problems here,
because those two tints are right on top of each other.
| | 04:04 | So in the Print dialog box, if we're
going to be printing this from InDesign
| | 04:09 | we have to pay attention to screening and we can see
that the process black is printing at a 45 degree angle,
| | 04:16 | and the tints of the Pantone 361 are also
printing at 45 degrees. So this is a big problem.
| | 04:22 | We definitely need to change the least one
of those so that we get a better effect.
| | 04:27 | Now, what angles do you want a use when you're printing spot
colors over each other? Or different inks on top of each other?
| | 04:32 | Well, the best answer is check with
your printer on what angles they suggest.
| | 04:36 | In general, you want to use 45 degree difference between inks when
you can or 30 degrees when you have to or if you really have to,
| | 04:44 | then 15 degrees. But not other than 15, 30 or 45. That's why you'll
see the normal CMYK inks, we have 30 degree between here and 30 degrees
| | 04:52 | between here and so on. Their compromises between these tints
overlapping. But the Pantone ink is only overlapping with
| | 05:01 | black here so we need to make a compromise between these two.
| | 05:04 | If we were using a very light colored Pantone ink, you might
want to select that and change the angle to let's say zero.
| | 05:11 | That way, it would cause problems with yellow but we're not
overprinting yellow here so that's not an issue,
| | 05:16 | but we have a full 45 degrees between that Pantone color and black.
The problem here is that with this green, it's a little bit too dominant.
| | 05:25 | Our eye will see a 0 degree tint really easily and so, at least in
some situations, zero is going to be probably too much of a problem.
| | 05:33 | So I would probably change this to let's say 15 degrees. Then we
have 30 degrees between these two and my guess is that will work OK.
| | 05:39 | But again, check with your printer;
| | 05:41 | they're going to have their own opinions about all of this.
| | 05:44 | Now have you ever printed a proof of your document and
let's say you've used spot colors, maybe put drop shadows on there
| | 05:50 | and so on and you print a proof to an inkjet printer and
you realize that the result is totally different than
| | 05:56 | what you see on screen. What's going on there?
| | 05:58 | Well InDesign tends to create these effects with spot colors
based on overprinting and when you print a proof sometimes
| | 06:05 | the overprinting doesn't kick in, the printer doesn't understand
overprinting, especially inkjet printers, and so the effect
| | 06:11 | completely gets lost and that's just ugly. So if you are printing,
let's say to what inkjet printer and you're going to be
| | 06:17 | printing not separations but probably composite RGB or composite CMYK,
| | 06:21 | you might turn on Simulate Overprint. Now you
do not want to do this with a final output at all.
| | 06:28 | One of the big things that happens here is all of your
Pantone colors get converted to process colors on the fly.
| | 06:33 | So this is a no-no for final output but for proofing
it can be very, very handy indeed to simulate the overprint,
| | 06:39 | which is also simulating the transparency.
| | 06:42 | One other thing about transparency issues with
spot colors, you know Multiply blending mode works fine,
| | 06:48 | Screen typically works just fine but some of the fancy ones,
especially Color, Saturation, Difference, Exclusion,
| | 06:55 | those blending modes. You don't want to be using those with
spot colors. You get some really cool looking effects on screen.
| | 07:01 | Wow, it looks awesome, but it does not print properly at all.
It typically converts all of those to process colors along the way.
| | 07:08 | So simple blending modes, common blending modes,
fine. Go ahead and use them but not the fancy ones.
| | 07:12 | You know now that it's so cheap to print four color process color jobs,
I find that many fewer people are relying on spot colors these days,
| | 07:19 | but there are still great reasons to use spot colors,
including a far wider range of colors and effects
| | 07:25 | than you can achieve by simply mixing cyan, yellow,
magenta and black and as long as you follow
| | 07:29 | these basic spot color rules, you'll get great results.
| | Collapse this transcript |
| XHTML exports| 00:00 | OK enough talking about all that print stuff. I mean come on,
who prints anymore? No, no, I'm just joking. Print is great,
| | 00:06 | but these days people also need to publish on the web and
that means we need HTML export or more specifically XHTML.
| | 00:14 | If you don't know the difference let's just say XHTML is like
a more pure version of HTML. And one of my biggest frustrations
| | 00:22 | with InDesign is that you cannot easily import HTML files.
