1. How Style Automation WorksHow style automation works and why every file needs it| 00:00 | Anyone familiar with InDesign knows it to be the
best multi page creation program in the business.
| | 00:06 | It offers a level of automation, control and
versatility that no other design application can match.
| | 00:13 | Style sheets are a prime example,
| | 00:15 | the ultimate quintessence of automation, control and
versatility; InDesign style sheets are several times better
| | 00:22 | than anything found anywhere else.
| | 00:24 | They are so core to the way InDesign works that I would argue
| | 00:28 | come to terms with style sheets and you know InDesign.
| | 00:32 | Style sheets are your most surefire tools
for making the program work at top form.
| | 00:37 | Here's the idea.
| | 00:38 | In InDesign, your job is to assemble thousands of words and
hundreds of graphics across document after document of pages.
| | 00:46 | But it's not enough to throw all those objects on the page,
you have to define how each and every element looks down to
| | 00:52 | individual page accents and punctuation marks.
| | 00:55 | That's where style sheets come in.
| | 00:57 | A single frame of text comprises a collection of formatting
attributes, things like type face, bold, italic, type size,
| | 01:04 | leading, alignment, drop caps, fills, stroke, text wrap, drop shadow.
| | 01:11 | The list isn't exactly endless, but
it's close enough to be extremely boring.
| | 01:15 | But save those attributes as a style sheet and you can
apply them all at once to one or many objects at a time.
| | 01:22 | Style sheets are also about conveying purpose,
| | 01:25 | which goes to the heart of good design.
| | 01:27 | Properly formatted style sheets distinguish
headlines, from body copy, side bars from tables,
| | 01:33 | plus you can change the style sheet definitions to
repurpose a document or suit a different output medium.
| | 01:39 | With the help of style sheets, you
ensure that the form suits the function.
| | 01:45 | In the next several exercises, I am going to show you how to replicate
collections of formatting attributes in a few different ways.
| | 01:51 | I will show you the Eyedropper tool, it's really
simple and really fast, and surprisingly powerful,
| | 01:56 | and then I'll introduce the bigger theme of the series, style sheets,
with specific examples of Paragraph Styles and Object Styles.
| | 02:04 | In yesterday's page layout applications,
your PageMaker, your Quark Xpress and the like,
| | 02:10 | style sheets were valuable.
| | 02:12 | In InDesign they are invaluable.
| | 02:15 | Impossible you say?
| | 02:17 | No it's true, you should be applying all of your
formatting attributes, bar none, using style sheets.
| | 02:23 | In this chapter, you'll begin to see why.
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| Installing the DekeKeys shortcuts| 00:00 | Before I introduce you to how style
sheets work inside of InDesign CS3,
| | 00:04 | I'd like you to go ahead and install
my Deke keys keyboard shortcuts.
| | 00:08 | Now these are collection of keyboard shortcuts for very common
functions inside of InDesign CS3 that rather inexplicably
| | 00:17 | in my estimation did not receive
keyboard shortcuts in the first place.
| | 00:21 | So if you're a premium member or you have access to
the DVD, you can go inside the exercise files folder
| | 00:27 | and then you'll find an 01_introduction sub-folder and
inside there you will find a dekeKeys shortcuts sub-folder
| | 00:34 | that contains two variations on the Deke keys,
one for the Mac and the other for the Windows.
| | 00:40 | So one ends in Mac, as you can see the other ends in
Win, and that they both end in, a sort of near the end,
| | 00:46 | the file name say 1on1 and that's because they
originally hail from my InDesign CS3 One one One book.
| | 00:53 | Now you need to install these files, one of the files,
the file that corresponds to your computer platform.
| | 00:58 | You need to install it in a very
specific location on your hard drive.
| | 01:02 | Let me show you what that location is.
| | 01:04 | I'll go ahead and bring up this file right
here, it's called dekeKeysinstall.tif,
| | 01:08 | also found inside that O1_introduction subfolder,
and it tells you exactly where to put the file.
| | 01:13 | So under Windows Vista, that's where I'm working
right now, the location is C:Users and each one
| | 01:19 | of these is burrowing deeper into the folder structure.
| | 01:23 | So you go to the C: drive, go into the Users folder, go
into the User subfolder and by that red User I mean,
| | 01:30 | whatever your user name is. Ostensibly
that would be your name, I would think,
| | 01:35 | and then AppData\Roaming\Adobe\InDesign\
Version5.0\InDesign Shortcut Sets.
| | 01:41 | So you have to really burrow deep inside the folder structure.
| | 01:44 | Now you will have to have your computer
set up to see invisible files and folders,
| | 01:49 | and that's something I'm going to leave you to do it in your own.
| | 01:51 | You're only going to see App Data, for example,
if you can see invisible files and folders.
| | 01:57 | Under Windows XP you burrow through this folder
structure right here and on the Mac you choose Go Home,
| | 02:02 | so go to the Go menu and choose the Home command.
| | 02:05 | Then copy the dekeKeys file to the folder Library. So you go
in to the Library subfolder and then go on to Preferences,
| | 02:11 | and then inside Adobe InDesign, then inside Version 5.0
and in InDesign Shortcut Set, so on and on and on there.
| | 02:17 | Let's go ahead and hide this Photoshop file.
| | 02:20 | Alright, so I've gone ahead and opened this big, huge, long
folder structure that I was telling you about under Vista.
| | 02:26 | So I went to the local disk, my C: drive, went to Users, went to
Deke because that's my user name, big surprise there. App Data,
| | 02:33 | Roaming, Adobe and then in there, I went to
InDesign Version 5.0, InDesign Shortcut Sets.
| | 02:39 | Now, InDesign can be running by the way.
| | 02:41 | You can still have InDesign running if you want to and
I'm going to go ahead and copy the Windows file of course
| | 02:47 | because I'm working on the windows platform,. If you
were working on the Mac you'd be copying the Mac file.
| | 02:51 | Just go ahead and move it in there or copy it if you
like, and in this case I went ahead and copied the file.
| | 02:56 | Now I'll go ahead and launch InDesign since
my copy of InDesign is not already running.
| | 03:02 | I'll go ahead and maximize my applications,
so it takes up the entire screen,
| | 03:07 | then go up to the Edit menu whether
you're working on a Mac or the PC.
| | 03:10 | Go to the Edit menu, choose keyboard shortcuts.
| | 03:13 | So as I say this works whether you had InDesign running or not.
| | 03:16 | So I didn't have it running that's why I had to launch it,
but if you already had the program running that's just fine.
| | 03:20 | Go ahead and bring out the Keyboard shortcuts
command and then choose from the Set menu.
| | 03:24 | You should now see dekeKeys IDcs3 1on1, either Mac or Win, go ahead
and choose it and you're in business, you have to now gone ahead
| | 03:32 | and established my keyboard shortcuts, then go ahead and
click OK and you're now ready to work through the series.
| | 03:37 | Now this is optional step. You don't absolutely
have to load my Keyboard shortcuts if you don't want to.
| | 03:43 | You will still be able to work along with me.
| | 03:44 | I'll always let you know when we're
using a special custom keyboard shortcut.
| | 03:48 | It's just a recommended practice. That's all, folks.
| | 03:50 | In the next exercise we'll take our first look at
replicating formatting attributes inside InDesign CS3.
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| Meet the Eyedropper tool| 00:00 | Now as you may recall from the live action
introduction to this chapter or as you may just know,
| | 00:06 | style sheets are all about replicating formatting
attributes and those can be text based formatting attributes,
| | 00:12 | things like typeface and alignment and that kind of stuff,
where it might be fill and stroke attributes that you can apply
| | 00:17 | to an object or to a text frame even or it might be table
formatting attributes; just scads of things you can do.
| | 00:23 | Just an amazing amount of automation
that you can apply using style sheets.
| | 00:27 | But before we get into the nitty-gritty,
I want to paint a few broad strokes here.
| | 00:31 | I want to show you how you can replicate formatting attributes
using this very simple tool right here, the Eyedropper tool.
| | 00:37 | Now you may not even know that the
Eyedropper tool exists inside of InDesign.
| | 00:41 | It's a tool that we take for granted inside of an
application like Adobe Photoshop, where you can lift a color,
| | 00:47 | really that's all you can do with the
Eyedropper tool in Photoshop, is lift a color.
| | 00:51 | You can do more than that with the Eyedropper
tool inside of Illustrator, where you can lift fill
| | 00:55 | and stroke and live effects and stuffs like that.
| | 00:58 | But it's even better implemented inside of InDesign.
| | 01:01 | It's a totally tricked-out tool as you're going to see.
| | 01:04 | You probably won't take advantage of it that
often, but I want you to know it's there.
| | 01:08 | So let's start things off by opening this document.
| | 01:10 | It's called Seventies Quiz #2
| | 01:12 | It's found in the O1 introduction folder.
| | 01:14 | Here is what I'd like to do to this document.
| | 01:17 | I'd like to take the names right here.
| | 01:18 | Murray & Callander independently of the text around them
and I want the formatting to match this text over here,
| | 01:23 | this purple sort of bold, italic
headline text, using the Eyedropper.
| | 01:28 | And then I will press the T key to select my Type tool.
| | 01:30 | I'll double click and hold in order
to select Murray & Callander
| | 01:34 | and I will go ahead and manually select the Eyedropper tool.
| | 01:37 | I can't press the I key, because if I did
I would replace this text with the letter I.
| | 01:41 | So I'll go ahead and select the Eyedropper
and then check this out.
| | 01:44 | All I have to do with this tool is click inside of the text that
I want to match and I have gone ahead formatted my selected text.
| | 01:52 | I will now press the Enter key on the keypad again.
You might press the Escape key, in order to go ahead
| | 01:56 | and see that I have indeed formatted my text with a single
click of the Eyedropper tool, but that's just the beginning.
| | 02:03 | As I was telling you, the Eyedropper tool is totally tricked out,
| | 02:06 | we'll see how to use it to style text
all over the place in the next exercise.
| | 02:12 |
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| Using the "loaded" Eyedropper| 00:00 | Now that we've seen how to use the Eyedropper tool to duplicate
formatting attributes from one block of text to another,
| | 00:06 | let's check out another way to use the
Eyedropper tool, the loaded Eyedropper cursor
| | 00:11 | to duplicate the same formatting attributes over and over again.
| | 00:15 | Here I am working inside the document called Seventies Quiz
#2.indd that's found inside the 01 Introduction folder,
| | 00:22 | and I am going to go ahead and undo the
modifications that I made to Murray & Callandar.
| | 00:27 | I am going to actually replicate, I am just going
to repeat it that is, so that we can see something
| | 00:31 | that I didn't show you before, I am
going to grab my Type tool and I am going
| | 00:35 | to double click and drag over Murray & Callandar once again.
| | 00:39 | By the way in case you are wondering what I am doing,
| | 00:41 | in case you are not all that familiar
with how to select text inside of InDesign.
| | 00:45 | I am doing this: I am double clicking, and on the second
click I am holding, so it's basically a click and hold,
| | 00:51 | and then I am dragging with that cursor down.
| | 00:54 | So I call it a double click and drag.
| | 00:56 | And that will select multiple words at a time.
| | 00:59 | So double clicking selects a single word; double clicking
and holding allows you to select multiple words like so.
| | 01:06 | I will go and double click and hold again Murray & Callandar,
I will grab my Eyedropper tool and then I'll click on this text
| | 01:11 | like so, in order to duplicate the purple, semi-bold
formatting attributes on to Murray & Callandar.
| | 01:18 | But notice my Eyedropper cursor now. Notice that it's flipped.
This is how it looked before, looked like it was sort of leaning
| | 01:24 | to the right now and it appears to be
leaning to the left and it's loaded with ink.
| | 01:28 | See how it's got some black ink inside
of it, and as soon as I move it
| | 01:32 | over some text, you can see that I
have a little I-beam next to it.
| | 01:35 | And that shows me that if I drag over some text, bang! I
go ahead it with those exact same formatting attributes
| | 01:42 | that I lifted just a moment ago and my Eyedropper remains loaded.
| | 01:45 | So I can continue to, for example, double click and drag
if I want to select and format more text or if I want
| | 01:52 | to format an entire line of text, I would
triple click, one, two, three, like so.
| | 01:57 | Or if I wanted to format an entire paragraph of text, I
would quadruple click one, two, three, four. Oh my Gosh,
| | 02:05 | and you can go on and on from there if you like.
| | 02:08 | I am going to go ahead and undo that last modification,
What you do however if you now want to use the Eyedropper tool
| | 02:15 | to once again lift some formatting attributes? Well I
will show you exactly what you do in your next exercise.
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| Loading new attributes| 00:00 | Alright. So at this point you might think, Gosh it's great that
the Eyedropper tool, that InDesign's Eyedropper tool, it not
| | 00:07 | only allows you to replicate formatting attributes, duplicate them
from one text block, let's say to another, but it also stays loaded.
| | 00:15 | So as soon as you load that Eyedropper it stays loaded, so that
you can use it to format still more text just by dragging over it.
| | 00:23 | But that's kind of a pain in the neck too because what if
you now want to turn around and use the Eyedropper tool
| | 00:29 | for the purpose you thought that it was intended,
that is to lift new formatting attributes.
| | 00:34 | Well then, you would go ahead and press and hold the
Alt key here on the PC or the Option key on the Mac.
| | 00:40 | While that key is down, notice that the direction
and the fullness of the Eyedropper changed.
| | 00:45 | This is how the Eyedropper cursor looks when it's loaded.
It's leaning to left and it has got something black in it.
| | 00:50 | And then this is how it looks if I press the Alt or Option
key, it leans over to right and it's no longer loaded.
| | 00:56 | Then I can lift some other formatting
attributes like so. I'll go ahead and click on
| | 01:00 | this plain black text right there, then I'll
release Alt or Option, changes back to the loaded cursor,
| | 01:06 | and I will triple click on this line of type, in order to return
it to its original appearance. I'll drag across this type here,
| | 01:12 | maybe I'll triple click on that line.
| | 01:14 | Drag over this text right there, in order to switch it back to
its original appearance. So you can see that it works both ways.
| | 01:20 | You can not only load the Eyedropper cursor,
| | 01:24 | and use it repeatedly, but you can also Alt-click or Option-click
on some other type in order to load its attributes on the fly.
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| Lifting some attributes (and not others)| 00:00 | Now, let's say you want to load just a few specific settings,
with the Eyedropper tool, load some settings, not others.
| | 00:07 | For example inside of this document, let's say that I want
to style this text right here, David Soul. And if you are
| | 00:13 | of a certain age, you may recall he is famous from
TV's, Starsky and Hutch; not the movie of course.
| | 00:18 | He played the Owen Wilson part and he also sang, 'Don't Give Up on
Us Baby' and did a few other things, a huge star back in the days.
| | 00:25 | So huge that let's say that we want to
format his name to match this red headline,
| | 00:31 | or sort of red first text at the top of the text block.
| | 00:34 | So I am going to go ahead. I still have my
Eyedropper tool selected here as you can see.
| | 00:38 | I am going to go ahead and Alt-click or Option-click on that
text in order lift its attributes and by the way you don't have
| | 00:44 | to Alt click or Option-click exactly on a letter,
or the baseline or something along those lines.
| | 00:49 | You can Alt or Option-click just kind of vaguely in the
area of that text, and InDesign is smart enough to know,
| | 00:55 | oh that's the text you're looking for, that you want to go
ahead and load sort of this big red stuff right here.
| | 01:00 | I'm not sure if I really want to make David Soul's name that
big, but let's just give it a shot. Let's see how it works.
| | 01:05 | Well, it turns out, I don't have to double click and drag
over David Soul, all I have to do at this point is click
| | 01:10 | and I am going to just completely damage that paragraph.
| | 01:12 | The reason being this first paragraph here
has a Paragraph Style associated with it.
| | 01:18 | We will see what a Paragraph Style is later on in this series,
but for now just know that it affects an entire paragraph
| | 01:24 | at a time, so when I lifted that Paragraph Style and then I
assigned it to the paragraph below, I styled that entire paragraph
| | 01:31 | as well and of course absolutely ruined its legibility.
| | 01:35 | So we can't tell what's going on anymore.
| | 01:36 | Let's go ahead and press Control+Z, Command+Z
on the Mac, to undo that modification.
| | 01:41 | How do we tell the Eyedropper to
lift some attributes and not others?
| | 01:45 | Well, I'll go ahead and double click on the Eyedropper tool here
inside the toolbox. Brings up this dialog box and you can see
| | 01:52 | that there are five groups of attributes of the Eyedropper
tool can pay attention to. That is Stroke Settings,
| | 01:57 | and the Stroke being the outline of an object. Fill Settings,
that's the interior of the object. Character Settings,
| | 02:03 | our character level formatting attributes like typeface,
and type style, leading and type size and all that jazz.
| | 02:09 | Then Paragraph Settings are things like alignment,
paragraph spacing, and then we have Object Settings,
| | 02:15 | and Object Settings include transparency
settings and special effects.
| | 02:18 | Now, in our case we are not really concerned about Stroke,
| | 02:21 | Fill or Object Settings because this text right here
doesn't have any stroke or fill or object settings,
| | 02:26 | but it does have character level formatting
attributes and paragraph level formatting attributes.
| | 02:31 | We don't want the paragraph stuff at all,
so let's just go ahead and turn that off.
| | 02:34 | We are not trying to lift anything that has to
do with the Paragraph Settings at this point.
| | 02:38 | Where Character Settings are concerned, let's go and twirl that
open by clicking on the little twirly triangle right there.
| | 02:44 | And if I go ahead and scroll down the list,
unless you can see that there's just tons
| | 02:48 | and tons of character level formatting attributes
to choose from and most of them I want to turn off,
| | 02:53 | like Baseline Shift I don't care about it, so I turn it off.
| | 02:56 | Well really, if mostly you want the options off, the
better thing to do rather just than just sort of hunt
| | 03:01 | and peck for the once you want to turn off, is
just go ahead and turn them all off like so.
| | 03:05 | Notice that I now have this little blue square there that's
telling me some things are off and some things are on.
| | 03:10 | Go ahead and click on it once to turn all of them
back on, and then click again to turn them all off.
| | 03:15 | Now, I say OK, I definitely want Color and Tint because
I want the text to be red and I know I don't want Size.
| | 03:21 | Maybe I do want Font. I am not sure of there are different
fonts or not. Maybe Character Style. This kind of looks bold
| | 03:27 | and this stuff looks regular, so
maybe I want that and that's about it.
| | 03:31 | I don't think that I wanted any other stuff, so
I will just go ahead and click OK at this point.
| | 03:35 | Now I will once again lift my formatting attributes, so
notice my Eyedropper is now empty because InDesign has said,
| | 03:41 | "OK, you just changed everything buddy,
you now need to re-lift the attributes."
| | 03:45 | So I have gone ahead and emptied the
Eyedroppers is what InDesign is saying.
| | 03:48 | So go ahead and click on the text once again, and this
time I will double click and hold over David Soul,
| | 03:54 | and I have gone ahead and formatted the text red.
| | 03:56 | Now, apparently the typeface and the Character Style
are the same for this text and this text down here,
| | 04:02 | so that didn't change, but the color of the
text did and that's exactly what we wanted.
| | 04:07 | So if you want to control exactly which attribute you lift
and which ones you ignore, double click on the Eyedropper tool
| | 04:13 | in the toolbox in order to load the
Eyedropper option settings right here.
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| Eyedropper FYIs| 00:00 | Let's end our discussion of the Eyedropper
tool with a couple of FYIs.
| | 00:04 | First of all, you have to be very careful how an
object is selected when you use the Eyedropper tool.
| | 00:10 | For example, let's say I grab my black arrow tool right
here, which is a tool that InDesign calls the Selection tool.
| | 00:16 | I call it the black arrow tool because
after all it is a black arrow.
| | 00:20 | So let's say, I go ahead and grab the black arrow tool and
I click on my text frame in order to select that frame.
| | 00:25 | That's going to tell the Eyedropper
tool to format that entire frame.
| | 00:29 | Let me show you. I'll go ahead and grab the Eyedropper tool
at this point, which I could do now by pressing the I key
| | 00:34 | because after all no text is selected, and then I'll click
inside of this red text right here and notice that I now format
| | 00:41 | that entire text frame with red and
that's because the frame was selected.
| | 00:46 | If I didn't want to do that, which of course I don't,
then I go ahead and press Ctrl+Z, Command+Z on the Mac
| | 00:50 | and then I would press Ctrl+Shift+A or Command+Shift+A on
the Mac, which allows you to deselect everything on a page
| | 00:57 | and then with my cursor still loaded here,
I would go ahead and let's say double click
| | 01:03 | and drag across some text in order to format just that text.
| | 01:07 | Alright, now the Eyedropper tool, the second FYI that I
want to pass along is that the Eyedropper tool works best,
| | 01:13 | works most reliably when you use it when you lift
formatting attributes from native objects, that is text
| | 01:19 | and graphics that were created inside of InDesign.
| | 01:22 | When you try to lift attributes from a
graphic that's been placed into InDesign,
| | 01:27 | you get weird results, you get a different result anyway.
| | 01:30 | For example, notice this cartoon right here.
| | 01:32 | This cartoon frog which happens to be a dead frog, by the
way; I created this illustration inside of Adobe Illustrator
| | 01:38 | as a vector graphic and then placed it into
InDesign and we are seeing a high-resolution version
| | 01:44 | of the illustration incidentally because I have my View settings.
| | 01:47 | If I go up to the View menu and choose Display Performance, you
can see I have got my View settings set to High Quality Display.
| | 01:53 | Just note that for a second.
| | 01:55 | Now you might want to set yours to High Quality Display as
well because you are going to get the best results on screen.
| | 02:00 | I'll go ahead and escape out of that menu.
| | 02:02 | Alright, so now let's say I Alt-click or Option-click on
the frog's flesh in order to lift that shade of green.
| | 02:08 | Notice that I get this error message; it tells me
that the image is a vector graphic. Fine, fair enough.
| | 02:13 | The Eyedropper values are going to be
based on a low resolution RGB proxy.
| | 02:17 | Well that's terrible news for two reasons.
| | 02:20 | First of all this illustration is a CMYK graphic; it doesn't
have any RGB values so any RGB values, by definition,
| | 02:27 | are going to be wrong to some extent or another.
| | 02:29 | They are going to be rough approximations anyway.
| | 02:31 | They are based on a low resolution proxy; let
me show you what that low resolution proxy is.
| | 02:36 | Now, I wouldn't say do not turn on the Don't Show Again check box
| | 02:39 | because this is a very important warning
something that you may forget in the future.
| | 02:43 | So I would just say okay, good to know and let's go ahead and
check out what that low resolution proxy looks like because
| | 02:49 | after all look, I just lifted gray. You may have lifted a shade
of green but I lifted gray, which is totally wrong of course.
| | 02:55 | But if I go up to the View menu and I choose Display Performance
and I choose Typical Display, this is what I just lifted.
| | 03:01 | I lifted a color from this garbage-y view of the illustration
right there and you can see that there is a bunch of gray pixels
| | 03:08 | and a bunch of green pixels and all kind of dithering going on;
that's what this is called when you have this random jumbling
| | 03:14 | of pixels that are designed to sort of
simulate a color when viewed from afar.
| | 03:19 | In my case, I wouldn't have lifted one of those grays.
| | 03:21 | If I clicked inside, let's say, I Alt+click or
Option+click inside of one of the green areas,
| | 03:26 | I'll get that same warning again. Good, click OK, but this time
at least I get a completely aberrant shade of green. Notice that.
| | 03:33 | I'll go ahead and zoom out here and now I am going to switch
back to my high resolution display by going up to the View menu
| | 03:39 | and choosing Display Performance
and choosing High Quality Display.
| | 03:42 | Notice that if you have loaded the Deke
keys, you have got some really, I think,
| | 03:46 | sensible keyboard shortcuts of F2 and
F3 to switch back and forth there.
| | 03:50 | Alright, I am going to go ahead and
switch back to the High Quality Display
| | 03:53 | but it doesn't make any difference where my color is concerned.
| | 03:56 | If I now go ahead and double-click and drag over some words,
you can see that I get this completely erroneous shade
| | 04:01 | of green so that's just something to bear in mind.
| | 04:04 | Again, if I were to grab my black arrow tool and this
is sort of the culmination of my two FYIs together.
| | 04:11 | If I grab my black arrow tool, click down a text
frame then grab my Eyedropper tool and then,
| | 04:16 | let's say, I click inside of this blue flower.
| | 04:19 | Let's say I do the blue flower and notice I'll get that same
notice telling me that I am going to get an aberrant weird shade
| | 04:26 | of blue that doesn't have very much to
do with this flower at all and I also
| | 04:29 | of course have effected the entire text
frame. And I'll go ahead and click OK.
| | 04:33 | So just some things to know, if indeed you decide
to work with this tricked out Eyedropper tool.
| | 04:38 | In the next exercise, I'll go ahead and undo that
modification. I am going to show you a better way
| | 04:44 | to duplicate formatting attributes using style
sheets- our first glimpse of style sheets coming up.
| | Collapse this transcript |
| The five kinds of style sheets| 00:00 | Alright. So we have seen the Eyedropper tool
right here, which is certainly tricked out,
| | 00:05 | it's the best implementation of an
Eyedropper tool that I have seen.
| | 00:08 | The only problem that I have with it and the reason that I don't
actually use it on a regular basis when I'm laying out pages is
| | 00:14 | that it really offers a strange marriage
of convenience and inconvenience.
| | 00:18 | On one hand you can just go ahead and lift some attributes and
apply them very quickly to some other type inside of a document.
| | 00:26 | On the other hand, if you want to lift some attributes and
not other attributes, you have to actually dig in to the tool
| | 00:32 | by double clicking on it, change some settings, click
OK, go ahead and lift some new settings and on and on.
| | 00:38 | So that part, I don't think is very convenient.
| | 00:40 | The better way to work is to lay down some style
sheets that represent the core formatting attributes
| | 00:48 | that you are going to want to replicate over and over again.
| | 00:51 | I'm here to tell you every single kind of text that I
have inside of a document, every single word of text.
| | 00:58 | Every single letter of text is linked to
some style sheet by the time I get done with it.
| | 01:03 | I recommend you do the same as well. They are that useful, that
powerful, that you need to be using them on a regular basis.
| | 01:10 | So tell you what, in the remaining exercises of this
chapter, I'm going to introduce you to style sheets,
| | 01:15 | the five kinds of style sheets that
are going on inside of InDesign.
| | 01:18 | Probably it's going to go too quick for you by the way.
| | 01:20 | So you may want to work along with me. You may want to
just sit back and relax, and then in subsequent chapters,
| | 01:26 | we will dig into each and every one of the various
kinds of style sheets and see how they work.
| | 01:32 | Alright. So it here goes.
| | 01:34 | What I want you to do is, go up to the Type menu and
notice that here is our first group of style sheets.
| | 01:39 | There is Character Styles, and this
command by the way brings up a palette.
| | 01:43 | All of the style sheets commands bring up palettes,
because that's how you get to style sheets in InDesign.
| | 01:49 | And some of them have keyboard shortcuts,
like Shift+F11 here for the Character Styles.
| | 01:52 | Character Styles affect independent characters
of type or characters and words of type,
| | 01:57 | and they allow you to store character level formatting
attributes like typeface, and leading and type size and so on.
| | 02:04 | Paragraph Styles affect entire paragraphs at a time and they go
ahead and store not only paragraph level formatting attributes
| | 02:12 | like alignment, and paragraph spacing, but
also character level formatting attributes.
| | 02:17 | Then we have, if you go over here to the Window menu, you
can see Object Styles, which also has a keyboard shortcut,
| | 02:22 | Ctrl+F7, or Command+F7 on a Mac, for what it's worth.
| | 02:25 | Object Styles allow you to go ahead and save object level
formatting attributes, which include things like text wrap
| | 02:31 | and anchored object settings and fill and
stroke as well as potentially Paragraph Styles,
| | 02:36 | which themselves can include Character Styles.
| | 02:39 | So a lot of these styles include
other types of style sheets as well.
| | 02:43 | Then finally if we go down to Type & Tables here, you
can see these guys in here, we have got Table Styles,
| | 02:48 | which has no keyboard shortcut, which affects entire
tables at a time and then Table Styles include Cell Styles,
| | 02:55 | which style individual cells and they can include character
and paragraph level styles as well as we will see.
| | 03:02 | Now in the remaining exercises of this chapter, I'm going to
be focusing on the two most common and the two most useful kinds
| | 03:09 | of style sheets in my estimation anyway,
which are Paragraph Styles and Object Styles.
| | 03:14 | Coming right up stay tuned.
| | Collapse this transcript |
| Meet the paragraph style| 00:00 | In this exercise we are going to look at how to apply a
Paragraph Style that I have created for you in advance.
| | 00:06 | I'm still working inside that same Seventies quiz #2.indd
file that's found inside the 01 Introduction folder
| | 00:13 | that I opened a few exercises ago now.
| | 00:15 | Now, you may or may not have made some changes to the first
couple of paragraphs of type here inside of this document,
| | 00:21 | I don't care because we are going to move our attention
down to the lower right corner of the document,
| | 00:25 | which contains of course the actual
quiz, the actual seventies music quiz.
| | 00:30 | On the left hand side we have a more or
less properly styled list of song titles
| | 00:35 | and then on the right hand side we have a completely improperly
styled list of lyrics that we need to match to the song titles.
| | 00:41 | Let's go ahead and see how we can
style some of the lyrics anyhow.
| | 00:45 | I'm going to press the T key to switch to the Type tool,
| | 00:48 | and then I'm going to click inside of
'Rock and Roll, Hoochie Koo' right there.
| | 00:52 | It could be any of the song titles actually.
| | 00:54 | Just go ahead and click inside one of the song
titles, then go up to the Type menu and choose
| | 00:58 | this guy right here Paragraph Styles,
or you can press the F11 key.
| | 01:02 | Now in my case, I've modified the palettes a little bit.
| | 01:05 | I've changed the location of some
of my palettes, but no matter what,
| | 01:08 | you are going to bring up your list of
Paragraph Styles as you see them here.
| | 01:12 | You can see that I have gone ahead and styled this
paragraph using this style, which is called Song list.
| | 01:19 | So I have the Song list style sheet
associated with this paragraph of type.
| | 01:23 | So I should be able to apply that same
Song list style sheet to other text inside
| | 01:28 | of my document, and that's exactly what I'm going to do.
| | 01:31 | So I'm going to select just some
text inside of this right hand list.
| | 01:35 | Some text inside of the B through D
items, you can select whatever you want.
| | 01:40 | And then I'm going to go ahead and click on Song
list and notice, just like that InDesign goes ahead
| | 01:45 | and styles the text to match the text on the left.
| | 01:49 | So we have some more or less properly styled type.
| | 01:52 | Now we do have a little bit of a problem.
| | 01:54 | I'm going to press the Enter key on the keypad, or if you did
not load my Deke keys, you should press the Escape key instead.
| | 01:59 | And then I'm going to zoom in on the text, so I'm doing this,
by the way, in case you don't know this keyboard shortcut
| | 02:04 | you can press the Ctrl and spacebar keys together
and click in order to access the Zoom in function
| | 02:10 | or you can press Command and
spacebar on the Mac as you click.
| | 02:13 | Notice that I have some automatic numbering going on here.
| | 02:17 | So in addition to the lettered items, notice
I have got a B here, B period and then a tab.
| | 02:23 | I also have before that a one period
and a tab, so that's messing things up.
| | 02:27 | So what I need to do is get rid of all my letters.
| | 02:30 | I need to actually delete them and then of course
change my Paragraph Style to include letters instead
| | 02:37 | of the numbers over here on this right hand list.
| | 02:40 | We are going to get rid of the manual
letters in our very next exercise.
| | Collapse this transcript |
| Applying the Find/Change command| 00:00 | In the previous exercise you may recall we went
ahead and applied the Song list Paragraph Style,
| | 00:06 | that's available to us here inside
at the Paragraph Styles palette.
| | 00:09 | So this guy right here, we applied it, Song
list, to these three paragraph right here.
| | 00:14 | The problem is that this Paragraph Style includes automatic
numbering, which is a new function inside of InDesign CS3,
| | 00:20 | a new and very exciting, awesome function I might add, but
the problem is that it doesn't really work for our text.
| | 00:27 | We are getting not only the automatic numbers that are associated
with the song titles here in the left hand side of the document,
| | 00:34 | but we're also merging those with the
manual letters that we have applied.
| | 00:39 | What I am suggesting we do is go ahead and get rid of those
of manual letter and then later on, I am going to show you how
| | 00:45 | to switch the automatic numbers back to automatic letters.
| | 00:48 | You'll see.
| | 00:48 | Let's get rid of the letters though for
now, let's get rid of those manual letters.
| | 00:52 | I am going to do that by double-clicking inside
of my text. Notice I had my black arrow active.
| | 00:58 | As soon as you double-click inside of your text, you
are going to get automatically switch to the Type tool.
| | 01:02 | I am just going to go and grab B the right there, the B, the
period and the tab that follows it and I am going delete it.
| | 01:08 | I could do that up here with the A as
well, which I haven't styled so far.
| | 01:12 | Now that's kind of the sucker's route, because
it means that you are going to have to do
| | 01:15 | that eight more times because we have a ten item list.
| | 01:19 | There's a better way to work and that's to take advantage
of a command under the Edit menu, that's called Find/Change.
| | 01:25 | That allows you to find strings of characters and
replace them with other strings of characters.
| | 01:30 | You can also press Ctrl+F, Command+F of on the Mac.
| | 01:34 | Now of course we are searching for different kinds
of text, sometimes we are searching for C, period, tab
| | 01:39 | and other times we are searching
for D, period, tab and so on.
| | 01:42 | So we are going to have to take advantage
of something known as a wildcard.
| | 01:45 | So notice that my blinking insertion marker
is appearing inside of the Find What option.
| | 01:50 | I am going to click on this little at sign (@)
there. I am going to go down to wildcards
| | 01:54 | and I am going to choose this guy right there, Any Letter.
| | 01:57 | Now if I were to just search for any
letter, and notice that InDesign goes ahead
| | 02:01 | and gives it a certain code, which is caret dollar sign.
| | 02:05 | I don't really care about that,
that's its code for any letter.
| | 02:08 | But if I were to search for any letter, why I am going to get
a lot of matches because there is a lot of other letters going
| | 02:13 | on inside of this text, but if I search for a
letter that's followed by a period and then a tab,
| | 02:19 | I'm only going to get exactly the text that I am looking for.
| | 02:22 | So let's go ahead and do that.
| | 02:23 | Let's go ahead and click after the caret dollar sign and
then just enter a manual period by pressing the period key.
| | 02:29 | Then I need to enter a tab character.
I don't know what that looks like.
| | 02:33 | You can't just press the Tab key to do that because
you will tab to the next option right there.
| | 02:37 | So let's go back to right after the period,
click on the at sign and choose Tab
| | 02:42 | and that gives us another code, caret sign T.
Don't care. Really whatever InDesign needs to do
| | 02:47 | to keep track on this stuff that's up to InDesign.
| | 02:50 | Then I just need to make sure that Change To is set to nothing.
| | 02:52 | So make sure that that field is empty right
there and then I want you to click on Change All,
| | 02:57 | but let me move this over a little
bit, so we can see the magic happen.
| | 03:00 | Click on Change All and notice it says, "Search is
completed. Eight replacements made," and the reason
| | 03:06 | it's eight replacements in a ten item list is because I
made two of the replacements manually so only eight were left.
| | 03:12 | Then I click OK. My deed is done, so I'll click
on the Done button, and I am ready to proceed.
| | 03:17 | Now, I can go ahead and select some more text if I want
to, go over to the Paragraph Style palette right there
| | 03:23 | and click on Song list and you can see that now we still
have numbers- that's a problem we'll take care of later.
| | 03:28 | But we don't have the duplicate letters
as well messing things up.
| | 03:33 | Alright in subsequent exercises, I am going to show you how to
fix the remaining problems here inside this list. Stick with me.
| | Collapse this transcript |
| The style sheet domino effect| 00:00 | Alright, so I am working inside of
this partially styled list right here
| | 00:04 | and I don't want you to style the entire list by the way.
| | 00:07 | I want you to leave some items unstyled.
| | 00:09 | So you can see the miracle of Object Styles that's coming
up here and incidentally if you want to catch up with me,
| | 00:15 | I am working inside of a document called Partially
styled.indd, that's found inside of the 01_Introduction folder.
| | 00:23 | I'd like to give you catch up documents every once in a
while just in case you want to start at a different point
| | 00:27 | in the exercises or you are having problems getting
things to work and you just want to catch up with me.
| | 00:32 | I have gone ahead and styled the first six items here
inside of my lyric list, using the song list titles.
| | 00:39 | If I were to go ahead and double click inside of this third
item right here, 'she's going to get you from behind,' which goes
| | 00:44 | with 'Devil Woman' incidentally, and I were to
bring up the Paragraph Styles dialog box,
| | 00:49 | you can see that it is styled to Song list.
| | 00:51 | Not only have I applied all these formatting attributes,
but I have also created a link between the styled text
| | 00:57 | and the Paragraph Style here inside of the palette. Which
means that if I decide to update that Paragraph Style,
| | 01:03 | I will update all text to which I have assigned the
Paragraph Style in kind, which is heck of a trick by the way.
| | 01:10 | So I am going to go ahead and just press
the Escape key to escape out of that text
| | 01:14 | and incidentally notice I am pressing the Escape key
this time, instead of the Enter key on the keypad
| | 01:18 | to accomplish this. That's because I didn't do anything.
| | 01:20 | Now pressing the Escape makes sense, I think.
| | 01:23 | Anyway, I am going to go ahead and click off my
text to make it inactive and this is helpful.
| | 01:28 | You want to make sure that no text is active when you
are going to start editing a Paragraph Style inside
| | 01:33 | of the Paragraph Styles palette because otherwise you are
going to assign that Paragraph Style to the selected item.
| | 01:39 | So it's best to have nothing selected at all.
| | 01:41 | Then I am going to go ahead and double click on Song list and
let's say what I want to change is I want to change the color
| | 01:48 | of the numbers. I want the one and the period
to be set in violet to match the headline text
| | 01:54 | and to match the background as well, rather than black.
| | 01:58 | So I am going to go ahead and check out here inside the
Paragraph Style Options dialog box that I was able to open
| | 02:03 | by double clicking on the Song list item right there, I am
going to check out this item right here, Bullets and Numbering.
| | 02:09 | Now I realize I am going way to fast. I am throwing all the
stuff at you, just bear with me it's going to make total sense
| | 02:14 | in subsequent chapters, but I just want to give you a feel
| | 02:18 | for how much you can accomplish here
inside of these various dialog boxes.
| | 02:22 | Now notice right there inside of this big
huge panel, inside of this dialog box,
| | 02:27 | there is this item that's called
Character Style, which is the style,
| | 02:31 | the Character Style that's assigned to the numbers in the list.
| | 02:34 | Notice right now, it's set to violet text and its like,
ah, so why is the text black, if it's set to violet text?
| | 02:40 | Well, in order to answer that question, we
need to check out the Character Style itself.
| | 02:45 | So we need to go to the Character Styles palette.
| | 02:47 | So let's get out of this dialog box by clicking
on the Cancel button and now I am going to switch
| | 02:51 | over to the Character Styles palette by going to the Type
menu and choosing Character Styles or pressing Shift+F11
| | 02:56 | and that's going to bring up this
Character Styles palette right there.
| | 02:59 | Notice that's just one Character Style- Violet text.
| | 03:02 | Let's go ahead and double click on it and I am going to
switch down here to Character Color and that's our culprit,
| | 03:07 | it's just calling this style Violet text isn't enough.
| | 03:10 | I need to actually go ahead and format it with violet.
| | 03:13 | I kind of overlooked that.
| | 03:14 | So let's go ahead and switch that up by clicking on
this color right here, which is C-50 M-100 Y-0 K-15.
| | 03:22 | So this is a swatch that exists inside the Swatches palette.
| | 03:25 | Then I'll go ahead and click OK and notice just
like that I changed all of my numbers to violet.
| | 03:31 | Because not only did I update the Violet text Character Style,
but I also updated in kind the Song list Paragraph Style,
| | 03:39 | which had the Violet text Character Style
built into it and by direct consequence,
| | 03:45 | I went ahead and updated all text that
was styled with song list as well.
| | 03:49 | So you can see this cascading domino effect of wonderful
automation that's associated with style sheets.
| | 03:55 | I know I am throwing this at you too quickly.