You can kind of fake it with XML import, but it's not pretty.
| | 00:30 | You can however export XHTML pretty easily by going to the File menu,
| | 00:34 | scrolling down to Cross-media Export and then choosing
XHTML/Dreamweaver. Now I need to point out that this has
| | 00:41 | nothing to do with Dreamweaver. You don't have to use
Dreamweaver here. I think Adobe just stuck the name in there
| | 00:47 | to build brand identity or something among InDesign users,
but basically it's just XHTML and you can use it with any
| | 00:52 | web authoring tool. There's a second one here, which is
Digital Editions. Now Digital Editions is a special thing.
| | 00:58 | It's Adobe's into new e-book format that they're trying out and
it's pretty cool, but it's definitely not yet ready for prime time.
| | 01:05 | So we're going to skip it for now, maybe see what happens
in the CS4 timeframe. When you choose XHTML/Dreamweaver,
| | 01:12 | it says, "Where you want to save this?" And I'm putting it inside
the Web folder, which is inside my exercise folder for this chapter,
| | 01:19 | and I'm going to just click Save with the name Javaco magazine.
| | 01:23 | It gives me several options here including whether to export
the selection or the whole document. It also lets me choose
| | 01:29 | what to do with bullets and numbers. For example we could
just convert them to regular text or map them to unordered lists,
| | 01:36 | and I'm just going to let them map.
| | 01:37 | It also lets you change your images into GIFs and JPEGs or
J-IFs and JPEGs, however you want to say that. I have to say,
| | 01:44 | I'm not a big fan of letting InDesign do this conversion.
I think Photoshop or Fireworks or pretty much anything else
| | 01:51 | is going to do a better job of doing this conversion. So, I'm
not a big fan like I said of of using any these tools here.
| | 01:58 | You can if you want copy the Optimized version.
That means his scale and rotate all of the images in here
| | 02:05 | and save a scaled and rotated version of it.
| | 02:07 | Or you could choose the original image, just copy the original
image into a particular folder, but what I do is I just say,
| | 02:13 | Link to a Server Path and I say this is going to be in images.
It will be inside a folder called images, and I'm expecting
| | 02:19 | all of my images to be JPEG in this case
and this tells InDesign, "You know what,
| | 02:25 | you shouldn't do the conversion. Let the user do
it off-line sometime and put all of the images in here
| | 02:31 | but we'll keep the file names the same."
| | 02:33 | Under Advanced, we have a really cool thing. We can to map
your HTML to CSS styles and if you don't know a lot about CSS
| | 02:41 | desperately checked out the CSS titles on the Lynda.com
online training library because CSS is very cool. If you choose
| | 02:48 | no CSS, you still get basic HTML with some div tags and you know
P tags and so on, but you don't get anything particularly special.
| | 02:55 | But in this case I'm going to say External CSS
because this will say "I am using a CSS file.
| | 03:02 | I've written it elsewhere. It's already my hard drive. It's
called this, it's going to be in the same folder as the HTML that
| | 03:09 | I'm throwing out there and it will map automatically."
And what it does is it maps all of your paragraph styles and
| | 03:15 | your character styles to exactly the same name in the CSS. Actually
it's not exactly same name but it's a very similar name in the CSS.
| | 03:22 | You'll get the idea here in just a minute. Before I go ahead
and do all of this- you know what? I'm not to do the entire document,
| | 03:29 | because that's just going to be overkill here.
| | 03:32 | I'll just select like a single story inside this. Let's move back up
a couple pages I'll just click on this a previous spread item and
| | 03:40 | I'll select some of these objects. I'm holding down
the Shift key to select these three frames on here.
| | 03:45 | I'm not going to worry about images
at this time, just looking at text.
| | 03:51 | I'll say File, Cross-media Export, XHTML.
I'll name it Javaco magazine and click Save,
| | 03:56 | and I'm going to say just get this selection. That will be
a bit easier here. Let me try this first with no CSS at all
| | 04:04 | and we can see what happens. I'll click Export.
| | 04:06 | It exports the whole thing out to my hard drive, so let's go
look for that. Here there's the HTML file, I'll double-click on it
| | 04:12 | to open it in my web browser and you can see that
all the text is there, from the heading to the subhead,
| | 04:17 | all of these mini subheads and so on and we can look
at the source file if you want to. Ah, there you go.
| | 04:22 | It has div tags, has p tags, but it's very, very simple,
basic XHTML and we could do something with that if we wanted to.
| | 04:29 | It's pretty easy to format that later, but
instead let me try exporting that one more time.
| | 04:34 | I'll switch back to InDesign, and I will export
to XHTML, but this time I'm going to give it...
| | 04:42 | Here, let's replace that one. I'm going to give it to a CSS tag.