I understand that, you know I understand that.
| | 03:59 | In subsequent chapters, I am going to make it right, believe me.
| | 04:02 | In the next exercise, however, we are going to ahead
and style this entire list using an Object Style.
| | 04:08 | Stick with me.
| | Collapse this transcript |
| Meet the object style| 00:00 | Alright kids, here is where things get exciting.
| | 00:03 | Believe it or not, we are going to take all of the formatting
attributes that are assigned to this text frame right here,
| | 00:08 | this properly styled text frame, and we are
going to apply them en mass to this text frame,
| | 00:14 | to this badly styled text frame right there. It's
kind of a like an ad hoc styling at this point.
| | 00:19 | Some stuff is styled properly, other stuff not.
| | 00:21 | For example, the background of the frame isn't
styled properly at all and then we have some issues
| | 00:26 | with the improperly formatted text at the bottom here.
| | 00:29 | We are going to accomplish this feet of transferring the
styles from one text block to another, using an Object Style.
| | 00:37 | So here is how it works.
| | 00:38 | I want you to go ahead and grab your black arrow tool, which you
can get by pressing the V key, which is almost the last letter
| | 00:43 | in the word Move, is one way to
think of it. It's the last consonant.
| | 00:47 | Anyway. And then go ahead click on this text
frame in order to select the entire thing there.
| | 00:52 | Now, I want you to go up to the Window menu and
I want you to choose Object Styles right there
| | 00:57 | or you can press Ctrl+F7 or Command+F7 on the Mac.
| | 01:00 | I don't really expect you to remember these keyboard
shortcuts incidentally I am just mentioning them in passing,
| | 01:05 | in case they slide easily into your brain and I am
going to go ahead and choose that command in order
| | 01:10 | to bring up the Objects Styles palette right there.
| | 01:13 | Now, let's create a new Object Style
by clicking on this little page icon.
| | 01:18 | I just want you click on it and that
adds a new style called Object Style1.
| | 01:22 | Now it's not properly linked to the text
frame; notice it's not selected here.
| | 01:26 | So go ahead and click on it to establish a
link between Object Style1 and the text frame.
| | 01:31 | Now Object Style1, I have to say,
is a very bad name for this style.
| | 01:34 | So let's go ahead and rename it by
double clicking on the style name.
| | 01:38 | That's going to bring up this whopping huge Object Style Options
dialog box because the Object Styles potentially save a ton
| | 01:44 | of formatting attributes as you can see represented here
inside of this area. There just a ton of stuff that's going on.
| | 01:51 | All I want you to do is change the name for now,
however, we will come to all those other options later.
| | 01:55 | Let's go ahead and call this Violet frame and
I know that this is not really violet, it's more
| | 02:00 | of a lilac color, but lilac is a light violet after all.
| | 02:03 | So that's what I am going to call it and then
click OK in order to accept that modification.
| | 02:08 | Alright. You have just saved an object
style. You rock. What a good job.
| | 02:12 | I mean you just saw how much stuff you
saved just in that one little operation.
| | 02:17 | Now I want you to notice that there is a difference between
this text frame here and this one on the right hand side,
| | 02:23 | I am going to move things over a little bit and
close my Object Styles palette for a moment.
| | 02:26 | Notice that the one on the left is taller; it goes
all the way up to this orange guideline right there,
| | 02:32 | whereas the one on the right only goes to this
point, to this third down orange guideline.
| | 02:37 | That's no good. What's going on?
| | 02:39 | Well, let me grab this text frame, the left
hand text frame, and move it out to the size,
| | 02:44 | so that you can see over here on the pasteboard.
| | 02:45 | It does not include the headline; it
just includes a margin at the top,
| | 02:50 | some headroom so that the headline will fit into place.
| | 02:52 | I'll go ahead and press Ctrl+Z or Command+Z
on the Mac to undo that modification.
| | 02:57 | To see how that's accomplished, I am going to go up to the
Object menu and I am going to choose Text Frame Options.
| | 03:02 | You can also press Ctrl+B, Command+B
on a Mac, I just mentioned it that's all.
| | 03:05 | Going to choose that command and notice right here,
if we were to take a look at the Inset Spacing.
| | 03:10 | You can see that at the bottom I don't have any spacing, even
though I am just allowing the spacing to occur, if it's going to.
| | 03:16 | So I am not forcing any spacing.
| | 03:18 | But I am forcing some spacing at the top 5
picas, 6 points, which is almost a full inch
| | 03:23 | of space there at the top, if you know how picas work.
| | 03:26 | And we also have 0p6, that's a half a
pica, so 6 points of space in the left.
| | 03:32 | That's half an inch incidentally and
another half an inch on the right.
| | 03:36 | Alright. So I am just going to cancel that. I am just noting that.
| | 03:38 | What that means is I need to grab this text frame on
the right hand side and I need to drag it up like so.
| | 03:45 | I am dragging the top handle, so that
it aligns to the top orange guideline.
| | 03:49 | Good. Now I am going to go over to the Object Styles palette
right there which I can also get by just clicking on its icon
| | 03:56 | over here in the palette list if I want to and I am going to
change the style to Violet frame and just like that, bang.
| | 04:04 | I am able to style that entire list with the exception of
those improperly styled items toward at the bottom of the list.
| | 04:11 | We are going to take care of that problem very
very simply as you'll see in the next exercise.
| | Collapse this transcript |
| Appending a paragraph style to an object style| 00:00 | In the previous exercise we created an Object Style based
on the left hand list and applied it to the right hand list,
| | 00:06 | but we left some problems at the bottom, the last four
entries, the last four sets of lyrics are styled improperly.
| | 00:12 | And that's because we neglected to associate
a Paragraph Style with our new Object Style.
| | 00:17 | We are going to resolve that problem in this exercise.
| | 00:20 | I am working in a catch up document incidentally called Two nice
lists.indd that's found inside of the 01_Introduction folder.
| | 00:28 | I am going to go a click off of my
page, in order to deselect everything.
| | 00:33 | I could also press Ctrl+Shift+A or Command+Shift+A in the Mac.
Just the better way when you are thinking of editing a style,
| | 00:39 | it's best to have nothing selected as I mentioned earlier.
| | 00:41 | Now I am going to go to the Object Style palette,
which I have open, and I am going to double click
| | 00:46 | on Violet frame. Notice here this tiny little item over here
| | 00:50 | in the upper left hand list, it's
called Paragraph Styles right there.
| | 00:53 | Notice that it's neither here nor there. It doesn't
have a checkmark, which means it'd be turned on
| | 00:58 | and it's not turned off either, which is very vague.
| | 01:02 | But basically what it really comes down to is it's turned off.
| | 01:04 | It has some information associated with it
that's why it has a blue block inside of it.
| | 01:09 | But it's not turned on, go ahead click on it to
turn it on. Now, it has a checkmark. That's good.
| | 01:14 | Problem is, is it the right Paragraph Style?
| | 01:16 | How would we know?
| | 01:17 | Well, we'll go over to this area, the
Style Settings list and I want you
| | 01:22 | to twirl open Paragraph Styles then twirl
open this item, Paragraph Style right there,
| | 01:27 | and then notice that the name of
the style is Song list. That's good.
| | 01:31 | We want the Song list style to be
associated with this object list.
| | 01:35 | Go ahead and click OK and just like that, bang, it
goes ahead in updates all of the text inside the list
| | 01:41 | that could not be better with one last final exception.
| | 01:45 | The big problem is at this point that we have numbers on the
left hand list, which is right, but we need to have letters
| | 01:52 | in the right hand list so that we can match
the numbers to the letters of course.
| | 01:55 | So that our answers make sense down here
and we will apply that final modification
| | 02:01 | in the next and final exercise of this chapter.
| | Collapse this transcript |
| The power of the local override| 00:00 | In this final exercise of the chapter,
I am going to fix this problem
| | 00:04 | in the right hand list, where we have numbers instead of letters.
| | 00:07 | We want numbers in the left hand list,
but letters in the right hand list.
| | 00:12 | I could accomplish this feat incidentally by changing
the Paragraph Style that's associated with these items.
| | 00:18 | You could go over to the Paragraph Styles palette
and notice this Song list style right there.
| | 00:22 | I can double click on it, in order to edit the list
and make sure that the Preview checkbox is turned on,
| | 00:28 | so you can see what you are doing down here in
the lower left hand corner of the dialog box.
| | 00:32 | Then I want you to switch to this guy right there, Bullets and
Numbering, and notice that format is currently set to 1234.
| | 00:39 | I'm going to move my dialog box over to
the right, so we can see what we are doing.
| | 00:41 | I'm going to change it from 1234 to ABCD capitalized and right
away, I take care of the problem in the right hand list by-
| | 00:50 | I introduced a new problem in the left hand
list, which gets letters instead of numbers.
| | 00:53 | So there is no winning this battle by changing
the overall structure of the Paragraph Style.
| | 00:59 | I am going to go and press the Escape key,
in order to escape out of that dialog box,
| | 01:03 | I cud of course have clicked the Cancel button as well.
| | 01:06 | Instead of what I want to do is I want to look
apply a local override to the right hand list.
| | 01:10 | I am going to do that with my trusty black arrow tool, I am
going to go ahead and click on the right hand list to select it.
| | 01:16 | Then I am going to go up to the Type menu and I am going
| | 01:20 | to choose the Paragraph command right
there to bring up the Paragraph palette.
| | 01:25 | InDesign has gone ahead and automatically added it to the
bottom of my palette columns like so, I am going to go ahead
| | 01:31 | and drag those palettes over here instead
because I think that's a better location for them.
| | 01:36 | I'll click on that little backward P that
represents the Paragraph palette and I am going to go
| | 01:40 | to this little menu right there, see that
little icon represents a palette menu.
| | 01:44 | I'll click on it, and I will choose this
command right there, Bullets and Numbering.
| | 01:48 | That's going to bring up a dialog box. It's very similar to the
panel we just saw a moment ago, but it affects just the Bullets
| | 01:53 | and Numbering associated with this text block and nothing more.
| | 01:56 | I am going to change its format from 1234 to
ABCD and I will go ahead and turn on Preview,
| | 02:02 | so I can make sure that I am getting it right. I am.
| | 02:04 | Notice that I am affecting just the selected type and
not the rest of the type, not the left hand column.
| | 02:09 | I'll go ahead and click OK in order to make that modification.
| | 02:13 | Now if I switch back over here, I'll go ahead and
double-click in this text right here in order to switch
| | 02:18 | from the black arrow tool to the Type tool, so that I have
gone ahead and highlighted this paragraph a little bit,
| | 02:23 | or at least added the blinking insertion marker to that text.
| | 02:26 | I'll drag over some of my text just to make sure
that I have a variety of paragraphs selected.
| | 02:30 | Then I'll switch to the Paragraph Styles palette and you can see
that the Song list item is still active, but notice next to it,
| | 02:37 | it has a little plus sign and that shows that I have
a local override right there applied it to said text,
| | 02:44 | to the selected text, and that local
override of course happens to be the fact
| | 02:48 | that I've got ABCD applied to the text, instead of 1234.
| | 02:52 | There you have it folks.
| | 02:54 | I'm going to go ahead and press the Enter key on a keypad,
you could also press the Escape key if you want to,
| | 02:58 | to apply your changes. I'm going to go and zoom out
a little bit to take in more of the page at a time.
| | 03:02 | I'm going to hide that palette and I'm going
to press that W key you might be familiar
| | 03:07 | with that keyboard shortcut, that
one you should definitely memorize.
| | 03:10 | The W key switches you in and out of the Preview mode.
| | 03:13 | Right now, we want to switch in to the Preview mode so we can see
our properly styled tables here down in a lower right hand region
| | 03:19 | of the page, all of the results are a combination of
character and paragraph and Object Styles working together.
| | 03:26 | This is just the tip of the proverbial iceberg, people.
| | 03:30 | There is so much more you can do, if you will
only join me starting in Chapter 2 of this series.
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|
|
2. Creating and Applying Paragraph StylesThe most common and useful style sheet| 00:00 | In this chapter, we will take a look at the most
commonly used and oldest variety of style sheet,
| | 00:05 | Paragraph Styles, which effect entire paragraphs of text at a time.
| | 00:09 | You'll learn how to create Paragraph Styles based on the
formatting of selected text and assign shortcuts to the styles,
| | 00:16 | so you can apply them in a flash.
| | 00:18 | You will even learn how to base one style on another
and specify the next style that InDesign applies,
| | 00:23 | the one it uses when you begin a new paragraph.
| | 00:26 | If you think that's slick, and you will,
| | 00:28 | you will be bowled over when you apply three
different styles to a sequence of paragraphs
| | 00:33 | and thereby format an entire story with one right-click.
| | 00:38 | Enjoy.
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| Creating a paragraph style| 00:00 | In this exercise, we are going to create a
Paragraph Style, which is the most common kind
| | 00:05 | of style sheet you will be using inside
of InDesign and other applications.
| | 00:09 | I would argue, whether you are creating text inside of Microsoft
Word or pages on the Mac, you should be styling your text
| | 00:16 | with Paragraph Styles as well just because it's
going to save you a ton of time and effort.
| | 00:21 | Now Paragraph Styles inside of InDesign happen to go well beyond
anything you have available to you inside of other applications,
| | 00:30 | but much of what you learn here will translate to other programs.
| | 00:34 | I am working inside this document called Table of
Contents.indd that's found inside the 02'Graph Styles folder.
| | 00:42 | By the way that's a very common abbreviation
I guess, if you will, for paragraphs.
| | 00:47 | At least in the editorial world.
| | 00:49 | One of the worlds that I come from here. And notice that we have
the styled CONTENTS item, this headline right here and if you go
| | 00:57 | to the Paragraph Styles palette, whether by pressing F11 or going
up to the Type menu and choosing Paragraph Styles or just going
| | 01:06 | over to the palettes and sort of finding it here.
| | 01:08 | You will see that there is one style sheet that I
have created in advance called Fragile headline,
| | 01:12 | and that is the style sheet that's
associated with this headline right there.
| | 01:16 | If I double-click inside of it, you can see that
this text right here is styled with Fragile headline.
| | 01:22 | But the rest of the text is not.
| | 01:24 | So what we have is basically this
sort of recurring group of paragraphs
| | 01:31 | that are styled very similarly to
each other in the following order.
| | 01:34 | We will start things off with an article name
like this so Editorial is the name of the article
| | 01:40 | and then the page number is formatted as a big old drop cap
and we will see how that's put together in just a moment.
| | 01:46 | Below that is a byline, the name of the person who wrote the
article, and then a little description of the article after that
| | 01:51 | and then we go back to- even though this text
is not styled, it serves the same purpose.
| | 01:56 | We go back to the name of an article on this page number, then
a byline, then a description, then the article and page number,
| | 02:02 | then byline, then description and so on and so on and so on.
| | 02:05 | So we really rather than having to format this text by hand of
course, we want to go ahead and create some Paragraph Styles
| | 02:12 | that we can apply over and over again or quite
rapidly as it turns out inside of InDesign
| | 02:18 | as you will see. There is one click
formatting that's quite, quite useful.
| | 02:22 | I think you will agree.
| | 02:23 | Alright, so first thing I want you to do
is with the Type tool click anywhere inside
| | 02:28 | of the word Editorial in order to make that paragraph active.
| | 02:32 | You don't have to select the entire paragraph, just
click inside of it and notice that InDesign is telling us
| | 02:37 | that it's not styled, it is setup as a Basic Paragraph.
| | 02:40 | That's just a little place holder and that + after it means that
there is some local overrides, meaning that there is all kinds
| | 02:46 | of things that have changed vis a vis
of the Basic Paragraph settings.
| | 02:50 | To save those all kinds of things, I want you to go down
to this little page icon right there and click on it
| | 02:57 | and you will create a New Paragraph
Style called Paragraph Style 1.
| | 03:01 | Now, it's very important after you get done creating
the Paragraph Style, but you do two other things.
| | 03:05 | One is you want to apply it to the text.
| | 03:08 | You want to make sure that there is a link this kind
that serving as the example of the Paragraph Style.
| | 03:13 | You want to make sure that there is a link
between that text and the style itself
| | 03:17 | and then you want to go ahead and name the style as well.
| | 03:19 | I am going to go ahead and double-click on Paragraph Style
1 right there and I am going to call this style Page No.
| | 03:27 | like this, & Title because after all it's the page number
| | 03:31 | and the title of the article.
| | 03:33 | It's already applied to the selection, so this little
checkbox right here that we will use in the future is dimmed
| | 03:39 | and turned on, and then all you need to do is just go ahead
and click OK and you have now created a Paragraph Style.
| | 03:46 | In the next exercise, I am going to show you how we
can gauge the settings inside of that Paragraph Style,
| | 03:52 | adjust them if need be and assign a keyboard shortcut.
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| The Paragraph Style Options dialog box| 00:00 | In this exercise, I am going to show you how to
work inside the Paragraph Styles Options dialog box.
| | 00:05 | Now, we are still working inside that same Table of
Contents.indd file that I opened in previous exercise,
| | 00:10 | found inside the 02 Graph Styles folder and bear in mind
of course, where graph is a short version of paragraph,
| | 00:18 | it doesn't have anything to do with the Chart Style Graphs
and I have gone ahead and created a new style called Page No.
| | 00:25 | & Title based on the word Editorial and its drop caps.
| | 00:30 | So the drop caps, the big numbers here, are the page
number and the word Editorial is the name of the article.
| | 00:35 | I am going to go ahead and now press the Enter Key
on the keypad or you could press the Escape Key
| | 00:40 | if you didn't load my keyboard shortcuts in order to
escape out of that text. You might also press Ctrl+Shift+A
| | 00:45 | or Command+Shift+A on the Mac to deselect
the text so that nothing is selected.
| | 00:50 | You don't want to have anything selected on the page.
| | 00:52 | Now we are going to go ahead and modify the Page No.
| | 00:55 | & Title Style to at least include a keyboard shortcut.
| | 00:59 | I am also going to show you a few
other things we can do if we want.
| | 01:02 | Let's go ahead and move this page over a little bit so
that we can see the text as we are modifying the style.
| | 01:07 | So you may recall from the previous chapter we have a
live link between the style text and the Paragraph Styles.
| | 01:14 | So if we modify that Paragraph Style,
we are going to modify the text as well.
| | 01:19 | I am going to go ahead and double-click on Page No.
| | 01:23 | & Title there inside the Paragraph Styles palette
to bring up the Paragraph Style Options dialog box
| | 01:29 | and notice when you are working inside this dialog
box by the way that you have a ton of different panels
| | 01:35 | that are available to you and by a ton I mean several.
| | 01:38 | There is like something like 15 or 16 and you can
switch between panels by clicking on these items here.
| | 01:43 | Once you have clicked on one of these items
you can also press the up and down arrow key.
| | 01:48 | So the down arrow key will take you down panels,
the up arrow key will take you up panels.
| | 01:52 | You will also have keyboard shortcuts in case you are curious.
| | 01:55 | Ctrl+1 or Command+1 on the Mac will take you to General.
| | 01:58 | Ctrl+2 or Command+2 on the Mac will take you to, what is that?
Basic Character Formats on and on all the way down the Ctrl+0
| | 02:06 | or Command+0 on the Mac which will take
you to Drop Caps and Nested Styles.
| | 02:10 | Let's check out this one actually because it factors
into what we have done inside of this style.
| | 02:17 | Notice that the Preview checkbox is turned on.
| | 02:19 | Make sure yours is turned on as well so you can see what
you are doing and notice if I change this Lines value
| | 02:24 | like if I reduce the value for example, I am pressing
the down arrow key to reduce the value to 2 Lines
| | 02:29 | or just 1 Line. That's going to change the size of this drop cap
item right there and I actually want to take it up to 3 Lines.
| | 02:37 | You could make it 4 or 5 Lines if you want it to.
| | 02:39 | You can increase the number of characters as well.
| | 02:40 | Right now it set to just the first 2 characters.
| | 02:43 | If I increase that to 3 characters that could
include the tab character after the 8 and 18.
| | 02:49 | If I take it up to 4 characters that would include
the E and then the D and so on, if I take it to 5.
| | 02:54 | Alright, let's take that back down to where I had it 3 and 2 is
actually what I want for this particular paragraph right here.
| | 03:02 | But I just want to show you how you can modify this
text on the fly if you want to and see the results.
| | 03:08 | So for example, if you are curious what does Align Left Edge do?
| | 03:11 | Well, watch the number 1 right there.
| | 03:14 | If I turn on Align Left Edge you will see that it
goes ahead and aligns the left edge of that character.
| | 03:19 | So the 1 moves all the way left.
| | 03:20 | The problem is with this, I don't actually want this turned on.
| | 03:24 | I will go and turn it off.
| | 03:25 | That messes up the right alignment of the number or characters
and I want all the numbers to be aligned similarly at the expense
| | 03:33 | of the number 1 which is the narrowest number of course.
| | 03:36 | But my point is you can checkout how options
work when you have Preview turned on.
| | 03:41 | I am going to go ahead and go back to General, which
I could do either by clicking on the word General
| | 03:45 | or pressing Ctrl+1, Command+1 on the Mac, because I want to
assign a keyboard shortcut and I am going to tell you all
| | 03:51 | about keyboard shortcuts, because they
are little weird in the next exercise.
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| Assigning a keypad shortcut| 00:00 | Alright, gang, I am still working inside
the Paragraph Style Options dialog box
| | 00:04 | which you can get to by double-clicking on Page No.
| | 00:07 | & Title that style, that you created
inside of the Paragraph Styles palette
| | 00:13 | and I want to assign a keyboard shortcut
to the Page No. & Title style sheet.
| | 00:18 | Now, InDesign has some peculiar rules where
these keyboard shortcuts are concerned.
| | 00:22 | You can use any of the modifier keys that is to say Ctrl,
Shift, Alt on a PC, Command, Shift, Option on the Mac,
| | 00:30 | but for the actual trigger key you have
to use a number on the numeric keypad.
| | 00:37 | So first of all, your keyboard has to have a numeric keypad, if
it doesn't, and the Apple Mac Books come to mind, then you have
| | 00:44 | to turn on Num Lock, which overrides the functionality
of bunch of keys on your keyboard. It's a total pain
| | 00:48 | in your neck, you better off just not doing it frankly.
| | 00:52 | This feature really works best if your keyboard offers a numeric
keypad and then what you need to do is you press for example,
| | 00:58 | I want to assign this style Ctrl+Shift+6
let's say, or Command+Shift+6 on the Mac.
| | 01:05 | You can assign it anything you want as long as it's got a numeric
key but that's what I have decide is best for the style.
| | 01:10 | So I am going to go ahead and press Ctrl+Shift+6.
[Computer beeps.] And oh, I get this ding. It's kind of ignoring me.
| | 01:16 | I try some more and it's still ignoring me.
| | 01:18 | It's still dinging at me.
| | 01:19 | What's the deal?
| | 01:20 | If you run into that problem it's because your Num Lock key
is not down and Num Lock is that key that you have never used
| | 01:27 | in your entire life that's in the
upper left corner of the numeric keypad.
| | 01:32 | So just go and press it and that's going to invoke, you should
see a little light come on on your keyboard that's telling you
| | 01:37 | that Num Lock is now invoked and now I can press
Ctrl+Shift+6, or Command+Shift+6 on the numeric keypad
| | 01:44 | on the Mac, in order to add that keyboard shortcut.
| | 01:47 | Now, notice by the way just FYI, InDesign lists the modifier
keys in exactly the opposite order that I tell them to use.
| | 01:55 | So I say Ctrl+Shift+6 and it says Shift+Ctrl+6. That's
just one of the things that Adobe Applications do.
| | 02:02 | Everybody in the universe says the keys in the order
of Ctrl+Shift+Alt or Command+Shift+Option on the Mac.
| | 02:09 | Only Adobe apps decide to list them absolutely
backwards, but that's neither here nor there. Same diff.
| | 02:14 | I am going to go ahead and click OK in order to
accept that modification and now you will see
| | 02:20 | that you can actually see the keyboard shortcut
listed here inside the Paragraph Styles palette.
| | 02:24 | I am going to go ahead and make the palette wider by dragging
its left edge so we can see the name and the keyboard shortcut.
| | 02:29 | Then I will click somewhere like let's say I am going to go
ahead and double-click because I have the black arrow active.
| | 02:35 | I will double-click inside of this line, 'A
Wild Garden of Senses' that begins with 34
| | 02:40 | and now if I press a keyboard shortcut
Ctrl+Shift+6 or Command+Shift+6 on the Mac,
| | 02:44 | I will go ahead and automatically style that text.
| | 02:47 | A heck of a thing if you like keyboard shortcuts, that's
a way to use them. If you don't like keyboard shortcuts
| | 02:53 | and you don't think you are going to remember them or you
don't have a numeric keypad associated with your keyboard,
| | 02:59 | don't worry there is plenty of other time saving shortcuts
| | 03:02 | where Paragraph Styles are concerned
that I will show you in future exercises.
| | 03:07 | Stick with me.
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| The better way to create a style| 00:00 | In this exercise, I am going to show you a different way to create
a Paragraph Style that actually saves us some monkeying around.
| | 00:08 | Now I have still got my Type tool active. I'm going to
go ahead and click inside of the byline text that says,
| | 00:15 | Marjorie Kaminsky there. And by the way, I am working inside
of a catch-up document if you are just joining me. That's called
| | 00:21 | One style down (2 2 go) because we have two more styles we want to
create and this document is found inside of the 02 Graph Styles folder.
| | 00:30 | Now with the blinking insertion marker located somewhere
inside of this byline, I want you this time, instead of
| | 00:36 | clicking on the page icon to Create a New Style, which doesn't
link the new style to the byline and also doesn't allow you to
| | 00:43 | name the style. Instead, what I want you to do is press the
Alt key or the Option key on the Mac and click that same icon.
| | 00:49 | Because you have Alt or Option down, you force the display
of the new Paragraph Style palette and you can go ahead
| | 00:55 | and say, alright, you know what? I want
to go ahead and name this style 'Byline.'
| | 01:00 | So I can name it as I am creating it. I can also turn on this checkbox
right here. Very important. Go ahead and turn on this checkbox
| | 01:06 | that says Apply Style to Selection and then click OK.
And just like that you have not only made the style,
| | 01:14 | you've also named the style and associated
it with that byline in one operation.
| | 01:21 | In the next exercise, I'm going to show
you how to base one style on another
| | 01:26 | and address the consequences.
| | Collapse this transcript |
| Basing one style on another| 00:00 | In this exercise, I am going to show you how to base one style
on another and the advantage of basing styles on each other is
| | 00:07 | that they become easier to edit in the future.
| | 00:10 | As we will see in the next chapters. So you
are not going to see why this is so great
| | 00:14 | in the next chapter, but just bear with me for now.
| | 00:17 | It is a wonderful thing to do, but it does have
a few repercussions as you are about to see.
| | 00:22 | Alright, so I am working still inside this One style down (2
2 go) document that's found inside the 02 Graph Styles folder
| | 00:29 | and I have made a new style, its called Byline.
| | 00:32 | Let's go and edit that style now.
| | 00:34 | I will go ahead and press Enter on the numeric keypad or the
Escape Key if didn't load my shortcuts and I am also going
| | 00:40 | to press Ctrl+Shift+A that's another thing you could do.
| | 00:43 | Incidentally, if I still had my text active, I could just press
Ctrl+Shift+A or Command+Shift+A on the Mac to deselect that text.
| | 00:50 | So that's another way to work and probably the simpler
way to work since it only involves one operation there.
| | 00:56 | Alright, the reason I am deselecting
everything is I want to edit my Byline style.
| | 01:00 | So I am going to go ahead and double-click on it.
| | 01:01 | You could assign a keyboard shortcut if you want
to; I am not going to bother because I am going
| | 01:05 | to show you some other shortcut ways to work, shortly here.
| | 01:10 | What I would like to do is I would like to
go ahead and base my Byline style on Page No.
| | 01:15 | & Title and the advantage of doing
that is if I were to update a Page No.
| | 01:19 | & Title style in the future then my
Byline style would update in kind.
| | 01:25 | So any shared formatting attributes
would change inside of both styles.
| | 01:30 | I sense that I want to do that in the future.
| | 01:32 | So I will go ahead and change
the style to Page No. & Title like so.
| | 01:36 | If you have your Preview checkbox on, you are going
to see that some stuff gets mucked up and basically,
| | 01:42 | in design it's a little bit confused about which
attributes were being shared between the two styles.
| | 01:48 | So it's saying, well, you know, I know that you had a
different sort of like type style associated with this.
| | 01:55 | It was italic instead of upright, but you didn't
have anything assigned in a way of drop cap.
| | 02:01 | So I will ahead and give you those drop caps from
the other style and I will also give you color
| | 02:05 | because you didn't have any color assigned either.
| | 02:07 | Well, we need to overwrite those attributes
because they would muck things up.
| | 02:11 | So go down here to Drop Caps and Nested Styles and you may recall
you can get there by pressing Ctrl+0 or Command+0 on the Mac
| | 02:18 | and then we will just change the
second value right here Characters to 0
| | 02:22 | and then press Tab and notice that zeros are both values.
| | 02:26 | So just by changing Characters to 0 you also
change Lines to 0 in one easy operation.
| | 02:31 | So that totally got rid of the drop caps. Sounds good.
| | 02:34 | Now, let's go ahead to this guy Character Color, there is
no keyboard shortcut, because we have run out of numbers
| | 02:39 | by now and we don't want it to be blue do we?
| | 02:42 | Let's go ahead and drag back up to the top here.
| | 02:45 | We want it to be black and so I will go ahead and assign Black
as the Character Color that goes ahead and fixes the text.
| | 02:52 | It looks great and now we will click OK.
| | 02:54 | So we now have two styles, one that is based
on the other so that if I ever edit Page No.
| | 03:00 | & Title in the future, Byline will change in kind.
| | 03:03 | It's a wonderful thing to do.
| | 03:05 | We will see why in the next chapter.
| | 03:06 | In the meantime just have faith.
| | 03:08 | In the next exercise, we are going to style
this final paragraph, the description text.
| | 03:14 | Join me.
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| Assigning a Next Style setting| 00:00 | Now, it comes time to create a style that's associated
with the third kind of paragraph we might encounter,
| | 00:07 | which is the article description right here in our table of
contents document, and by the way you can catch up with me
| | 00:12 | by opening this document right here it's called Two
styles in the can.indd. 'In the can' being an old film term.
| | 00:20 | When they get done filming, they would put the film in the can.
| | 00:23 | It doesn't have anything to do with the toilet, not
that kind of can. And we find that document just
| | 00:29 | in case you are curious inside of a
folder, also not inside of a toilet.
| | 00:32 | Inside of a folder called 02 Graph Styles.
| | 00:35 | Alright, so I have gone ahead and clicked inside
of this descriptive paragraph with my Type tool.
| | 00:40 | Already done that and now in this exercise, we are going to do
all that stuff that we did in the previous exercises in one step.
| | 00:46 | One big step to create the style
and here is what I want you to do.
| | 00:50 | So we will start off by pressing the Alt key, Option
key on the Mac, and clicking on this little page icon.
| | 00:55 | So an Alt+Click or an Option+Click
forces to display the dialog box.
| | 00:58 | We will name the style Description.
| | 01:00 | I am not going to bother with the keyboard shortcut, but I am
going to make sure that Apply Style to Selection is turned on.
| | 01:06 | I am also going to make sure that
my Preview checkbox is turned on.
| | 01:10 | I am going to base this style on Byline,
so that we have the sequence, right.
| | 01:15 | Byline is based on Page No.& Title and then this
new style Description is going to be based on Byline.
| | 01:20 | So we have sort of a domino effect
associated with our styles here.
| | 01:24 | Go ahead and turn on Byline.
| | 01:25 | Check out the text.
| | 01:26 | Make sure it didn't switch.
| | 01:28 | It didn't shift on us.
| | 01:29 | That's because we don't have any weird stuff going
on that's going to adversely effect this text.
| | 01:34 | So that's nice and the next thing I am
going to do, the final thing I should say
| | 01:38 | that I am going to do is change next style to Page No.
| | 01:42 | & Title. This option which we haven't changed in the past allows
us to say, okay after Description comes a style called Page No.
| | 01:51 | & Title. In other words, it goes Page No.
| | 01:53 | & Title, Byline, Description back to Page No.
| | 01:56 | & Title, Byline, Description and so on and so on and so on.
| | 02:00 | So we are creating this Cascading effect, which is
going to help us out like I cannot even tell you.
| | 02:05 | So make sure to set next style to Page No. & Title
like so, and then click OK and the deed is done.
| | 02:11 | You now have a Description style, a new Description
style that is associated with this text right there.
| | 02:17 | In the next exercise, I am going to show you how to assign
next titles to the other styles so that we have a close loop
| | 02:24 | of repeating styles, which we will exploit like crazy.
| | 02:27 | It's really something to be hold, so stick with me.
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| Creating a closed style loop| 00:00 | In this exercise, we're going to close the loop.
| | 00:02 | We're going to instruct InDesign that we always want to create
our styles like so. We always want the first paragraph to be
| | 00:09 | styled with Page No. & Title,
| | 00:12 | just like this one is, and then Byline and then Description
and then back to Page No. & Title and so on and so on.
| | 00:19 | I'm working inside that document called Two styles in the
can.indd. You may recall in the can- that's not in the toilet.
| | 00:27 | Alright, so. And this document, by the way,
found inside the 02 Graphic Styles folder.
| | 00:32 | Alright, let's go ahead and press Ctrl+Shift+A or Command+Shift+A
on the Mac to deselect the text. So that we can edit the styles
| | 00:39 | without applying the styles to the text block. And I am going
to go ahead and start things off by editing Page No. & Title.
| | 00:46 | I'm going to go ahead and double-click on Page No. & Title there
| | 00:49 | and I'm going to change Next Style to Byline like so.
| | 00:53 | Now you may wonder when we were creating Page No.
& Title, why didn't we change next style to Byline?
| | 00:58 | Because we couldn't, because there was no Byline style at
that point in time. So that's why we have to go back after
| | 01:04 | we create the style and do this step.
Then click OK and now go to Byline
| | 01:09 | and change its Next Style option to Description.
| | 01:12 | Alright, then click OK.
| | 01:14 | And Description, we don't have to do that, because we did that in
the previous exercise, but you could confirm. You could double-click
| | 01:20 | on Description. See yes indeed, it's set to Page No. & Title. So
we now have a closed loop of styles going on, that is so awesome.
| | 01:27 | That's going to serve us so well as you will learn shortly.
In the next exercise, I am going to show you another quick way
| | 01:34 | to apply styles inside of InDesign, the Quick Apply function.
| | 01:38 | Coming right up.
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| Using the Quick Apply function| 00:00 | In this exercise, I am going to introduce you to the Quick
Apply function here inside of InDesign which allows you
| | 00:07 | to extensively quickly apply styles to your text.
| | 00:11 | Now, bear in mind that it's pretty quick
to apply styles in the first place.
| | 00:14 | After all, I have got my black arrow tool selected here
so go ahead and double-click inside of Orchids en Regalia.
| | 00:20 | We want to make that paragraph active and I
could take advantage of that keyboard shortcut,
| | 00:24 | I have assigned in advance which is Ctrl+Shift+6 on the keypad.
| | 00:27 | That would be Command+Shift+6 on the keypad on the Mac.
| | 00:30 | But what if you didn't assign the keyboard shortcut?
| | 00:33 | I will go ahead and undo that modification.
| | 00:35 | Just as of course we did not assigned any
keyboard shortcuts to the other styles,
| | 00:39 | while then with the Paragraph Styles palette open
you would just click on that style to apply it.
| | 00:45 | But what if you don't even have the
Paragraph Styles palette open?
| | 00:49 | I will go ahead and undo that modification
and hide the Paragraph Styles Palette.
| | 00:53 | Well, you can take advantage of Quick Apply.
| | 00:55 | Now, used improperly Quick Apply is actually slower.
| | 00:57 | Let me show you how to use it in properly
because this is sort of the brain dead approach.
| | 01:01 | You go up to the Edit menu and you choose Quick Apply
| | 01:04 | or you go over to this little lightening
bolt right there up here in the Options bar.
| | 01:08 | Click on that lightening bolt and it
brings up the floating Quick Apply palette
| | 01:13 | and notice that the palette includes not only a list of styles,
| | 01:16 | but it also includes all of your
commands, all of your menu commands.
| | 01:20 | If you don't want to see all those menu
commands, which very likely you don't.
| | 01:24 | Some people find it helpful to use
Quick Apply to access commands.
| | 01:28 | I don't, so it's up to you, but if you want to get rid of them,
and just clean up your palette a little bit then click this
| | 01:33 | down pointing arrowhead and choose Include Menu Commands to turn
it off and then you will just see your styles and other items,
| | 01:42 | and now at this point I would click on Page No.
& Title in order to assign it and the deed is done.
| | 01:47 | That's still not all that quick though, right.
| | 01:50 | Well, here is a quicker way to work.
| | 01:51 | I am going to go ahead and arrow down to Byline and
then I will press Ctrl+Enter that's not on the keypad
| | 01:59 | by the way that would be Command+Return on the Mac.
| | 02:02 | So you PC people, that's Ctrl+Enter, the Enter key
next to the Quote key on the standard keyboard.
| | 02:08 | And then I would click on Byline. That's still not that quick.
| | 02:13 | So here is an even quicker way to work.
| | 02:15 | I will press a down arrow key to advance to the next
paragraph, the descriptive paragraph and I will press Ctrl+Enter
| | 02:20 | or Command+Return on the Mac and
then I will press D for Description
| | 02:24 | and then I will press Enter and that's pretty done quick.
| | 02:28 | It goes ahead and applies that paragraph
style right away and then this is even
| | 02:33 | where the things get insanely quick here is let's say you
are just interested in formatting the descriptive text
| | 02:39 | to nothing else then you would click
inside the descriptive text like so.
| | 02:44 | Press Ctrl+Enter, Command+Return on
the Mac. That d is still up there.
| | 02:48 | Notice that it's still entered inside of that area.
| | 02:50 | So Description is still selected.
| | 02:52 | So you don't have to enter the d this time
you just press Enter or Return on the Mac.
| | 02:56 | So you just press Ctrl+Enter+Enter in order
to format this text over and over again.
| | 03:02 | Just like this Ctrl+Enter+Enter like so.
That would be Command+Return+Return on the Mac.
| | 03:07 | However, there is an even better way to work.
| | 03:11 | I am going to back up- undo, undo, undo, undo, undo like so.
| | 03:15 | Get rid of just about all the styling I have
applied except for 34 A Wild Garden of Senses there.
| | 03:20 | I am going to show you an insanely fast way to style an
entire story in one operation in the very next exercise.
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| Formatting an entire story in one click| 00:00 | In this exercise, I am going to show you how to format an
entire story of repeating text elements in one operation.
| | 00:06 | This is one of the most amazing tricks you can pull
off with Paragraph Styles, inside of InDesign CS3.
| | 00:12 | So this little trick is new to CS3 as it turns out.
| | 00:16 | I am working inside of this document called Closed style
loop.indd that's found inside of the 02 Graph Styles folder.
| | 00:25 | So called, it's called a closed style loop- and this is very
important- because I have a closed loop of Next Style setup.
| | 00:33 | I have already told InDesign that after
Page No. & Title, after this guy right there.
| | 00:38 | Then we have Byline then we have
Description and then we are back to Page No.
| | 00:41 | & Title and then Byline and then Description and so on and so on.
| | 00:46 | Now, you can select the text in one of two ways.
| | 00:48 | You can either go ahead and switch back to the black
arrow tool, and click on the text frame in order
| | 00:53 | to select the entire text frame and
our text doesn't exceed the text frame.
| | 00:58 | It doesn't go any farther than the bottom here.
| | 01:00 | So that works out well for us.
| | 01:02 | If you had a story that is threaded between multiple text
frames then you would want to go ahead and grab your Type tool.
| | 01:09 | Click somewhere inside the text and then press Ctrl+A or
Command+A on the Mac in order to select all the text inside
| | 01:16 | of that story across all of the threaded frames.
| | 01:20 | Then I want you to go ahead and bring up the
Paragraph Styles palette and actually in our case,
| | 01:25 | it's going to be more impressive if we don't
have the text selected with the Text tool just
| | 01:29 | because otherwise the text is inverted like this.
| | 01:32 | Let's go ahead and switch back to the black arrow tool.
| | 01:34 | So just go ahead and click on the frame with
the black arrow tool, which works just as well.
| | 01:37 | Make sure it's active. Then I want you inside the Paragraph Styles
palette, very important, you have to work inside this palette,
| | 01:44 | not inside the Quick Apply palette. Then I want
you to go ahead and right-click on Page No.
| | 01:49 | & Title. Make sure to right-click, don't click
on it and if you don't have a right mouse button
| | 01:53 | on the Mac then you would press the Ctrl key and
click. And the reason we are choosing Page No.
| | 01:58 | & Title because that's the style that we want to
apply to the first paragraph inside of this text block
| | 02:03 | and then go ahead and choose this guy right there.
| | 02:05 | Apply "Page No. & Title" then Next Style.
| | 02:09 | So it could be anything else.
| | 02:10 | It could be "Apply blah blah blah then Next Style"
and check this out. Watch. In one click- bang.
| | 02:17 | You formatted the entire document.
| | 02:19 | Isn't that not impressive? Because you just
hold InDesign to go ahead and assign Page No.
| | 02:24 | & Title to the first one and then Next Styles after that and it
just goes through and figures out everything after that point.
| | 02:30 | It not only works for styling existing text however, it's
also useful for automatically styling text as you create it,
| | 02:38 | and I will show you how that works
in the next and final exercise.
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| Auto-formatting as you type| 00:00 | In this final exercise of this chapter, I am going
to show you how the next style setting allows us
| | 00:06 | to format text as we create it inside of InDesign.
| | 00:10 | I am working inside of this document called Formatted
document.indd because it has been entirely formatted now.
| | 00:18 | It's found inside the 02 Graph Styles
folder and this is just a catch-up document.
| | 00:22 | If you have been working along with me since the very beginning
| | 00:25 | of this chapter then there is no
reason for you to switch documents.
| | 00:28 | Alright, I am going to go ahead and grab the Type tool
and I could do that by pressing the T Key if I want.
| | 00:33 | I am going to click after the period in our
garden, because that's the end of the article.
| | 00:37 | Then I am going to press the Enter key here on the PC or the
Return key on the Mac, and I am going to type 44. Look at that.
| | 00:42 | Automatically styles this, because I have said
that the next style after Description is Page No.
| | 00:49 | & Title. So InDesign can style as we go.
| | 00:52 | Then I will press the Tab key after 44 and I will type 'Our
Gardens, Our Selves,' you can enter anything you want actually
| | 01:01 | for the title of this document and you could properly spell
Our Selves if you want to, but it's just a little clever thing,
| | 01:07 | a little clever item that's associated with this
particular article and then I will press the Enter key
| | 01:12 | or the Return key on the Mac to advance down to the next line.
| | 01:15 | Then I will enter the name of this particular author,
which is Clem McDekely, and notice as I enter that text
| | 01:22 | that InDesign is smart enough to automatically style it.
| | 01:24 | Then I will press the Enter key or the Return key on the Mac
once again and by the way when I am pressing the Enter key,
| | 01:29 | I am not talking about the Enter key on a numerical
keypad, I am talking about the standard Enter key.
| | 01:35 | Rather than making you tediously enter some descriptive text,
I have gotten ahead and given you a description right here.
| | 01:41 | Notice this item, Description.txt.
| | 01:44 | It's found inside of that same 02 Graph Styles folder
and I have opened this text file inside of Notepad,
| | 01:50 | you might be opening inside of some other
text processor on the Mac or the PC.
| | 01:55 | Right now, it's appearing as a big long line of text,
so I need to go to the Format menu and choose Word Wrap.
| | 02:00 | So that it wraps properly, so that I can see all of that text.
| | 02:03 | Then I will press Ctrl+A in order to select all of the text
that would be Command+A on the Mac and Ctrl+C or Command+C
| | 02:09 | on the Mac, in order to copy all of that text.
| | 02:13 | Then I am going to Alt+Tab or Command+Tab
my way back to InDesign.
| | 02:17 | Then I am going to press Ctrl+V or Command+V
on the Mac in order to paste the text.
| | 02:21 | So it was not formatted.
| | 02:23 | It was the text only document without any formatting
whatsoever and I just went ahead and pasted it into InDesign
| | 02:28 | and InDesign went ahead and formatted
the text automatically for me, bless it.
| | 02:32 | Then I will press the Enter key on the keypad
or I could press the Escape key as well,
| | 02:37 | if I want to and I have properly formatted my document.
| | 02:41 | I have added some text.
| | 02:42 | InDesign is formatting everything exactly the way I want it.
| | 02:45 | So I have to spend a little bit of time upfront
in order to create these styles to make sure
| | 02:51 | that the next styles were setup properly so that I had a closed
style loop. After that, InDesign does all of the work for me.
| | 02:58 | Definitely worth your time and effort to
setup Paragraph Styles inside of InDesign.
| | 03:03 | In the next chapter, I am going to show you how
to adjust Paragraph Styles, how to modify them
| | 03:08 | and how to update the text automatically to match.