I'll tell it to use this CSS, which I've already written,
| | 04:50 | it's already on my hard drive in that folder, and
it will format the entire document. Click Export.
| | 04:55 | Once again come out here and open this in Safari,
in our web browser, and we can see that it's formatted.
| | 05:01 | It's all formatted. The text is formatted. The subhead has
its own little color behind it. We have a background image.
| | 05:07 | All of this stuff is very, very easy to do with CSS and in fact
we can update this easily. Once you have the CSS, it's very easy
| | 05:13 | to write to it. So let's go back to InDesign, maybe switch
to a different story summer. So I'll select these two stories here.
| | 05:19 | They not linked. It's just a heading and the text here, and I
will choose XHTML/Dreamweaver. I'm going to name it the same thing,
| | 05:29 | just replacing what's there. That'll be fine, but
this time I'm going to to map it to the same CSS.
| | 05:36 | So we've got different stories to same CSS,
same file. I'll go-ahead and click Export,
| | 05:42 | switch back to Safari and as soon as
I refresh this, you'll see it updates.
| | 05:46 | So it is the same file that and
the same formatting, but with different text.
| | 05:51 | I think it's great that Adobe stuck an XHTML export feature
into InDesign, but to be honest after you use it a few times
| | 05:58 | you can find that it's just way too limited and frustrating.
Many people find that it's faster and easier just to
| | 06:05 | copy and paste your text from InDesign into a program
like Dreamweaver and then format the HTML there
| | 06:10 | or export just the pieces with no CSS attached to it.
| | 06:13 | Another good solution is to export your content as XML instead of HTML,
| | 06:18 | and what's the difference? Well, I'm glad you asked
because that's what are going to cover in the next chapter.
| | Collapse this transcript |
|
|
12. Working with XMLWhy use XML?| 00:00 | XML is all the rage among publishers these days, and
it seems like everyone wants to move into a XML workflow.
| | 00:06 | But what is XML? Why would you want to use it?
| | 00:10 | XML is all about separating the content from the form of
the content, so where something like HTML is all about
| | 00:18 | telling a web browser what the text and graphics
should look like, XML says "I don't care what it looks like.
| | 00:24 | Let me just tell you what it is."
| | 00:26 | And that's important because these days we don't know where our
content is going to end up. Newspaper one-day, cell phone the next.
| | 00:34 | If you're doing one little ad for the local grocer, you
may never need to worry about XML, but if you're creating
| | 00:40 | that ad every week and the content is changing and you have to produce
it in four different sizes, well then XML may be the answer at your dreams.
| | 00:50 | Before I show you an XML workflow
there are four things I need to tell you.
| | 00:54 | First, this is only a introduction to XML in InDesign. The topic
is just way too big and we could do 10 hours easily just on XML.
| | 01:03 | So if you want to find out more about XML, you should check out the
XML Essential Training title on the lynda.com Online Training Library.
| | 01:12 | Even though that focuses mostly on Web, it's still quite good.
| | 01:15 | Second there a couple good books out there. Certainly
we covered some XML in 'Real World InDesign CS3' that
| | 01:22 | Olay Kvern and I wrote and there is another book that's
out called 'A Designer's Guide to InDesign and XML' by
| | 01:28 | Jim Maivald with Cathy Palmer and it's a whole book just
on that topic with lots of tutorials and it's also quite good.
| | 01:36 | Second, if you're going to be doing XML I encourage you not
to take it on by yourself. As they say it takes a village.
| | 01:43 | You really want to get a whole team of people working together
and you want to get XML consultants, InDesign consultants-
| | 01:49 | that might be you- a whole bunch of people together to figure
out how to do and implement an XML workflow. It is really going to
| | 01:56 | work better that way. Unless you're going to become
a total of XML geek and just live and breathe this stuff,
| | 02:02 | it is probably not worth doing it all by yourself.
| | 02:05 | Also training is essential for an XML workflow. You know you don't
want to hand XML stuff over to the temp worker who's just in for the day.
| | 02:13 | You really want to have someone who's trained in how all this works.
| | 02:18 | Third, XML requires a nearly obsessive attention to details,
paragraphs styles, character styles, templates. You know what you
| | 02:26 | need to do is find the person in your office who is a
total fascist about styles, you know the person who like
| | 02:32 | wrinkles their nose at you whenever you apply local formatting
on top of a paragraph style. Well, find that person and put
| | 02:39 | them in charge of your XML workflow. I know it sounds crazy,
but you need someone like that to really pay attention to details
| | 02:46 | when you're dealing with XML because you have to be
careful with your styles, your templates and everything.
| | 02:52 | Finally, XML is all about structure.
| | 02:56 | You know it's not about free-flowing designs and craziness
and putting stuff anywhere you want on your page.
| | 03:02 | If you don't have structure, you cannot do XML. Now, there are
a lot of free-form documents, you know ads and so on, that really
| | 03:09 | do have a structure underneath if you look at them carefully
enough, but there's a lot of artwork out there done in InDesign,
| | 03:15 | which does not really have a structure at all and
you're not going to force a structure on it and you know,
| | 03:21 | that is OK. XML is not for everyone. Just because XML has
all the buzz these days doesn't mean that you need to do it.
| | 03:28 | That said, if you find that you do have structured documents,
and when I say structured documents I'm not talking about
| | 03:34 | big technical manuals with numbered paragraphs. I'm talking about
almost anything that has a structure, we'll look at that in just a second.
| | 03:40 | If you're finding that you do want to do XML in InDesign
let me show you a quick workflow for how it can work.
| | 03:45 | In the later movies we'll get into the details of how it works.
| | 03:52 | I have the Javaco document open here. This is a document that we've
been working with for a while, but here it's just in template form,
| | 03:59 | so I've got blank frames for where my text and graphics should go.
| | 04:03 | That information is all currently sitting in an XML file.
So let me show you that XML file. I have it open in this
| | 04:11 | text editor called Text Wrangler. You know you could use
any kind of text editor or XML editor to deal with XML.
| | 04:18 | Text Wrangler happens to be my favorite one on the Macintosh.
It's a free editor, it's very powerful, it's wonderful, but
| | 04:25 | you could use TextEdit on the Mac or Notepad on Windows,
you know there's lots of text editors out there.
| | 04:31 | I just want to point out though that this is all just
straight text. There is no real formatting in here at all,
| | 04:36 | and I'm not going to get into the details about
how to write XML, but I do want to point out that
| | 04:40 | there's things like here's the heading of our document.
Here's the three images that are going go in there,
| | 04:46 | here's the captions and so on and here's the story that's
going to go in the bottom of the page. So all of that stuff is
| | 04:52 | tagged with XML and we need to get that into InDesign.
So let's switch back to InDesign and put it in there
| | 05:00 | and I'll be talking about how to tag your InDesign documents and
also what the structure pane over on the left is in the next movie,
| | 05:06 | but for right now, I'll point out that you can simply
select the root here, which is called brochure, choose File.
| | 05:13 | Go down to Import XML and then pick your XML document.
I've got two here and I'll start with the first. Click Open,
| | 05:21 | and it gives me a bunch of options. I'm not going to worry
about those right now, I'll just click OK and all that data just
| | 05:27 | flows into exactly the right place. The heading shows up, the images
show up in the right places. The captions and the story at the end.
| | 05:34 | All of that stuff just kind of works and it's all
fully editable now. It's an actual InDesign document.
| | 05:40 | So this is great, very fast. Very easy to put that together. If the
data later changes or we need to do a series of different product sheets.
| | 05:47 | Perhaps we have a different one for a different
tea that we want to put in here, well, no big deal.
| | 05:51 | We simply come back up here, select this, choose Import XML
and choose the other XML file, which has different data in it.
[00:05:59.5 3]
I'm going to click Open and in this case I need to turn on
a couple of check boxes. I won't get into the details here,
| | 06:06 | but I need to a remove some of the data that's already in
this because we're not working with a blank template anymore.
| | 06:11 | Click OK and all of that information is swapped out for my new
information. New images, new captions and new story at the bottom.
| | 06:20 | This information down here was actually
bulleted with special bullet characters and everything.
| | 06:25 | Now in this case we're working with different data going
to the same template but if we're separating the form from
| | 06:31 | the content we can change the form just as easily, right?