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3. Updating Paragraph StylesStyle sheets are dynamic| 00:00 | In addition to automating the application of many
formatting attributes at a time, style sheets are dynamic.
| | 00:06 | InDesign creates a live link between the style and
the text frame or graphic object to which it's applied.
| | 00:13 | So when you make a change to a style sheet,
the text updates to match your changes.
| | 00:18 | In this brief chapter,
| | 00:20 | you'll make a couple of changes to an existing paragraph
style and see firsthand how those changes affect your text.
| | 00:26 | You'll also see exactly how changes to
a parent style get passed down to the children.
| | 00:31 | It's just like a real family,
| | 00:33 | except the children actually obey the parents
| | 00:36 | here inside InDesign.
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| Changing the font for multiple style sheets| 00:00 | In this exercise, we are going to update the typeface
that's associated with all three of the styles
| | 00:06 | that we created in the previous chapter that is Page No.
| | 00:09 | & Title, Byline, and Description.
| | 00:11 | And because Description is based on Byline
and Byline, in turn, is based on Page No.
| | 00:17 | & Title, any modification that we make to Page No.
| | 00:20 | & Title, because this is the parent
style, will affect the other two.
| | 00:24 | So if I change the typeface, for
example that's associated with Page No.
| | 00:28 | & Title, then Byline and Description will change as well.
| | 00:31 | Now, if you've been working right along
with me through and including Chapter 2,
| | 00:35 | then you can just stick inside of
your Table of Contents document.
| | 00:39 | If you want to catch on up, then you could
open this file, let's call Styled TOC.indd,
| | 00:44 | it's found inside the 03_update styles folder that
in turn is found inside the exercise_files folder.
| | 00:51 | Alright, now there is a few reasons
that I want to change the typeface.
| | 00:54 | First of all, currently, I've got the type set in Myriad Pro,
which is a sans-serif font; great for headlines and large text,
| | 01:02 | not so great for body copy. By which I mean small text that
you are going to read, lots of words inside of that text.
| | 01:10 | So I want to switch to a serifed font; Adobe
Garamond Pro, which tends to be more legible.
| | 01:15 | Also notice, if I double click inside this Description text
right here, you can see that I've set it to Myriad Pro Condensed
| | 01:22 | and then I opened up the type a little bit by
changing the horizontal scale value to 130%.
| | 01:27 | That's not really the best idea on earth frankly;
that's going to result in some distorted letter forms.
| | 01:33 | So if I change the font, I can also
deal with that problem and then finally,
| | 01:38 | notice that three out of five of my descriptions end in widows.
| | 01:43 | This guy right there is a widow, this word delirium
is a widow and collection is a widow as well.
| | 01:48 | Again, bad form where this document is
concerned, so let's take care of these problems.
| | 01:53 | I am going to go and switch back to the black-arrow tool and
I am going to press Ctrl+Shift+A or Command+Shift+A on the Mac
| | 01:59 | to deselect me text and then I am going to update
the font that's associated with all of this type
| | 02:04 | by double clicking on the parent style, Page No.
| | 02:07 | & Title here inside the Paragraph Styles palette.
| | 02:10 | So press F11 if need be to display the palette then double click
on the Style, let's go to Basic Character Formats right there
| | 02:18 | which I can get to by pressing Ctrl+2 or
Command+2 on the Mac as you may recall
| | 02:22 | and let's change that Font Family to Adobe Garamond Pro.
| | 02:25 | Now, I could click on the down-pointing arrow ahead and
scroll all the way to the top of the list which is not
| | 02:32 | where Adobe Garamond Pro is located actually because it's
midway in the list; it's actually alphabetized under Garamond.
| | 02:39 | So I could go that route or here's a better way to work.
| | 02:42 | I'll go ahead and make sure that that typeface
name is active, which I could do by clicking
| | 02:48 | on the words Font Family right there, and then I could
just type in Gar, which is going to get me some form
| | 02:55 | of Garamond most likely and then I am going to press the
down-arrow key once or twice until I get to Adobe Garamond Pro.
| | 03:02 | So it's much more easy to type in the
typeface name and the reason I didn't type
| | 03:05 | in Adobe Garamond was that would require more typing.
| | 03:09 | So if I did Gar and then down arrow a
couple of times, I got Adobe Garamond Pro.
| | 03:14 | You can see that that goes ahead and changes
all of the type inside of the document.
| | 03:19 | I am going to go ahead and click OK in order to
accept that modification and I am going to zoom
| | 03:24 | in on my type a little bit so that
you can see there that the Page No.
| | 03:29 | & Title text, the 18 and Editorial, for example, as well as 22
and Orchids en Regalia and so on that type is set beautifully.
| | 03:37 | The type size is a little small, I'll take care of that
in the next exercise but otherwise, the type looks great.
| | 03:43 | However, all of the other styles are set in this Pepto-Bismol
pink here which tells you that something is wrong with that text.
| | 03:51 | Basically, InDesign can't find the
font that's associated with that text.
| | 03:55 | It's all set in, let's go ahead and double click in there,
it's all set in Adobe Garamond Pro which you can find
| | 04:01 | but it can't find Semibold Italic that's not a style that's
included on this system, might be in yours but not in this system
| | 04:07 | and then if we click down here, the Condensed style is
just totally missing as indicated by those brackets.
| | 04:14 | So whenever you see Pepto-Bismol pink that means
| | 04:16 | that InDesign cannot find the font you need,
you need to switch out the font somehow.
| | 04:20 | We'll deal with that.
| | 04:21 | First of all, we are going to update the
type size and then we are going to deal
| | 04:25 | with the other font problems beginning in the next exercise.
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| Updating a shared attribute| 00:00 | In this exercise, I am going to show you how to update
another shared attribute and by shared attribute,
| | 00:05 | I mean a formatting attribute that's shared
between a group of associated styles.
| | 00:11 | For example, inside of this document, I am
still working inside the Styled TOC.indd file,
| | 00:17 | albeit slightly updated here based on
what we did in the previous exercise.
| | 00:21 | If you take a look, I've got my Type tool selected.
| | 00:23 | If you click inside the Description,
you'll see that the type size is 12 point.
| | 00:28 | If I click in inside the Byline, the type size is 12 point.
| | 00:31 | If I click inside the word Editorial, the type size is 12 point.
| | 00:34 | Actually, if I click inside the 18, it
says that the type size is 12 point.
| | 00:38 | Even though, it obviously isn't the size of the other characters,
the reason it's saying that the type size is 12 point is
| | 00:45 | because this is a drop cap and it
has some special scaling going on,
| | 00:49 | it's scaled to the height of three lines of this text right here.
| | 00:54 | Anyway, I am thinking, whatever the type size, I am thinking
| | 00:57 | that the word Editorial is too small
and I'd like to go ahead and enlarge it.
| | 01:01 | So what I am going to do is just click
inside the word Editorial with my Type tool.
| | 01:05 | Make sure that it's active so that I can go over to the Page No.
| | 01:07 | & Title style and update it and incidentally,
I've been showing you how to update.
| | 01:12 | By double clicking on the style sheet, if you prefer to
work with commands, there are people, believe it or not,
| | 01:17 | who prefer to work that way, then you'd go over to the Palette
menu right here and you will choose this guy right here,
| | 01:22 | Style Options and that would bring up
the Paragraph Style Options dialog box.
| | 01:27 | Another way to work -- I'll go ahead and cancel out it there.
| | 01:29 | Another way to work is to right click on the style
and choose this very first command, Edit "Page No.
| | 01:34 | & Title". In any case, I am going to switch to
Basic Character Formats. I am going to click inside
| | 01:40 | of the Size field right there, the Size option
box and I am going to press the up arrow key.
| | 01:45 | Watch this, make sure the Preview check box is turned
on. I am going to press the up arrow key two times in row
| | 01:51 | and with each press of the up arrow key,
you can see that all of my text grows.
| | 01:56 | So not only the text that's associated with Page No.
| | 01:59 | & Title but also the shared attributes that are
associated with the Byline and Description styles
| | 02:05 | as well because they are all based upon Page No.
| | 02:09 | & Title. Now, I'll go ahead and click
OK in order to apply that update.
| | 02:14 | In the next exercise, I am going to show you
what is potentially a more convenient way
| | 02:20 | to update a style sheet here inside InDesign.
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| Type style, skew, and tracking| 00:00 | In this exercise, we are going to take a closer look by what is
meant by a local formatting attribute override and by the way,
| | 00:08 | I am working inside of an updated version of my document,
| | 00:11 | it's called New font & size.indd found
inside the 03_update styles folder.
| | 00:18 | This time around, let's say instead of modifying my style sheet
and having all of the text, all of the link text update in kind,
| | 00:28 | I want to operate directly on the text itself and
then later on, update the style sheet to match.
| | 00:34 | So for example, let's say we want the Byline style to look
differently than we are seeing it here and certainly we do;
| | 00:38 | we don't want to have this Pepto-Bismol pink.
| | 00:40 | This is not a printing thing, by the way; this is just a screen
indicator to show you that InDesign can't find the desired font.
| | 00:49 | I am going to go ahead and triple click; one, two, three inside
of Marjorie Kaminsky there in order to select an entire line
| | 00:56 | of type and you can see that it's set in
the Byline style, all very well and good.
| | 01:00 | Let's ignore the Paragraph Styles palette for a moment and
let's just focus on styling this text so it looks better.
| | 01:06 | I am going to change the type style from Semibold Italic
which doesn't exist on this machine and if it doesn't exist
| | 01:12 | on your machine, you'll probably see square brackets around it.
| | 01:16 | I am going to change that style to Bold Italic which
does exist and notice, as soon as I click off that text,
| | 01:22 | the Pepto-Bismol pink has gone away thereby
indicating that InDesign can find that style just fine.
| | 01:29 | Now here is my problem. I am going to go ahead and zoom in here
a little bit on this text and drag the text over a little bit
| | 01:37 | and if you have text active and you want to move
the page, you can press the Alt key by itself or Alt
| | 01:43 | and spacebar at the same time to drag the page around.
| | 01:46 | That would be Option by itself or
Option and spacebar on the Mac.
| | 01:50 | Notice that this Bold Italic Adobe Garamond Pro type here is
a little too precious; I think, it's a little bit too scripty,
| | 02:00 | it's leaning too far forward and it's kind of too close.
| | 02:04 | The letters are too close to each other.
| | 02:05 | So I want to open up the letters and I want
to sort of un-slant the text a little bit.
| | 02:10 | So I am going to one, two, three click on that text again, triple
click on it and I am going to select this value right here.
| | 02:17 | Notice this guy, he is called Skew (false italic) and by
the way, you are only going to see these options up here
| | 02:23 | in the Control palette if you've got the A
selected, the Character Formatting Controls.
| | 02:28 | Otherwise, either these controls were going to be hidden as
they are on a 1024 x 768 screen like mine or they are going
| | 02:36 | to be shoved over to the right-hand side of the palette.
| | 02:39 | In any case, I want to go ahead and select this value, the
Skew (false italic) value that lets you change the amount
| | 02:45 | of skew associated with your type and I am going
to change this value to -8, then press the Tab key
| | 02:50 | and notice that that lifts the type slightly.
| | 02:53 | It goes ahead and skews it to the left a little bit.
| | 02:55 | A negative skew value skews the text to the
left, positive skew value skews it to the right.
| | 03:01 | By skew, I mean slant, same thing.
| | 03:03 | Then I am going to go ahead and select this value
right here which is the Tracking value incidentally.
| | 03:08 | If I hover over it, you can see.
| | 03:10 | I am going to change this value to 20, which is 20 thousandths
of an em space, and em space is as wide as the type size is tall,
| | 03:19 | so in this case, 14 points wide where 21
thousandths of 14 points at this point.
| | 03:24 | Alright, I'll go ahead and press the Enter key in
order to apply that value to the text and you can see
| | 03:29 | that the letters spread apart from each other just a little bit.
| | 03:33 | Now then if I go ahead and at this point, bring up the Paragraph
Styles palette, you can see that have a local override. It says Byline+.
| | 03:40 | That indicates a local override, which means
that I've applied some formatting attributes
| | 03:45 | in addition to what the style sheet calls for.
| | 03:47 | If you want to see exactly what those additions are, just
go ahead and hover over the style and you'll see a hint,
| | 03:53 | it's telling me 'Bold Italic; tracking: 20 and skew angle: -8 degrees.'
| | 04:00 | In the next exercise, I'll show you how to revert this override
to reinstate the original style and I'll also show you how
| | 04:06 | to update the style to include the
modifications that you've made.
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| Clearing and integrating local overrides| 00:00 | In this exercise, I am going to show you two things.
| | 00:02 | First of all, I am going to show
you how to override the overrides
| | 00:05 | so that you are reassigning the absolute
settings that are associated with a style sheet.
| | 00:12 | I am also going to show you how to update a
style sheet to include the local overrides.
| | 00:19 | So here I am very zoomed in on this page and I have gone
ahead and saved down a catch up document just in case,
| | 00:25 | it's called Byline overrides.indd found
inside the 03_update styles folder.
| | 00:31 | I've triple clicked inside of Marjorie Kaminsky
in order to select that entire line of type.
| | 00:35 | Notice that here inside the Paragraph Styles palette, Byline
has a + sign after it indicating that there are some overrides.
| | 00:42 | Bold Italic, tracking: 20, and Skew angle: -8 degrees are all formatting
attributes that I've applied to this text that are not included
| | 00:50 | with the absolute description of this Paragraph Style.
| | 00:55 | Now if I want to override the overrides, if I want to reset
that text, I would Alt+click or Option+click on the word Byline
| | 01:03 | and this is a very good trick to bear in mind because
there's all kinds of times where you are going to have
| | 01:08 | to restore text to the absolute style sheet settings.
| | 01:13 | Another way to work, I'll go ahead and undo that modification
and another thing you can do in addition to Alt+clicking
| | 01:18 | or Option+clicking on Byline, you can go down here to this little
Paragraph icon and it's a backward P with a + sign next to it
| | 01:25 | and a line through the entire thing that tells that
you are going to clear the overrides and you click
| | 01:30 | on it and the overrides are clear just like that.
| | 01:33 | Alright, so two different ways to clear overrides.
| | 01:35 | I am going to go ahead and undo the
overridden overrides because I want
| | 01:39 | to associate the overrides with the style sheet description.
| | 01:44 | So this is another way to work.
| | 01:45 | If you want to update a style sheet, you can go ahead
and just apply your changes to some representative text,
| | 01:51 | then go over to the Paragraph Styles palette
here, click on this little palette menu icon
| | 01:56 | and then choose this command right there, Redefine
Style or you can apply this keyboard shortcut,
| | 02:02 | which is mash your fist down on the keyboard;
Ctrl+Shift+Alt+R, this would be Command+Shift+Option+R on the Mac.
| | 02:09 | And just like that let's go ahead and
zoom out actually so we can see this.
| | 02:13 | As we apply it, I am going to go ahead and zoom
out a little bit and then drag the page up so
| | 02:18 | that we can see the other bylines here: Harold Ottersen
and Margueritte Omstead. And then as soon as I go ahead
| | 02:25 | and apply this command, Redefine Styles, notice that they all
update and not only do Marjorie Kaminsky and Harold Ottersen
| | 02:32 | and Margueritte Omstead, not only
do they all update, all those bylines,
| | 02:36 | but we updated the shared attributes
inside of the description text as well.
| | 02:41 | So I've gone ahead and skewed the text backwards because
there was no false italic value associated with those guys.
| | 02:48 | I've also assigned a tracking value of 20 because there
was no tracking value associated with them either.
| | 02:54 | In the next exercise, we are going to fix the
description text including balancing the lines
| | 02:59 | so we get rid of those nasty widows right there.
| | 03:03 | Join me, won't you?
| | Collapse this transcript |
| Removing widows with Balance Ragged Lines| 00:00 | In this exercise, we are going to fix the descriptive
text and I am going to do so by modifying a single word.
| | 00:06 | You don't have to select an entire paragraph if you don't
want to; you can select as little as a single character
| | 00:12 | but as I say, I am going to go with the whole word.
| | 00:14 | I am working inside of a document, another catch
up document called One style left.indd found inside
| | 00:20 | of the 03_update styles folder but I urge you, those of you who
have been working along since the beginning of Chapter 2 to stick
| | 00:28 | with that same document so that you can
complete it from beginning to end here.
| | 00:34 | I am going to double click on the word 'upon.'
| | 00:36 | It doesn't really matter what word you select ,but I am going
to choose upon here and a few changes that I am going to make.
| | 00:42 | First of all, I am going to change the style here from Condensed,
which doesn't exists for Adobe Garamond Pro, to Regular,
| | 00:49 | or if you want a keyboard shortcut that's really handy here.
| | 00:51 | You can press Ctrl+Shift+Y or Command+Shift+Y on the Mac that all
always get you your Regular or your Plain or your Roman style.
| | 01:00 | Notice right away here inside the Paragraph
Styles palette, we now have a local override.
| | 01:04 | If I hover over there, it tells me that the override
is regular and Skew angle is 0?, so it went ahead
| | 01:10 | and reset the Skew angle automatically for us that was very
kind of it. Because after all, I don't want that bad Skew angle
| | 01:17 | and by the way, that's another function of having
press Ctrl+Shift+Y, or Command+Shift+Y in the Mac, is
| | 01:23 | that you reset the Skew value, so two
modifications in one right there, very nifty.
| | 01:28 | I am now going to click on that Tracking value, change it to
0 and then I am going to press the Tab key a couple of times
| | 01:34 | in order to advance to this guy right here; the
Horizontal Scale value and I am going to change it to 100%.
| | 01:41 | By the way, there is a keyboard shortcut for that if you are
curious; it's Ctrl+Shift+X or Command+Shift+X on the Mac.
| | 01:48 | Not sure you need to memorize that one
but there is a keyboard shortcut for it.
| | 01:52 | So Tracking to 0, Horizontal Scale to 100% and then one
more thing that I want to do. I am going to go ahead
| | 01:58 | and click on this icon on the far right side of the Control
palette which brings up a Palette menu and I am going
| | 02:03 | to choose this command right there, Balance Ragged Lines.
| | 02:07 | I've given you a keyboard shortcut, if you loaded my Deke
Keys back in Chapter 1, then you have a keyboard shortcut
| | 02:12 | for this command which is Ctrl+Alt+B or Command+Option+B
on the Mac; a handy keyboard shortcut to bear in mind
| | 02:18 | because sometimes you will want to balance your ragged lines.
| | 02:21 | The idea is when you choose this command, it tries to go
ahead- I'll hide the Paragraph Styles palette for a moment there.
| | 02:27 | It goes ahead and tries to balance all lines
of types so they are roughly the same length,
| | 02:30 | they were close to being the same length as
they can be which gets rid of our widow.
| | 02:36 | In this next exercise, I am going to show you a couple
more little tips and tricks for clearing local overrides
| | 02:41 | and then we'll go ahead and update all of the description text.
| | 02:45 | Stick with me.
| | Collapse this transcript |
| Additional tricks for clearing overrides| 00:00 | In this final exercise of this brief chapter, we are going
to complete this document, this Table of Contents document
| | 00:06 | by updating all of the descriptive text to match this word 'upon'
right here, which I've gone ahead and updated. And if you want
| | 00:14 | to catch on up with me, I am looking at a document
called Single-word override.indd found inside
| | 00:20 | of the 03_update styles folder.
| | 00:23 | I am going to go ahead and double click this word, upon, in
order to switch from the black arrow tool to the Type tool
| | 00:29 | and then I am going to double click again to select that word.
| | 00:32 | I want to show you a couple of things.
| | 00:34 | I am going to bring up the Paragraph Styles palette and I want
you to notice that when you hover over this Paragraph symbol
| | 00:40 | with a + sign that has a strike through, it tells you a couple of
keyboard shortcuts. Ctrl+click to clear character overrides only
| | 00:47 | or Ctrl+Shift+click to clear paragraph-level overrides only.
| | 00:52 | What that means i if I were to Ctrl+click, or on the
Mac Command+click, you are going to go ahead and reset all
| | 01:00 | of the character-level formatting attributes.
| | 01:03 | That is to say, you are going to reset the Condensed style as
well as the Skew value of -8? and the Tracking value right here
| | 01:12 | of 20 and the Horizontal Scale value of 130% but
the Paragraph Style, which is the balanced lines,
| | 01:20 | how we balanced the ragged lines? That remains in force.
| | 01:24 | So if I have to click on the Control Palette menu icon,
you would see that Balance Ragged Lines is still turned
| | 01:29 | on because that's a paragraph-level formatting attribute.
| | 01:32 | Compare that by the way- I am going to go ahead and undo
that modification by pressing Ctrl+Z or Command+Z on the Mac.
| | 01:38 | Compare that to Ctrl+Shift+clicking on that icon or
Command+Shift+clicking on that icon on the Mac, which
| | 01:46 | by the way leaves- I am going to go ahead and deactivate my
text by pressing Ctrl+Shift+A, Command+Shift+A on the Mac.
| | 01:52 | That goes ahead and leaves the character-level
formatting overrides intact
| | 01:56 | but it clears the paragraph-level formatting override,
which is that Balance Ragged Lines command right there.
| | 02:03 | So where this text selected, Balance
Ragged Lines would be turned off.
| | 02:08 | So that's just a couple of little tricks to bear in mind.
| | 02:12 | What I really want to do of course, I
am going to undo that last modification.
| | 02:16 | I want to make sure the word upon is selected as it is or I want
to make sure that my blinking insertion marker is located inside
| | 02:23 | of that word and then we'll go over to the Paragraph
Styles palette, I see Description with the + sign after it,
| | 02:28 | I'll go to the palette menu and I will choose this
command right there, Redefine Style, and that's going
| | 02:34 | to go ahead and update all of the text to match.
| | 02:37 | Now check it out. If I press Ctrl+Shift+A, Command+Shift+A
on the Mac in order to deselect the text once again
| | 02:43 | and zoom out a little bit, you can see that all of my widows
are gone and all of the text is set in Adobe Garamond Pro
| | 02:51 | and in available styles, so that I am
not seeing that Pepto-Bismol pink.
| | 02:56 | In fact, my document is done thanks to my ability to create and
apply and update Paragraph Styles here inside of InDesign CS3.