So let's go over here and choose a different template.
| | 06:38 | I'm going to choose Javaco blank v2 and these files, the XML files
and these templates, are all in the exercise files folder
| | 06:47 | on your hard drive if you've downloaded that.
| | 06:50 | So here we have a file, which is a completely different look
and feel. It just looks totally different. I'm going to press W
| | 06:56 | to go into preview mode, so we can see that there's frames and
places for the pictures and so on, but it looks completely different,
| | 07:02 | but if we want that same data in here, we use the same process.
| | 07:06 | Go up to File, Import XML, grab the data
that we want to put in it and click Open.
| | 07:13 | Click OK and all the data flows in and we can see that same
data, totally different format, and in this case we didn't even
| | 07:20 | use that longer story because it didn't call for it. The data was in
the XML, but it was stripped out out when it ended up in the template.
| | 07:28 | This all works because we have content that is completely
separated from its form. We could take this same content
| | 07:34 | and flow it into a webpage or a page suitable
for a cell phone or insert it into a database.
| | 07:40 | In the next few movies I'll deconstruct these files
showing you how you can assign tags to your documents,
| | 07:47 | import the XML and even export your InDesign pages to XML.
| | Collapse this transcript |
| Structuring InDesign content to use XML| 00:00 | In order for you to import XML into an InDesign document
you need to give it structure and that structure is all based
| | 00:07 | on tagging your objects. There are number of ways to tag
objects in InDesign but one of the simplest is just to use
| | 00:13 | the Tags panel which you can find under the Window menu.
| | 00:17 | I'll choose Tags and we can see that this document has one tag
in it already, like all new documents do, called root and
| | 00:24 | the root reflects the basic document itself. Now I happen
to know that the root element of my XML file is not really
| | 00:31 | called root, it's called brochure. That's what it is in
the XML file so it needs the match that exactly here.
| | 00:38 | So I can change root by double-clicking. It brings open the Tag Options
dialog box, and I'm simply going to type this brochure. There we go.
| | 00:47 | Now it's called brochure. I could change its color too,
if I don't like light blue for some weird reason,
| | 00:51 | but it really doesn't matter what color it is.
| | 00:54 | Now we need a new tags so I'm going to click on the New Tag
button and I'm going to call this one say, image and I'm going
| | 01:01 | to be tagging my images with that in just a moment. Now,
if you already have an XML file that has all the tags in it,
| | 01:07 | it would be much faster, instead of adding these one at a time,
to simply go to the fly out menu in the Tags panel and choose Load Tags.
| | 01:16 | I'll grab the XML file that has the tags
that we're going to be importing and click Open
| | 01:22 | and all of those tags are added to the Tags panel.
| | 01:25 | Now let's start tagging. I want to tag this first frame,
this heading, with the heading tag. So the easiest way to do this
| | 01:34 | is simply to click on it. I selected the frame I clicked on
the tag and that's it. It's tagged. Let's go get our images.
| | 01:40 | I'll select those three frames here and I'll click on the image tag.
I'll select these three captions, these text frames over here
| | 01:50 | with the text tag. I'll select this story down
here with the story tag. It's as simple as that.
| | 01:56 | Now we're done.
| | 01:57 | Unfortunately it's not easy to see where the tags are. Of course if
I select something, that tag will get highlighted in the Tags panel,
| | 02:04 | but that's kind of annoying. So if I want to see my tags,
the easiest way to do that is to go to the View menu.
| | 02:11 | Scroll down to Structure and then choose Show Tagged Frames.
| | 02:17 | Now we can see each of the frames is colorized slightly
and has this- like the orange means it's an image tag.
| | 02:24 | This green means it's a heading tag.
So it's color-coded for your convenience.
| | 02:30 | The second way to see our structure is to go to the View menu.
| | 02:33 | Choose Structure and then click Show Structure.
| | 02:37 | Briefly, another way to do that, to open the Structure pane
over here on the left is to click this double headed arrow
| | 02:43 | in the lower left corner of your document window.