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|
|
4. Augmenting Text with Character StylesStyling words, numbers, and symbols| 00:00 | Ask a handful of professional designers what they think of style sheets
| | 00:04 | and they will tell you that they assign Paragraph Styles to
just about every line of type they create. The same goes for
| | 00:10 | writers, editors, anyone who makes a living with words.
| | 00:13 | Formatting a few pages of text is just too tedious
and time-consuming without style sheets.
| | 00:19 | But ask those same folks about character styles,
| | 00:22 | and you will get a mixed response.
| | 00:24 | Whereas Paragraph Styles permit you to assign dozens of
formatting attributes to long passages of text with a single click,
| | 00:30 | character styles typically convey far fewer attributes
and affect only a few words or letters at a time.
| | 00:37 | The primary strength then of character styles is editability.
| | 00:41 | When you assign a character style, you tag the styled text.
| | 00:44 | From that point on, changing a character
style updates all tagged text as well.
| | 00:50 | Several pages of underlined words, for example,
can be changed to italic in a single operation.
| | 00:56 | In the following exercises, we will create a character style and
apply it to several different sentences in different paragraphs.
| | 01:03 | Then we will update an entirely different style and watch the
results cascade up and down the page in the blink of an eye.
| | 01:10 | It's the usual style sheet miracle,
| | 01:12 | just on a more microscopic level.
| | Collapse this transcript |
| Organizing style sheets| 00:00 | In this exercise, we are going to
take a tour of a style document,
| | 00:03 | a document that contains several Paragraph
Styles, as well as several Character Styles.
| | 00:08 | We are going to examine how the document is put together.
| | 00:10 | We are also going to take a look at how you can clean-up
style sheets inside of a document, just to keep things tidy.
| | 00:17 | Because often times, once you start taking advantage
of style sheets, you will see that it's very easy
| | 00:22 | to just absolutely create 20, 30, 40, 50, even
a 100 styles inside of a document, no kidding.
| | 00:28 | That can get pretty darn overwhelming, especially if you are
trying to handoff the document to be used by other people
| | 00:34 | and they are scratching their heads
trying to figure out how it works.
| | 00:36 | So, a little bit of clean-up out front, just to give you a real
world sense of what you will be doing inside of your documents.
| | 00:42 | This document that you see on screen right now is
just a single page long and it's called Page 191.indd.
| | 00:49 | It's found inside of the O4Charstyles folder, that
is C-H-A-R styles, short for Character Styles.
| | 00:57 | This document is a slightly modified version of
Page 191 from my Photoshop CS3 One-on-One book.
| | 01:03 | All of my books, by the way are laid out in InDesign.
| | 01:06 | So, the books tend to be real world projects themselves.
| | 01:09 | Alright, so notice where this document is concerned that
there is a fair variety of paragraphs going on, not that many,
| | 01:15 | but a handful of different kinds of paragraphs.
| | 01:18 | Let's go ahead and bring up the Paragraph Styles palette, which
I could do, of course by pressing the F11 key or just bringing it
| | 01:24 | up from the palette columns over
here on the right side of the screen.
| | 01:28 | I am going to double-click inside of this headline right
here and you can see that is styled with the Head-A style.
| | 01:34 | I have got keyboard shortcuts, all of which involve Ctrl+Alt
and a number on the keypad or Command and Option on the Mac.
| | 01:41 | Directly below that, is a Paragraph Styled in the Body
style right there, indicating body copy and below that,
| | 01:48 | is a paragraph that is styled with a Step style right there.
| | 01:51 | If we go further down, we will see this paragraph
at the bottom that is formatted with the Tip style.
| | 01:57 | Most of the paragraphs, notice five
in all, are formatted as Steps.
| | 02:01 | So, if I click up here or here, here, here and here as well,
steps 29, 30, 1, 2 and 3 are all formatted with the Step style.
| | 02:09 | Then if I move over to the side, you can
see that I have got a paragraph formatted.
| | 02:14 | I will go ahead and zoom-in on it
here, this Figure caption right there.
| | 02:17 | That's formatted with the Figure caption style.
| | 02:19 | There is a little bit of an Override going on and that is
that I have made this text flush right, instead of flush left.
| | 02:26 | Now, I created this style back in Photoshop CS2.
| | 02:29 | Photoshop CS3 now allows you to align text to
the outside of the page, outward from the spine.
| | 02:35 | So, I could have actually taken care of that if I wanted to.
| | 02:37 | Then towards the bottom, let's go ahead and scroll to the
bottom of the page, you can see that this text down here
| | 02:42 | at the bottom is styled with the Footer style and then next
door, we have page 191 which is formatted in the Folio style.
| | 02:49 | Now, fair enough, that's all of the
paragraphs inside of this document.
| | 02:53 | That does mean that we didn't use all of
the styles in the Paragraph Styles List.
| | 02:58 | I am going to go ahead and press Ctrl+Shift+A or
Command+Shift+A on the Mac to deselect everything.
| | 03:02 | Now, let's say you want to get to the bottom of it.
| | 03:04 | You want to figure out exactly which styles
didn't get used inside of the document,
| | 03:09 | then you would go over to whichever styles palette you are
working with because the command I am about to show you,
| | 03:14 | occurs inside the Paragraph Styles palette, the Character
Styles palette, the Object Styles palette and so on.
| | 03:19 | So, I am going to make sure I am in the Paragraph Styles palette.
| | 03:21 | I am going to click on the little Palette menu icon there
and I am going to choose this command, Select All Unused
| | 03:27 | and it will go ahead and select all of the unused styles.
| | 03:29 | Now, you can see Basic Paragraph up here didn't
get used, fine, that's the default style.
| | 03:34 | Then lower down, we have Pearl Label and Pearl Body.
| | 03:36 | Well what the heck are those, these are style sheets that I
assign to my Pearls of Wisdom which appear throughout the book,
| | 03:42 | they just don't happen to make an
appearance on this specific page.
| | 03:45 | Now, let's say you want to delete these styles;
you don't always want to delete your unused style.
| | 03:49 | In fact more often then that if you have put together a well
organized template, you don't want to delete these unused styles
| | 03:56 | because you might use them, I mean they are there for a purpose.
| | 03:59 | But what if this is somebody else's
document and they have made a mess of things
| | 04:02 | and they have added all kinds of styles you don't need.
| | 04:04 | Then you might want to just go ahead and delete the debris.
| | 04:07 | Now, I should be able to click on the Trashcan, I can't though.
| | 04:10 | Notice that the Trashcan is grayed and if I hover
over it, I get that little Ghostbusters icon.
| | 04:14 | That's telling me that I can't delete the styles and
the reason is because I have Basic Paragraph selected.
| | 04:19 | You can't delete the default style.
| | 04:21 | So, you are going to have to Ctrl+Click on
that style or on the Macintosh side of things,
| | 04:26 | Command+Click on that Basic paragraph entry right there.
| | 04:29 | In order to deselect it, now notice the Trashcan is available to
me, I will click on it and that will delete those unused styles.
| | 04:37 | Here is something else you might want to think about doing.
| | 04:39 | You can group styles into folders,
into little sets, if you want to.
| | 04:44 | Notice these items that are called Folio and
Footer, that have bar characters in front of them.
| | 04:49 | The idea there is those are styles for
items that would appear on the master page.
| | 04:54 | So, we are not going to use them very often.
| | 04:56 | I might want to take Folio and Footer and actually
group them together to get them out of the way
| | 05:01 | and I would group them together by selecting them.
| | 05:04 | I could click on this little folder icon to add a group.
| | 05:07 | Notice it says Create new style group, but
if I do that, I will create a new style group
| | 05:12 | but I won't put Folio and Footer inside of them.
| | 05:14 | What I prefer to do instead then, is to
go ahead and undo that maneuver there.
| | 05:18 | Shift+Click on Footer, so I have got both Folio
and Footer selected, then go up to the Palette menu
| | 05:23 | and I will choose this guy, New Group from Styles, meaning from
the selected styles and then I will go ahead and put those guys
| | 05:30 | in this group and I get to name the group as well.
| | 05:33 | So, I will call these Master page items or something
like that or even better Master page styles.
| | 05:39 | Then I will click OK and notice that I have got this
Master page styles folder that contains Folio and Footer.
| | 05:45 | I can go ahead and twirl that folder
close in order to tidy things up.
| | 05:49 | So again, a way of organizing these styles, it may
just seem like so much busy work, it's not, believe me.
| | 05:56 | Once you start creating style documents and handing them off to
other people, you are going to find that you want these documents
| | 06:03 | to be as well organized as possible, so
other people can figure out what's going on.
| | 06:07 | In the next exercise, we are going to
take a look at the Character Styles
| | 06:10 | that I have created inside this very same document.
| | Collapse this transcript |
| Character styles protect overrides| 00:00 | Alright, we are still working inside that same Page
191.indd file that's found inside the 04 Charstyles folder,
| | 00:07 | and I am going to go ahead and zoom-in
on this first step a little bit here,
| | 00:11 | so that we can check out the Character
Styles that I have applied.
| | 00:15 | I am going to go ahead and double-click
inside of the text at some point here.
| | 00:19 | Actually, let's go ahead and click
inside the word the and I will bring
| | 00:23 | up the Paragraph Styles palette once again,
so we can see it's styled in the Step style.
| | 00:28 | That makes sense, and that Step style
by the way includes Adobe Caslon Pro.
| | 00:32 | The Regular type style, a size of 10.5,
leading of 14 and so on and so on.
| | 00:38 | Now, I am going to cursor forward.
| | 00:39 | So I am going to press the right arrow key a few times
and notice as soon as I move into the word Lesson,
| | 00:46 | my type style changes to Italic, so it
changes from Regular right there to Italic
| | 00:51 | like so and yet Step doesn't have a + sign after it.
| | 00:55 | Even though this is an Override, right?
| | 00:57 | This step style doesn't include Italic, it includes Regular text.
| | 01:01 | So, why in the world don't I have a + there?
| | 01:03 | The reason is because I have gone ahead and applied a
Character Style to this text, let's go ahead and check it out.
| | 01:09 | I am going to switch to the Character Styles
palette which is right next door here.
| | 01:12 | You can also press Shift+F11 if you like and notice that
this text right there is styled in the Emphasis italic style.
| | 01:19 | So, if I cursor over to the left a little bit, press the
left arrow key that is to say a few times to get back to the,
| | 01:25 | you can see that it doesn't have any
Character Style associated with it.
| | 01:29 | But, when I want to do a local override, I use a
Character Style and that's a very important thing.
| | 01:35 | You really want to be obsessive about applying character
styles to all of the special text inside of your document,
| | 01:43 | all the exceptions to your Paragraph Style rules.
| | 01:48 | The reason is because then you can go back later.
| | 01:50 | Not only can you apply these Character Styles very easily,
but you can go back later and modify the Character Styles
| | 01:56 | and thereby modify all text that's linked to
those Character Styles in one very quick step,
| | 02:02 | as you will see me do later in this same exercise.
| | 02:05 | So, anyway there is the Emphasis italic style right there.
| | 02:08 | If I click in this bold text, it's styled
with Emphasis bold and I actually use,
| | 02:13 | notice this just for what is where, so
you get a sense of what I am doing here.
| | 02:17 | Inside of my One-on-One titles, I go ahead and use Italics
to indicate literal folder names and file names and so on.
| | 02:24 | Also for Emphasis or if I am trying to call out a vocabulary word
that I want you to remember, whereas this bold style right here,
| | 02:33 | Emphasis bold is used to call out literal items on the
screen, so for example, if there is a special layer,
| | 02:38 | I want you to click on in this case or if I want you to go
to the Layers palette or if I want you to choose a command
| | 02:44 | or if there is a dialog box, all of
those items would be called out in bold.
| | 02:48 | You may also notice that the figure
references are called out in color.
| | 02:52 | So, if I click inside of Figure 6.18, I have got that set to
Xref and one of the beautiful things about this Xref style,
| | 03:01 | notice this I am going to go ahead and double-click on this
Xref style to bring it up and I am going to switch down here,
| | 03:06 | so that we can see inside the style settings, it's telling me
what the special attributes that are assigned to the style are.
| | 03:11 | For one thing, the color is set to PANTONE
203, so that's a special shade of blue
| | 03:16 | and then right there this side I have no break.
| | 03:18 | That's actually an attribute you can apply from
the basic character format area of this dialog box
| | 03:25 | and it's a checkbox right there, no break and
that ensures that the text will not break.
| | 03:29 | So, Figure never breaks apart from 6.18
for example, at the end of a paragraph.
| | 03:35 | So, in this case you can see Figure 6.18,
all that drops down to the next line.
| | 03:39 | I really did that more than anything else to keep six
dividing from eighteen which would look terrible, right?
| | 03:45 | Also it would interfere with legibility and so on and so on.
| | 03:48 | So, this is a very good little guy to keep in mind
when you are trying to apply Character Styles.
| | 03:53 | It's very useful with Character Styles instantly.
| | 03:56 | Alright, moving right along, I have got another guy right here.
| | 03:58 | If I click inside of it you can see that this is Xref tip.
| | 04:01 | So, my tips are already set in color, so because I need the
Xrefs to be in a different color that is the figure references,
| | 04:08 | I go ahead and assign these figure references, this Xref
tip style right here which is black instead of in color
| | 04:14 | and then finally, let's go ahead and
zoom-out a little bit for a moment here.
| | 04:17 | I will double-click inside of this number right
here at the beginning of the step and you can see
| | 04:22 | that I have assigned it a Character Style of Step number.
| | 04:26 | There is one special kind of text, if I scroll to the
top of the page here, you can see this introduction,
| | 04:33 | this little step introduction right there, 'Paint
the tips of the wings in brown' and if I click inside
| | 04:37 | of there, there is no Character Style assigned.
| | 04:40 | If I go over to Paragraph Styles, Oops, I have got
Step+ indicating that I do indeed have an override.
| | 04:47 | Now, the reason that this is interesting is, if I Alt+Click
or Option+Click on the word Step, that's going to take care
| | 04:53 | of that override, but it leaves all of my text that has
been styled in the Character Style, it leaves that alone.
| | 05:01 | It's a brilliant thing I have to tell you,
that's another reason, we want to go ahead
| | 05:05 | and assign- I am going to undo that modification.
| | 05:07 | We want to go ahead and assign this text right
here, some form of Character Style to protect it,
| | 05:12 | if nothing else, but also because we want to replicate it.
| | 05:15 | We will be creating this very Character
Style in the next exercise.
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| Creating a character style| 00:00 | Okay gang, let's go ahead and create a Character Style.
| | 00:03 | I am working in that same Page 191.indd file
that I opened a couple of exercises ago now.
| | 00:09 | It's found inside the O4 Charstyles folder,
there inside your exercise files folder.
| | 00:15 | I want you to scroll to the top-left corner of the page
right here where you are going to see the intro text,
| | 00:21 | Paint the tips of the wings and the idea is,
I want people to be able to look at a Step
| | 00:26 | and gawk what's happening in that step very, very easily.
| | 00:29 | Get a sense of what's happening very quickly, especially
on the off-chance that they come back to the steps later on
| | 00:35 | and they don't want to reread the entire step, they
just want to say, "Oh yeah, this step does this
| | 00:40 | and this step does this, save your artwork here, that's fine."
| | 00:42 | So, I call those out in Bold Italic, you can see.
| | 00:45 | I have gone ahead and applied the Bold Italic version
of this font and I have also colored the text.
| | 00:50 | Now, the problem is, I haven't bothered
to assign a Character Style at this point.
| | 00:54 | So, let's go ahead and remedy that problem.
| | 00:57 | Grab your Text tool and the simplest way to
select this text is just to drag down, like so,
| | 01:03 | and that will get you that entire sentence because InDesign
doesn't provide a way to select an entire sentence.
| | 01:09 | In the other words, you can double-click to select a
word, triple-clicking there selects an entire line.
| | 01:14 | So, it grabs the number as well and I don't want that.
| | 01:16 | So, you could just double click and drag if you
wanted to, all the way over here onto the wing
| | 01:21 | or you could more simply just drag down, like so.
| | 01:24 | However you do it, I want you to select an entire
sentence including the period and the space that follows.
| | 01:30 | Then I want you to go to your Character Styles palette right
there, which you can get as you may recall by pressing Shift+F11
| | 01:36 | or just going up to the Type menu and
choosing the Character Styles command.
| | 01:40 | Now, inside the Character Styles palette, what I want you
to do, you can click of course on that little Page icon
| | 01:46 | and that will make a new style just - sometimes it's at the end,
| | 01:50 | sometimes it's just kind of in the middle
alphabetically, it could be very easy to miss it.
| | 01:53 | Then you got to click on it to activate it and
then you have to double-click on it to name it.
| | 01:58 | So, that's a Chimpanzee's way to do it.
| | 02:00 | That's not good.
| | 02:01 | It's going to escape out of there, undo the addition of that
style that is the application and the addition of that style.
| | 02:07 | So I have to press Ctrl+Z or Command+Z a couple of times.
| | 02:10 | Here's the regular humanoid way to do it.
| | 02:12 | Go ahead and press the Alt key or the Option
key on the Mac and click that little Page icon.
| | 02:17 | So, Alt+Click, Option+Click brings up
the New Character Style dialog box.
| | 02:21 | So, we are going to go ahead and
call this guy Stewp leader like so.
| | 02:26 | Oops and I might as well spell Step the traditional way, without
a W. Make sure that Apply Style to Selection is turned on.
| | 02:33 | By default it will be turned off and in fact
Preview will be turned off by default as well.
| | 02:37 | I want you to turn both of those checkboxes
on, so you can see what you are doing
| | 02:41 | and of course apply the new style to the selection.
| | 02:44 | By the way, just note very quickly, these
special settings that are associated
| | 02:47 | with this Character Style are Bold
Italic, fair enough, a size of 11 points.
| | 02:52 | So, it might be a slightly elevated size, not
sure there and a color of Autumn Brown, nice.
| | 02:58 | Alright, we have done it, click OK and you will
now have created your new Step leader style
| | 03:03 | and you have associated it with this
introductory text right there.
| | 03:07 | I would urge you to go ahead and move
it down to more logical locations.
| | 03:10 | So, I am going to drag it down to underneath Step number.
| | 03:13 | That's not alphabetical as you might now, but Step
number comes first and then Step leader comes second.
| | 03:19 | So, this is the more logical ordering right there
and you have created a Character Style. Good job.
| | 03:25 | In the next exercise we are going to see how to apply a
shortcut, you kind of already know how to do that but I am going
| | 03:30 | to give you some rationale as to what kind of shortcut you
might want to apply, give you a glimpse into the way I do it
| | 03:36 | for what that's worth and then we will see how to apply
this style to some other text inside the document.
| | Collapse this transcript |
| Prioritizing style sheet shortcuts| 00:00 | In this exercise, we are going to assign a
keyboard shortcut to the new Step leader style.
| | 00:05 | More importantly however, I am going to give you a sense of how I
go about organizing my keyboard shortcuts, who gets the priority?
| | 00:13 | Just FYI, this is just based on my own experience.
| | 00:16 | Your experience of course may vary.
| | 00:17 | Then we will go ahead and base the Step leader style on
Step number so that they are in sync with each other,
| | 00:24 | for future modifications that we will be making.
| | 00:26 | Alright, so I am going to press Ctrl+Shift+A or
Command+Shift+A on the Mac to deselect my text and by the way
| | 00:32 | if you are just joining us, I am looking at a catch-up document
called Step leader style.indd found inside the O4 Charstyles
| | 00:40 | folder, short for Character Styles, of course.