That closes it and opens the Structure pane.
| | 02:48 | The Structure pane shows us the structure of all our XML tags
and if I click on this little triangular twirly thingy,
| | 02:55 | it expands and I can see all of the structure here. There's
our heading and here's those three images, here's some text
| | 03:01 | and in fact, if I double-click on this,
it'll highlight it on the page.
| | 03:06 | So it highlighted that particular tagged frame.
| | 03:09 | If I double-click on the image, I can see that
this one is the second image down here.
| | 03:14 | Now this is an interesting point. The structure on your page,
the visual structure, what it looks like, the first image here,
| | 03:20 | the second image here, is not necessarily the structure
in your XML or in your tags here. So if we want this one
| | 03:28 | to be the second item, I would have to drag this down in the Structure
pane to become the second one. Now let me double-click on this one.
| | 03:36 | We can see, oh, that's the third one. So OK. Now, we better
move that down to the third. Do we have one right now?
| | 03:41 | No. Now that's the second one again. So we should have-
yup, first, second, third. I'm just double-clicking on those
| | 03:47 | and it's highlighting it on the page. So I now know that this, the
first item that comes in in the XML, will be tagged to the first image.
| | 03:56 | Now when I import my XML, a lot of it is going to come in
completely unformatted so I need to tell InDesign how to map my tags
| | 04:04 | to my paragraph styles and character styles in my document.
It is really easy to do. You go to the Tags panel and
| | 04:12 | choose Map Tags to Styles from the fly out menu.
| | 04:15 | Now we're going to map the tags in the XML to the styles
in our document. So for example French needs to be mapped
| | 04:23 | to the French character style.
| | 04:26 | The heading needs to be mapped to the Title style.
| | 04:30 | You simply goes through these one at a time or
if they do match, the tags in the XML map exactly to
| | 04:38 | the names of your styles, you could click on Map by Name,
but in this case, I'll do it one at a time. Image doesn't get
| | 04:43 | mapped anything of course. The Para is going to get mapped
to the Body text style, this first body style. Story could also
| | 04:52 | go to body text if we want to and text, text is
actually this stuff over here, these captions.
| | 04:57 | So I'm going to change this one to Captions.
| | 05:00 | Those are all the tags in here and these are all
the styles over here. Now, I click OK and I'm done.
| | 05:07 | Our template is now complete and we could even go in here and
delete the original text if we wanted to. It doesn't really matter.
| | 05:13 | We could delete the text, we could use the Direct Selection
tool to delete our pictures. It doesn't matter because
| | 05:19 | the important thing now is the tags,
not the content inside these frames.
| | 05:24 | In the next movie we'll look at the details
of importing our XML into our new template.
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| Importing XML| 00:00 | We're starting off with our document in the same state it was at
the end of the last movie. So if you didn't watch that one first,
| | 00:06 | you may want to go do that now. We've tagged each of
the frames in this document that we want to populate with
| | 00:12 | incoming XML content and as we mentioned before,
we can simply delete the content that's in there right.
| | 00:18 | I'll just delete some of this stuff, because the
incoming content is going to replace it anyway.
| | 00:24 | Now to import the XML file I'm going to first click on the element
that I want to replace, in this case the entire XML structure,
| | 00:31 | so I click on brochure at the top of the Structure pane.
| | 00:35 | Then I choose Import XML from either
the File menu or the Structure pane's fly out menu.
| | 00:43 | I'll choose the XML file that I want to import, in
this case Javaco sheet 2 from the exercise files folder,
| | 00:50 | and I see that I have several options down here.
| | 00:53 | I definitely want to Show XML Import Options. I leave that
turned on whenever I'm importing XML, and I also have the
| | 01:00 | option to import into the selected element. Because I chose
the element in the Structure pane that checkbox appears
| | 01:06 | And yes, I want to import into that one. I want
to actually replace this with the incoming XML.
| | 01:12 | I then have two buttons here, Merge Content or Append Content,
and merge means actually put it into the selected element.
| | 01:19 | It's sort of a re-phrase of this. Put it in here and replace all of this
with the new XML. Append means don't replace what's already there.
| | 01:28 | Just add it to the end of it. So I don't want to append
it here. I actually want to replace what's in there.
| | 01:32 | So I'll choose Merge Content. Now I'll click Open,
and it gives me the Import Options dialog box.
| | 01:39 | The first thing we notice is there's
a pop-up menu with the same options.
| | 01:42 | And these are just duplicates of the options from the
last dialog box. I've no idea why they're here. Maybe just in
| | 01:47 | case you want to change your mind at the last minute or something.
Let's look at some of these other checkboxes. Some of these
| | 01:53 | are very technical. I don't want to go too far into any of these.
I'll just sort of touch briefly on what these things mean.
| | 01:59 | Create Link is interesting because if you have an XML file
that may change repeatedly, you know you never know when
| | 02:06 | that information is going to be updated. You may want to link
to the file so that when it is updated InDesign is aware of it
| | 02:13 | and can update your documents automatically. So that's pretty
cool. We'll look at that in just a second. I'll turn that on.
| | 02:19 | An XSLT is a way to transform your XML into
some other format as you're importing it.
| | 02:26 | So for example if you're XML file didn't have exactly
| | 02:29 | the same kind of structure that
you needed in your InDesign document,
| | 02:33 | well you might want use an XSLT to transform it. Move
items around, delete items, add items, maybe add special
| | 02:41 | static text that you want to appear in your InDesign
document, but that you don't have any XML file itself.
| | 02:48 | That's what you'd use the XSLT for. I don't
have one so I'm going to leave that turned off.
| | 02:53 | Clone repeating text elements is the key to importing
hundreds or thousands of pages worth of content with XML.
| | 03:00 | You can actually set up a template so that the text
elements will repeat over and over again based on what
| | 03:06 | the information is in the XML. InDesign will take the XML and
put in the same place and go to the next and keep repeating
| | 03:12 | those elements until all the data is used up. So that's
very useful, but in this case it's not really relevant
| | 03:19 | so I'm going to turn that off.
| | 03:21 | Now what happens if you have information in your XML file
that you're not using it in your InDesign document?
| | 03:27 | Well you can turn on Only import elements that match existing
structure. In other words, it will simply ignore anything
| | 03:33 | in the XML file if it doesn't match to the structure in here.
| | 03:37 | Import text elements into tables has to do with having
tables in your document. You need a table in your InDesign
| | 03:43 | template first and you need to tag each of the cells in that
table and you need to have the same tag names in the data
| | 03:51 | inside your XML file and if all of that's true, then you can
actually match one to the other and InDesign will put that
| | 03:58 | data into a table. It actually sounds far easier than it really is.
It's sort of fraught with peril, but that's what that's going to do.
| | 04:08 | Whitespace characters are things like spaces, tabs, returns,
that kind of thing and some people use of whitespace
| | 04:15 | inside their XML to format it. Maybe indent things, make it
look pretty, easier to read. Well you don't necessarily
| | 04:22 | want that white space in your InDesign document,
so you can strip that out by turning that checkbox on.
| | 04:29 | OK. What are we going to do if let's say- I'll move this out
of the way so I can talk about something on the page here.
| | 04:34 | What if there is no third image in the XML? What the XML file only
specifies two images on the page? Do you want this to be blank?
| | 04:41 | Do you want to just leave it the way it is? Or do you want to
delete it right off the page? And that's what this checkbox does.
| | 04:49 | If you turn that on, it will actually delete anything
that's tagged that doesn't exist in the incoming XML.
| | 04:56 | I might as well turn that on. I think I have all the right XML
| | 04:59 | to fill all those but just in case. And CALS tables?
Well let's just say if you don't know what a CALS table is
| | 05:05 | then you don't need to know what a CALS table is. So let's
leave that turned on and click OK and import that data.
| | 05:14 | As you can see the new XML file came in just as we were hoping.
The titles showed up here, all the captions showed up here.
| | 05:21 | Images were all swapped out. By the way these images look
a little weird. They look a little colorized, don't they?
| | 05:28 | Well don't worry about that too much. I'll deselect
everything here by clicking out on the pasteboard.
| | 05:33 | If I go into preview mode by pressing W, I can see
what the images will really look like. I'll press W again
| | 05:40 | and you can see the colorized part is
only there because we have View, Structure,
| | 05:44 | Show Tagged Frames turned on. So if that were not on, we
also wouldn't see that colorized part of each of these frames.
| | 05:52 | Anyway we can see that this came in just fine, but you
know what? These items down here are actually bullet points.
| | 05:59 | I don't know if you remember in the previous title,
I did not actually make a tag for those bullets in here.
| | 06:06 | I think that bullet element was in this XML file and it wasn't in
the original XML file so it brought those in and it |
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