| | 00:43 | Now, let's go ahead and take a look at the current occupants
of the Paragraph Styles and Character Styles palette.
| | 00:48 | First, I will switch over to Paragraph Styles and notice
| | 00:51 | that I have assigned keyboard shortcuts to
some, but not all of my Paragraph Styles.
| | 00:55 | I am only assigning keyboard shortcuts to the ones that I
use the most and the ones that have the biggest priority.
| | 01:01 | Also, notice that I am giving all of my shortcuts Ctrl+Alt and
a number, that would be Comman+Option and a number of the Mac.
| | 01:09 | That's just how I have it organized for this particular
document, fine and notice if I go over to Character Styles
| | 01:15 | and bear in mind Character Styles
are secondary to Paragraph Styles.
| | 01:18 | If I only had one kind of style sheet that I
could use, it would definitely be Paragraph Style,
| | 01:23 | they are that much more important than all of the other styles.
| | 01:27 | Character Styles are useful of course,
but they are secondary styles.
| | 01:30 | So, why do I favor them with Ctrl or
Command and a number and that's it.
| | 01:36 | I am not pressing like Shift or Alt or
Option or any of those, just Ctrl or Command,
| | 01:41 | number sign that's all and in fact,
I am going to favor them again.
| | 01:45 | I am going to go over here to Step leader.
| | 01:46 | I am going to double-click on Step leader
and notice I can give it a shortcut.
| | 01:51 | So I will click inside the shortcut, what I am asking you
| | 01:53 | to notice actually is be aware while you are assigning
a shortcut of what your previous shortcuts were.
| | 01:59 | So, you already have one, two, three and nine, if you are not
careful and you just say, "Hey, I am going to give this Ctrl+1,
| | 02:05 | you may notice that Ctrl+1 dims here for Emphasis
bold and that is because you are about to override it.
| | 02:11 | Whoever you assign the shortcut to
last is the one who gets the shortcut.
| | 02:15 | So, if you end up overriding, another shortcut is
just going to appear dimmed inside the palette.
| | 02:19 | In case you have tons and tons of styles going on inside
of a document and you see some of them are dimmed,
| | 02:25 | that means that at one point in time,
they got overridden, just so you know.
| | 02:29 | So even, watch this, if I press Ctrl+5 in order to take
care of that problem, because I notice I just replaced that
| | 02:35 | or I just took the risk of replacing it anyway.
| | 02:37 | So, let's change it to Ctrl+5 and of course
5 on the numerical keypad, that still goes.
| | 02:43 | You always have to use the numerical keypad for styles
and that doesn't override anything at this point.
| | 02:48 | That is unique, I go ahead and click OK and yet Ctrl+1 is
still dimmed and it may or may not work actually at this point.
| | 02:55 | If you want to take care of that problem, just go ahead
and double-click on the style and that will go ahead
| | 03:00 | and reinstate the style, you don't even have to enter anything
into shortcut there, just go ahead and cancel at that point,
| | 03:06 | you will notice that you have reinstated the style.
| | 03:07 | Just in case you run into that problem or of course you know,
| | 03:10 | if you really had over in this style, you
would have to take care of that issue.
| | 03:14 | Alright, so the larger question though that I asked
the moment ago and I still haven't answered this,
| | 03:18 | why am I favoring Character Styles over Paragraph Styles?
| | 03:22 | And the reason is that often times with Paragraph Style for
example, I have got a step following a step following a step.
| | 03:29 | So, next style after step is another step, so I am
really not applying Paragraph Styles all that often,
| | 03:34 | even though they are more important, I just don't have
to apply them that often, whereas Character Styles,
| | 03:39 | all these little weird exceptions are appearing
all over the place, so I really want to be able
| | 03:44 | to very quickly apply these styles and
I just have to remember what they are.
| | 03:49 | Really even though we are assigning a
bunch of numbers, so it's not like --
| | 03:52 | there is some way to remember them in any
particular way, they just become like phone numbers.
| | 03:56 | After some time, you spend enough time in a
document, you just start to memorize the ones
| | 04:01 | that you have created, the ones that are the most important.
| | 04:03 | So, I just try to put them, just assign a priority, like I know
that the style I assign most often is going to be Emphasis bold,
| | 04:09 | secondary to that, the second style I apply is going to be
Emphasis italic and so on and so on throughout a document.
| | 04:15 | Anyway, I give Character Styles priority over
Paragraph Styles where shortcuts are concerned.
| | 04:21 | One more thing that I want to do here of
course is base Step leader on Step number.
| | 04:25 | So I am going to press Ctrl+Shift+A, once again Command+Shift+A
on the Mac in order to deselect my text and then I will go
| | 04:31 | to Step leader, double-click on it, remember
it's the child that you want to set to Based On.
| | 04:36 | So, I grab Step leader, it is going to be a child to Step number,
so Step number is going to be the parent and then I click OK.
| | 04:44 | Notice by the way that that doesn't do any harm to the text,
it does change slightly what appears here in Style Settings.
| | 04:50 | So, if I didn't have any Based On, it was set
to none, then it is telling me it is none,
| | 04:54 | of course there is no Character Style plus
Bold Italic, size 11, color Autumn Brown.
| | 04:58 | Whereas if I change it to Step number,
it is just Step number plus Bold Italic,
| | 05:02 | that's only difference because Step number already
includes Autumn Brown and a type size of 11 point.
| | 05:08 | I will go ahead and click OK and we have done
it, we have given the style both a parent,
| | 05:13 | for orphan, it now has a parent and a keyboard shortcut.
| | 05:16 | We are now ready to assign that style to the other Step leaders
which is something that we will do in the very next exercise.
| | Collapse this transcript |
| Applying your new character style| 00:00 | In this exercise, we are going to assign our new Step leader
style to the actual step leaders inside of our document.
| | 00:08 | The document in question being Step leader style.indd or if
you have been working along with me this entire time, Page 191,
| | 00:15 | both of which are found of course
inside of the O4 Charstyles folder.
| | 00:20 | Now, I am going to go ahead and double-click
and drag like so across, Save your artwork,
| | 00:25 | up here in the upper left hand corner of the document.
| | 00:28 | Because I have a keyboard shortcut assigned to Step leader,
you may or may not have been successfully able to assign
| | 00:34 | such a keyboard shortcut depending of course on your
keyboard whether you have a numeric keypad or not.
| | 00:38 | I am going to press Ctrl+5 that is Ctrl+5 on the numeric
keypad, the 5 has got to be on the numeric keypad,
| | 00:44 | that would be Command+5 on the Mac in order to style that text.
| | 00:48 | What if you don't have a numeric keypad or
you just want to try a different option?
| | 00:52 | Well, we have got three other steps to style here, I am going
to go down to step 1 here of the next step section of course.
| | 00:59 | I am going to go ahead and select
Open the revise butterfly composition.
| | 01:03 | like so in order to select all that text and I will press
Ctrl+Enter, the standard Enter key, not the Enter on the keypad
| | 01:11 | and that would be Command+Return on the Mac and Step
leader is automatically selected for me, but if it weren't,
| | 01:18 | it might not be for you, then just go ahead and enter step l
like so, up here in this area so that you highlight Step leader.
| | 01:25 | The reason I am asking you to enter some text up in this area is
that makes it easier to reapply the style over and over again.
| | 01:33 | Alright, so now that we have selected this, all I have to do
is press the Enter or Return key in order to apply said style
| | 01:41 | as it is not applied inside the Character
Styles palette, you can see that.
| | 01:44 | Let's go ahead and hide the Character Styles
palette because this is a more common way to work,
| | 01:48 | you wouldn't have the Character Styles palette,
just sitting out there ready and accessible
| | 01:52 | if you were taking advantage of the quick apply feature.
| | 01:54 | I am now going to select this text right here, Make a new layer.
| | 01:57 | like so and I will press Ctrl+Enter+Enter, just
like that, because that style is still selected,
| | 02:04 | so just Ctrl+Enter+Enter, on the Mac
that would Command+Return+Return.
| | 02:09 | Then I will go ahead and select this text,
move the new background layer backward.
| | 02:14 | and I would press Ctrl+Enter, you see what I am
saying, it is still selected, isn't that awesome.
| | 02:19 | Enter again, you don't have to do
anything, you don't even have to pause.
| | 02:22 | On the Mac, you would press Command+Return+Return.
| | 02:25 | So, you can just barrel through the application of
the styles inside of your document, if you so desire,
| | 02:31 | if you like to barrel through things, if you want to get
work done fast, if you are the kind of person who wants
| | 02:36 | to get work done really slowly, well then, don't
take advantage of these automation functions.
| | 02:40 | Alright, in the next exercise, we are
going to update both this Step number
| | 02:45 | and Step leader styles in one fell swoop, won't you join me?
| | Collapse this transcript |
| Updating two styles in one pass| 00:00 | In this exercise, we are going to modify a character style and
actually, we are going to modify two character styles in one fell swoop.
| | 00:07 | That is how cool this exercise is. I am working inside of a
catch-up document called All character styles.indd, so called
| | 00:14 | because I have now assigned all character styles to this document.
This document is found inside of the O4 CharStyles folder.
| | 00:22 | If you are still working inside of the Page 191
document, by all means stick with it. Alright now,
| | 00:27 | where my One-on-One books are concerned, each one
of the lessons inside of the book has a special color
| | 00:33 | assigned to it and that color is the color that I use
for headlines and callouts here, these special figure
| | 00:41 | cross references and other special type inside of the document.
| | 00:46 | So in the case of this document the special color is blue, not brown,
and in fact, you will be glad to know mud brown is never a choice.
| | 00:55 | It's never one of the colors that I use inside of my book.
So I need to take all of this mud brown text here
| | 01:01 | which I call Autumn Brown of course, just to make it sound more attractive.
All this mud brown text right here and I need to replace it with blue.
| | 01:07 | There's a couple of different ways I could work.
| | 01:09 | One way is I could go ahead and hide the Character Styles palette
and I am going to bring up the Swatches palette and you can
| | 01:15 | bring up the Swatches palette by going to the Window
menu and choosing Swatches or you can press the F5 key
| | 01:21 | and right there is Autumn Brown. Notice that Autumn Brown Swatch
and by the way, you should make sure that nothing inside of
| | 01:28 | your document is selected because were it selected if you went
ahead and clicked on your text and then selected Autumn Brown,
| | 01:34 | Oh my goodness! The problem becomes just so much
worse. The entire document is now mired in mud.
| | 01:40 | Bad document! Alright, so Undo that modification there, press
Ctrl+Shift+A, Command+Shift+A on the Mac to make sure nothing
| | 01:46 | is selected and then grab Autumn Brown and you can drag it in the
Trash. If you don't want to have anything to do with Autumn Brown
| | 01:52 | anymore inside of this document, then throw it away. Drag it
to the Trashcan or just click on a Trashcan icon if you want,
| | 01:58 | in which case InDesign is going to come up and say,
"Yo, bud. You have assigned, you may want to throw away
| | 02:03 | Autumn Brown, you may think it is a really ugly color, but
you have assigned it to some key items inside of your document.
| | 02:09 | So I beg you to go ahead and
replace that color with some other color."
| | 02:12 | You would say, "Hey, PANTONE 203-1!" Because
that is the primary color for this document.
| | 02:19 | And then you would click OK and that takes care of the
problem. In fact, it really takes care of the problem.
| | 02:24 | If I were to double click inside some text here, I will click
inside the number right there between the one and the period,
| | 02:30 | and I will go to my Character Styles
palette, notice there is no override.
| | 02:34 | And if I were to double click, it just says the
settings are 11 point along with PANTONE DS 203-1.
| | 02:41 | Hey, great, awesome.
| | 02:43 | But what if you don't hate that Autumn Brown that much? You
may want to use it elsewhere; you just don't want to use it for
| | 02:51 | this type. Well, you go ahead and press Ctrl+Z in order to
Undo the deletion of that Swatch, so it is still available to you,
| | 02:58 | and by the way, anytime you want to assign color to
a style sheet, that color has to be saved off as a Swatch,
| | 03:05 | just little additional FYI there for you.
| | 03:08 | Alright, so.
| | 03:09 | What's another way to work? Well, another way to work is
again, make sure that nothing is selected, press Ctrl+Shift+A,
| | 03:14 | Command+Shift+A on a Mac, just to make sure,
then bring up the Character Styles palette.
| | 03:19 | And since I want to affect both Step number and Step leader,
remember that I have setup Step leader to be the child of
| | 03:25 | Step number because Step leader, if I double click, you can see that
Based On is set to Step number, great. So Step number is the parent.
| | 03:31 | So the only one that I have to address, the only one that I
have to edit is Step number. So I'll double click on Step number
| | 03:37 | and I'll go to Character Style right there, which I
could also get to by pressing Ctrl+4 or Command+4 on a Mac
| | 03:43 | because it's the fourth entry inside this Character Style
Options dialog box. So you can still switch around between
| | 03:49 | panels using your number keys if you want to. Then I would switch
from Autumn Brown, but of course, up here to PANTONE 203-1.
| | 03:57 | So it is not necessary to delete the swatch or anything
like that, just go ahead and select it and then click OK
| | 04:03 | in order to make your modification.
| | 04:05 | And in that one operation I have updated both the
parent Step number and the child Step leader styles.
| | 04:11 | Awesome. In the next and final exercise, I will show you
how to update yet another character style which will give you
| | 04:19 | a glimpse into why in the world I am choosing to work this way.
| | Collapse this transcript |
| When in doubt, be obsessive| 00:00 | In this final exercise of the chapter, I am going to show you
another way to update Character Styles and also how to deal
| | 00:06 | with local overrides because it's slightly different
than when you are working with a Paragraph Style.
| | 00:11 | I am working inside of a document by the way, a
catch-up document, our final catch-up document
| | 00:14 | for this chapter called Goodbye mud brown.indd
found inside the O4 Charstyles folder
| | 00:20 | and of course I have named this file Goodbye
mud brown because the mud brown is gone in favor
| | 00:25 | of this lustrous blue, this sort of cobalt blue here.
| | 00:28 | Alright. So now at this point just for the sake of argument
here, those of you who might care to argue with me.
| | 00:34 | You might say, "Okay Deke, you know what, I kind of half-buy
what you are doing here, this obsessive styling of this document.
| | 00:42 | I buy the fact that you went ahead and styled the numbers with
Step number because that is pretty special and I buy the fact
| | 00:48 | that you went ahead and styled these leaders with Step leader.
| | 00:51 | But what are you doing assigning special styles for
things that are just italic and bold type? That's nuts."
| | 00:57 | For example, this text here, which is styled in
Emphasis italic, if I double-click on Emphasis italic,
| | 01:02 | it's telling me that it's Adobe Caslon
Pro + Italic, that's all it is.
| | 01:07 | It's just really just the Italic style and nothing more
because the text was already set in Adobe Caslon Pro.
| | 01:12 | So I'll cancel out of there, so you
may think we well, all you have to do,
| | 01:15 | to access Italic type in InDesign,
is you just select the type, right?
| | 01:19 | And you press Ctrl+Shift+I or Command+Shift+I
on the Mac that's all you do.
| | 01:23 | So, what in the world, are you doing creating a style
for this purpose? Or how about this bold stuff right there,
| | 01:30 | if I click inside Line Art, it is styled with Emphasis bold
and all it is if I double-click on it is bold. That's it.
| | 01:37 | That's all the style does, it's bold. What a dopey style.
| | 01:40 | After all, you can select some text and press Ctrl+Shift+B
or Command+Shift+B on the Mac in order to make it bold.
| | 01:46 | Okay, but here is the problem. I will undo that modification.
| | 01:49 | Here is why my lunacy is not so lunatic as it were.
| | 01:54 | It is not so dopey. This is actually a really smart approach,
stupid as it may seem and obsessive as it may seem as well,
| | 02:01 | not that anybody has ever called me obsessive before, but here
is the deal, here is the reason it's a really smart thing to do.
| | 02:06 | What if you decide you want to make a slight change?
| | 02:09 | I am going to go ahead and zoom-in on this text and sometimes
it's hard to get a sense of how text is really going
| | 02:14 | to read when you are looking at it on screen.
| | 02:16 | For example - we are way zoomed-in and yes, this
far zoomed-in, this Line Art text looks too heavy.
| | 02:22 | This bold text looks too heavy with
respect to the plain text around it.
| | 02:26 | But when you zoom-out on screen, it doesn't look all that
heavy, does it really? I mean once you start zooming-out;
| | 02:32 | it is barely distinguishable from the regular text around it.
| | 02:35 | But I am here to tell you, when this text gets printed, even
if you are far away from it, it's going to come off more
| | 02:40 | like this, come off more like the zoomed-in version.
| | 02:43 | This bold text is going to seem very heavy
especially if you are reading along inside of the text
| | 02:48 | and all of the sudden you are hit with this big
bold word; it's going to interrupt legibility.
| | 02:52 | Now I want people to know that this is literal text,
so they are not reading it as part of the sentence
| | 02:57 | as for example Save, the Save button being - somehow we are
trying to save a button, like you read the word save as a verb.
| | 03:03 | So I want to call it out especially so that there's little bit
| | 03:06 | of a subliminal message really, but
I don't want it to be this heavy.
| | 03:09 | I want to change the font to something
that is a little less bold than bold.
| | 03:14 | So, I am going to move down here to Line
Art once again, I am going to go ahead
| | 03:17 | and select just the words Line Art, just Line and Art like so.
| | 03:21 | I am going to go up here to the Control palette and I am going
to note that I am working with the font Adobe Caslon Pro
| | 03:25 | which ships along with InDesign, fair enough.
And then I am going to change it from Bold
| | 03:29 | to same Semibold. Perfect, just a little backed off from Bold.
| | 03:34 | So it's kind of a cross between Bold and Regular as it were.
| | 03:37 | So I will go ahead and assign that local override to
the text and then just to make sure I would like it,
| | 03:42 | I will press Ctrl+Shift+A or Command+Shift+A
on the Mac to check it out and it looks good.
| | 03:46 | Alright, but if I select that text again,
I see that if I have got a local override,
| | 03:50 | I have got a little + sign right there next to my type.
| | 03:53 | Now if you want to eliminate a local override and notice
if I hover over it, it tells me Semibold is the override.
| | 03:59 | If I want to eliminate that override, notice that
I don't have a little sort of button down here,
| | 04:04 | the way I do inside of the Paragraph Styles palette.
| | 04:06 | So to eliminate local override, your only
option is to Alt+Click or Option+Click
| | 04:11 | on that style and that will return the text to bold.
| | 04:15 | I don't want that however; I just
wanted to show you that's how it works.
| | 04:17 | I will go ahead and undo that modification.
| | 04:19 | Instead what I want to do is I want to update this Emphasis bold
style and that will update all text that's linked to that style.
| | 04:26 | Otherwise if this were real document, one of my
real lessons that has like 40 or 50 pages in it
| | 04:32 | and several hundred instances of this bold style,
| | 04:35 | if all I had done was do it your way and press
Ctrl+Shift+B or Command+Shift+B all over the place,
| | 04:41 | well that might not have been your
way, but you are the foil in this case.
| | 04:44 | Then I would be up the proverbial creek. I won't
name the creek, but I would be in trouble, right?
| | 04:50 | I would then have to spend a lot of time redoing that text
whereas, all I have to do in my case because I was smart
| | 04:55 | about the approach, smart/obsessive, all I have to do is
I go up to my Character Styles palette menu right there
| | 05:02 | and I choose Redefine Style, which as a keyboard shortcut,
a slightly different keyboard shortcut this time around,
| | 05:06 | of Ctrl+Shift+Alt+C or Command+Shift+Option+C on the Mac.
| | 05:09 | I choose Redefine Style and watch OK right here.
| | 05:13 | As soon as I choose that command, OK changed ever so slightly.
| | 05:16 | So, this was before, the thick OK;
this is after, the more temperate OK.
| | 05:22 | I have updated every single bit of type that
is associated with that Emphasis bold style.
| | 05:28 | Oh my goodness!
| | 05:29 | I have got to tell you, that is the way to work.
| | 05:31 | If you are obsessive and just a total control freak
about the application, about the creation and application
| | 05:38 | of your style sheets upfront, your future self is
going to be so happy and so relaxed, on vacation even.
| | 05:47 | Alright, that's the end of this chapter. In the next chapter,
we are going to move on to Character Styles on steroids,
| | 05:53 | when we check out how to employ nested and
numbered styles, you don't want to miss it.
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5. Employing Nested and Numbered StylesCharacter styles on steroids| 00:00 | Style sheets have been around since
the early days of word processing,
| | 00:04 | but prior to just a few years ago, they were fairly dormant,
| | 00:07 | limited to a little bit less actually
than what we have seen so far.
| | 00:11 | Then suddenly things began to change.
| | 00:14 | Over the course of CS, CS2 and CS3,
InDesign has dramatically expanded style sheets,
| | 00:20 | more than doubling the capacity of what
was already an amazing class of features.
| | 00:24 | In this chapter, we will look at a couple
of major enhancements to Paragraph Styles.
| | 00:29 | The first of these beauties is Nested Styles,
| | 00:32 | which allow you to embed Character Styles
into a Paragraph Style definition,
| | 00:36 | saving you the tedium of applying the former
to a mere few letters or words at a time.
| | 00:42 | The second innovation is InDesign CS3's new
automatic numbering and bulleting feature.
| | 00:47 | With the help of a Paragraph Style, you
can number steps or lists, inset bullets,
| | 00:53 | format numbers or bullets with yet another nested Character
Style, and ensure consistent, accurate numbering that
| | 00:59 | automatically updates on the fly, across pages, independent frames,
| | 01:04 | even across documents.
| | 01:06 | What you are about to see is one of the most amazing turns
of automation made available by any design application.
| | 01:12 | Seriously, get stoked.
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| Repeating style elements| 00:00 | I am reticent to tell you what we are
going to be talking about in this exercise,
| | 00:03 | because all we are going to be doing is I
am going to be introducing the project file,
| | 00:07 | and I am going to show you how rough you would have had it if you
didn't have Nested Styles and Auto Numbering inside InDesign CS3.
| | 00:13 | But I don't want you skipping this movie and
moving on to the next one, just figuring, well,
| | 00:18 | if I am not going to learn a technique, forget about it.
Because I think this is really going to help set the stage.
| | 00:23 | You are really going to get a sense of just
how amazingly useful these features are.
| | 00:28 | Here I am looking at a document called Pages 194-195.indd.
| | 00:33 | It's another excerpt from the Photoshop CS3 One on One book,
and its found inside of the 05 Nested Numbered Folder.
| | 00:43 | Notice, there is a couple of things going on here.
| | 00:44 | First of all, if you bring up the Character palette,
you will see that I have already got the Step Leader
| | 00:49 | and Step Number Character Styles right raring to go.
So those styles that we created in the previous chapter.
| | 00:56 | I have also gone ahead and cleared
out all of the numbers in my list.
| | 01:02 | So I am going to go ahead and zoom down here
into the lower left region of the page here.
| | 01:07 | Let me give you a sense of what's going on with these paragraphs.
| | 01:13 | I will go ahead and click at the outset of this paragraph that
begins with the word, Fill, and I will enter the number 10
| | 01:19 | because this was actually Step 10 in the
book, and then I will press Tab like so.
| | 01:25 | Down here, these were bulleted items that are indented
inside of the Step and they of course had bullet characters.
| | 01:32 | You get to the bullet character on the Mac by pressing
Option+8, and then you can press the Tab key after that.
| | 01:38 | On a PC, it's a little more cumbersome.
| | 01:40 | You have to press and hold the Alt Key on the numerical
keyboard. With the Alt key down, you dial in 0149,
| | 01:48 | and then you release Alt, then I will press the Tab Key.
| | 01:51 | Basically the idea there is you are dialing
in the ASCII code from the old days.
| | 01:56 | So press and hold Alt+0149 on the keypad, and
then release the Alt Key and then press Tab,
| | 02:02 | and that allows you to enter those bullet characters.
| | 02:05 | Then I would go ahead and select this text right there, the
Leader Text, and I would assign this Step Leader Style like so.
| | 02:12 | Then I would select the numbers in front of that, and
then I would assign the Step Number Style, like that.
| | 02:19 | That would take care of it.
| | 02:20 | That's the properly formatted version
of this lower region of the page.
| | 02:24 | Now here is my big overarching point.
| | 02:27 | There's 12 lessons inside every single one of my books, and
every one of the lessons contains somewhere in the neighborhood
| | 02:33 | of about 100 steps, give or take about 50 or so.
| | 02:36 | So that gives you somewhere in the neighborhood of 1,200 steps
to worry about, plus all of these bullets that you would have
| | 02:43 | to format by hand. And bear in mind, where each one of the
1,200 steps is concerned, I had to apply two different styles,
| | 02:50 | so that's a total of 2,400 different style applications.
| | 02:54 | It's mind numbing to have to style this stuff manually. It
takes a ton of time and effort, whereas using Nested Styles
| | 03:02 | and Auto Numbering, we will pull this off for this entire
two page spread, and actually I was able to pull it off
| | 03:08 | for my entire book, using a combination
of a couple of Paragraph Styles.
| | 03:13 | The Paragraph Styles are by the way right
here inside the Paragraph Styles palette.
| | 03:17 | If I twirl open the Step Styles folder, you
can see that there is Step and Step Bullet.
| | 03:22 | This guy right here is a representative
of the Step Paragraph Style,
| | 03:25 | and this guy right here is a representative
of the Step Bullet Style.
| | 03:30 | We will combine those with our two Character Styles, Step
Leader and Step Number, along with the Auto Numbering feature,
| | 03:37 | new to InDesign CS3, and we will be able
to style all of this stuff automatically.
| | 03:41 | We will put InDesign in charge. You will see its
an amazing thing, and its kind of a no-brainer.
| | 03:46 | Now that you know Paragraph Styles and you know Character
Styles, it makes a ton of sense to take advantage
| | 03:51 | of Nested Styles on almost a paragraph by paragraph basis.
| | 03:55 | You shall see if you join me in the next exercise.
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| Establishing a nested style| 00:00 | In this exercise we are going to actually create a Nested Style.
| | 00:03 | We are going to be nesting a Character Style inside of a
Paragraph Style, and we are going to be doing that inside
| | 00:09 | of this document right here; its called Pages
194-195.indd, found inside the 05 Nested Numbered Folder.
| | 00:17 | You can see that I have made a few changes
in the lower left region of the document.
| | 00:20 | I am going to undo most of those changes by pressing
Ctrl+Z or Command+Z on the Mac, a few times in a row,
| | 00:26 | until I return to the point right
after I added the 10, period, Tab right there,
| | 00:30 | before I entered the number, because we will
see how that's going to present a problem for us.
| | 00:36 | I am now going to zoom out from the page a little
bit, so I can take in both the top paragraph
| | 00:41 | and the paragraph immediately following the
butterfly graphic, here on the left hand page.
| | 00:46 | Now before you can go about nesting a
Character Style into a Paragraph Style,
| | 00:50 | you need to make sure that you have created the Character Style
in advance, and we have our Character Styles all ready to go.
| | 00:55 | We have got Step Leader, which is the style that you
assign to the leading text inside of the Step Paragraph,
| | 01:02 | and we have Step Number, which we will
be assigning of course to the number.
| | 01:07 | Now let's go to the Paragraph Styles palette, and
you can see that we have the Step Style right there,
| | 01:12 | and that's a style sheet that's assigned to the steps themselves.
| | 01:15 | So that's the style sheet that we need to edit.
| | 01:18 | So I'd like you to press Ctrl+Shift+A or Command+Shift+A on
a Mac to make sure you have deselected everything on a page;
| | 01:23 | always a good practice to deselect your
objects before you modify your style,
| | 01:29 | so you don't end up applying the style as you edit it.
| | 01:32 | Then go ahead and double click on the Step Style in
order to bring up the Paragraph Style Options dialog box.
| | 01:38 | Now given how incredibly useful Nested Styles are,
it's amazing how well InDesign has hidden the feature.
| | 01:44 | It has gone ahead and combined Nested Styles with the Drop
Caps function; as if they are somehow related to each other,
| | 01:50 | which they most certainly are not, and
as if because Drop Caps is listed first,
| | 01:55 | as if Nested Styles are somehow a secondary function.
And it turns out they are much more useful than Drop Caps.
| | 02:01 | But the two features don't take up much room, so
they are able to cohabitate inside of a panel.
| | 02:07 | Even though they have nothing to do with each other, they are
able to exist as a couple, as is true for so many couples.
| | 02:13 | So let's go ahead and click on Drop Caps and Nested Styles, or
you could press Ctrl+0, Command+0 on the Mac to skip ahead here.
| | 02:20 | You will see that the Drop Cap functions
are located at the top of the dialog box,
| | 02:25 | whereas the Nested Style options are located in the middle.
| | 02:29 | To create a Nested Style, you go down here to this button and
click on it, New Nested Style, go ahead and click on that button.
| | 02:35 | Then you get a place holder for a Nested
Style essentially, you are not doing anything.
| | 02:40 | Notice that nothing has happened to the style here inside
of the window, and I do have the Preview checkbox on,
| | 02:46 | so you can tell that that's the case. And that's because
we haven't assigned a style yet; it's set to None currently.
| | 02:51 | So click right there inside of that None space, and
I want you to click on this down pointing arrowhead,
| | 02:56 | its going to be a little up/down arrowhead on the Mac,
| | 02:58 | and I wants you to choose this guy right there,
Step Leader, in order to apply that style.
| | 03:03 | As soon as you do, I will go ahead and click
off of that item in order to invoke the change,
| | 03:07 | and you can see that the word Click right
there becomes bold, italic and colored,
| | 03:12 | as does the 10 at the onset of the text down at the bottom.
| | 03:16 | If you didn't enter a 10, then the word Fill will be
bold, italic and blue in accordance with Step Leader.
| | 03:23 | Now, notice these options right here that say through 1 Words, I
will show you how those options work in the very next exercise.
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| Setting the range of a nested style| 00:00 | In the previous exercise you may recall we went ahead and
nested a Character Style inside of a Paragraph Style,
| | 00:06 | but we only affected the first word of the step paragraphs
and if you are just joining me you can catch right
| | 00:13 | up by opening this document, it's called Improper
nesting.indd found inside the 05 nested numbered folder
| | 00:20 | and it's called Improper nesting of course,
because so far the nesting is improper.
| | 00:24 | We want this style to affect the entire first sentence.
| | 00:28 | So let's see how we can make that happen.
| | 00:29 | If you have been working along with me and you haven't
clicked OK, in order to accept your changes inside
| | 00:35 | of the Paragraph Style Options dialog box, then you may have
this phenomenon right here, inside the Paragraph Styles palette.
| | 00:41 | It's telling you Step+ as if some
change has been made to the Step Style.
| | 00:45 | In fact what's happened is because we have nothing
selected, as soon as we go to edit the Step style,
| | 00:51 | we made it the default style. So if we were to
create a new paragraph, it would be set in Step
| | 00:56 | and we have edited that Step style since we applied it.
| | 01:00 | So basically what's been applied has been since
modified, so that's we have a little plus (+) there.
| | 01:07 | That's just kind of an FYI, if it made some sense whatsoever.
| | 01:10 | It's really something you can totally ignore.
| | 01:12 | That is to say, it's not as if you
didn't really make your changes. You did.
| | 01:15 | Now I am going to go ahead and double click on Step+ once again.
| | 01:19 | I am going to go ahead and double click on that style in
order to bring out the Paragraph Style Options dialog box.
| | 01:24 | Scoot it over a little bit, so we can see what we are doing.
| | 01:26 | This time I am going to press Ctrl+0, Command+0 on the
Mac, in order to skip the head to Drop Caps and Nested Styles
| | 01:32 | and you can see right there; there is
our Step Leader, through, 1, words.
| | 01:37 | So that really doesn't make sense as a sentence if
you read it that way, Step Leader through one words,
| | 01:43 | it's not grammatically correct, but it does tell the
story, which is to say that the Step Leader style is going
| | 01:48 | to be applied through and including the first one word.
| | 01:54 | And that's as far as we are going to go.
| | 01:55 | If I wanted it to go farther through more
words than that, I could up that value.
| | 01:59 | I could set it to four words for example,
and then if I were to click off, like so,
| | 02:04 | you can see that I now affect the first four words;
which works for the first paragraph right there.
| | 02:10 | I go ahead and not only hit the first
four words, but I get the period as well.
| | 02:14 | Doesn't work worth beans down here. The 10
is the first word and then 'Fill in the'
| | 02:18 | and then we still have some extra text left over.
| | 02:21 | So what we need to do- let's go ahead and change this back to
one and instead of words, let's go ahead and click on words
| | 02:27 | and let's change it to something else, rather than words
we can choose Characters, Letters, numbers essentially,
| | 02:33 | in the case of Digits, that would be individual digits
inside the numbers and so on and so on down here.
| | 02:38 | What we want probably it seems to me, it's a
good bet anyway, is the first one, Sentences.
| | 02:44 | So I am going to go ahead and click on Sentences and then I
am going to click off in order to accept that modification.
| | 02:50 | You can see that that totally works for the
first sentence in the first paragraph right here.
| | 02:56 | So I'll go ahead and click OK. That doesn't quite work
elsewhere. You can see because of this 10, I have gone ahead
| | 03:03 | and messed up the second paragraph, the one
that's underneath the butterfly graphic.
| | 03:07 | So you know what I am going to do, I am going to go ahead
and set my blinking insertion marker after the 10 there
| | 03:12 | and I'll delete that 10 away like so, and check that out.
| | 03:15 | Once again I'll show you that.
| | 03:16 | As soon as I get rid of that tab, so the space
between the period and the next character there,
| | 03:23 | that tells InDesign that that's no longer the end of a
sentence, because to have the end of a sense you need a period
| | 03:29 | and some form of space character. Both together.
| | 03:31 | So if I get rid of the tab character or the
space what have you, then that messes things up.
| | 03:36 | Now I'll go ahead and insert the tab back in there.
| | 03:38 | Similarly, if I got rid of the period
that would also give InDesign the sense
| | 03:43 | that the sentence wasn't ending at that point.
| | 03:45 | What I really want to do is go ahead
and get rid of the entire 10 like so,
| | 03:49 | and that goes ahead and styles the first sentence properly.
| | 03:52 | That still doesn't take care of everything; we shall see
in the next exercise how we still have some problems.
| | 03:58 | We need to troubleshoot the style
and that's what we are going to do.
| | 04:01 | Coming right up.
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| Troubleshooting the nested range| 00:00 | In the previous exercise, we set the nested Character Style
| | 00:03 | to encompass the first sentence of
each one of the styled paragraphs.
| | 00:08 | Now I am working inside of a catch-up document. If you
are just joining us, it's called Sentence range.indd,
| | 00:13 | it's found inside the 05_nested numbered folder.
| | 00:17 | But if you are still working inside the original
Pages 194-195.indd document, stick with it.
| | 00:23 | Let's check out what we've wrought so far.
| | 00:26 | Let's go ahead and take a look at the results
of our modifications. I am going to go ahead
| | 00:29 | and hide this Paragraph Styles palette,
so we have a little more room on screen.
| | 00:33 | You can see that the style works beautifully
for the first couple of paragraphs
| | 00:37 | with the exception, of course, of the missing number.
| | 00:39 | Right now we are missing the number at the
outset of the step, but we will take care of that
| | 00:43 | in the future exercise, when we take a look at Auto Numbering.
| | 00:46 | Otherwise, these first couple of
paragraphs looks totally hunky-dory
| | 00:50 | but the inset bullet items, they don't look right at all.
| | 00:53 | Notice that the steps always begin with a very short sentence.
| | 00:57 | So that Step Leader is a short sentence. It serves as a kind
of miniature headline, whereas if I work with normal sentences
| | 01:04 | like these right here at the outset of the bulleted items,
the styling looks totally wrong. It looks ridiculous.
| | 01:10 | That's a function of the fact that we need to update those child
styles, so the style that is associated with these paragraphs,
| | 01:18 | I'll go ahead and double click in there
and bring up the Paragraph Styles palette.
| | 01:21 | The Step Bullet style is a child to the
Step style, so it got edited along with.
| | 01:27 | We are going to have to fix that in an upcoming
exercise, but for now I am going to leave it alone.
| | 01:32 | And then let's go ahead and go over to the right-hand
side of the page. We have got a lot of problems here;
| | 01:37 | we have got another bullet that's all messed
up, these two bullets are horribly messed up.
| | 01:42 | This guy is okay; he is missing a number but otherwise
he is alright, and then if we go down here,
| | 01:47 | this is the problem we really are going
to take care of inside of this exercise.
| | 01:52 | Notice that we have got this item that
says, 'Magnify the image,' and incidentally,
| | 01:55 | this is the final paragraph on the right-hand page, on page 195.
| | 02:00 | Notice that it says, 'Magnify the image,' and then it says ...,
| | 02:05 | and then we have got, 'And examine it
closely.' And that little ... there,
| | 02:09 | which is known by the way as an ellipses, that
indicates that there is more text to follow of course.
| | 02:14 | That ... is throwing off the Nested Style.
| | 02:18 | Now had I used an ellipses character, that's actually
a special character which you can get to on the Mac.
| | 02:24 | I know that you can press Option+; on
the Mac to get the ellipses character.
| | 02:28 | I forget how you get it under Windows, but it
doesn't matter because I am not going to use it.
| | 02:32 | Basically, it's like this.
| | 02:34 | That ... character, which would avoid this problem,
spaces the periods too close to each other
| | 02:40 | and basically it goes against the Chicago Manual of Style.
| | 02:43 | And my editors are absolutely ironclad where that's concerned
and they have lectured me up, down and sideways on why you have
| | 02:49 | to have little bit of space between each one of the periods.
| | 02:52 | I just say, you know what, fine.
| | 02:55 | If Chicago Manual of Style says this is the way
it's got to be, this is the way it's going to be.
| | 02:59 | But by virtue of the fact that we have got spaces and
periods combined together that makes InDesign think
| | 03:05 | that we have ended the sentence at this point and
it goes ahead and ignores the 'and examine it closely'
| | 03:11 | as well as the couple of our periods right there.
| | 03:14 | If we want to take care of that we have
got to change the Nested Style range.
| | 03:19 | So what I am going to do is I am going to press the W key,
which exits the Preview mode as you may know, and you can also
| | 03:26 | by the way, you can go down to the little icon
at the bottom of the tool box and you can switch
| | 03:29 | from Preview to Normal right here if you prefer.
| | 03:32 | But I like to use that W keyboard shortcut; it's very easy
to switch in, like so, and out of the Preview mode just
| | 03:39 | by pressing W. Also, by the way, you go up to the Type
menu and make sure that you can see the hidden character.
| | 03:46 | So if the command at the end of the Type menu
says, Hide Hidden Characters, that's good.
| | 03:50 | If it says Show Hidden Characters, go ahead and
choose it so that you can see the hidden characters
| | 03:55 | by which I mean in this case the spaces right there.
| | 03:59 | Now normal spaces appear as little dots, kind of
tiny bullets, little blue bullets in our case.
| | 04:06 | That little number sign indicates the end of the story.
| | 04:10 | But right there we have got a bullet with a little kind of a
hat on it right there, a little overscore, and that tells us
| | 04:16 | that that's an en space, which is a space
that's half of the size of the type size.
| | 04:23 | So in our case, our type size is set to 10.5 so this is a space
that's about 5 1/4 points wide, so very, very narrow of course.
| | 04:31 | However, it's wider than a standard
space and it's also invariable,
| | 04:35 | so it doesn't change to suit the justification of the paragraph.
| | 04:41 | It gives us a little extra space right after the Step Leader.
| | 04:44 | It's also something that we can reference
when we are building our Nested Style.
| | 04:48 | So here's what I am going to do, and by the way
if you want to take a look at all of the other,
| | 04:53 | I'll go ahead and scroll up here- painfully slowly actually.
Let's go ahead and see if we can move a little more quickly.
| | 04:58 | I've got these en spaces at the end
of each one of the Step Leaders.
| | 05:03 | So this is very consistent formatting that is to say
inside of this document, so we can advantage of it.
| | 05:09 | I am going to go ahead and deselect my text, whether
by pressing Ctrl+Shift+A or Command+Shift+A on the Mac,
| | 05:14 | and then I am going to move my text over
a little bit here, so that I can see it,
| | 05:19 | when I have the gianormous Paragraph
Style Options dialog box open.
| | 05:23 | I'll go to the Paragraph Styles palette,
I'll double click on that Step Style there,
| | 05:28 | move it over a little bit so we can see what we were doing.
| | 05:30 | Make sure that Preview checkbox is on.
| | 05:31 | I'll go down in Drop Caps and Nested Styles right there.
| | 05:35 | Right now, I've got Step Leader through and including the first
sentence inside of each one of these paragraphs. Let's go ahead
| | 05:42 | and change it so that it's Up To since we are
going up to a character inside of the paragraph.
| | 05:49 | We will go up to the first occurrence of and we'll go
ahead and change this option to an En Space right there.
| | 05:58 | So this time we are saying Step Leader up to the first en space.
| | 06:02 | Now it hasn't changed anything onscreen; I need
to click off once again and notice it goes ahead
| | 06:07 | and updates that text and that is exactly what we want.
| | 06:11 | I am going to go ahead and click OK.
| | 06:13 | Now if I zoom out, you can see that that sentence is taken
care of in that paragraph, in the last paragraph on the page,
| | 06:19 | and the other step paragraphs are handled just beautifully; this
guy is fine and we are ignoring the bullet items, by the way,
| | 06:26 | which have turned totally blue italics on us now,
because there are no en spaces inside the bullet items.
| | 06:32 | This guy is handled beautifully and
this guy is handled beautifully as well.
| | 06:35 | So all we care about is the steps and all we are
getting is great results, where the steps are concerned.
| | 06:41 | In the next exercise, we are going to assign numbers to each
one of our steps using InDesign CS3's Auto Numbering feature.
| | Collapse this transcript |
| Assigning automatic numbers| 00:00 | In this exercise, we are going to be assigning the Auto Numbering
feature to the Step style sheet right here. And I know those
| | 00:07 | of you who aren't just joining us get sick of
me saying this, but if you are just joining us,
| | 00:12 | you can open this catch-up document here called Foolproof
solution.indd found inside the 05_nested numbered folder.
| | 00:20 | We got to be inclusive, right?
| | 00:21 | I am calling this Foolproof solution because we
found a foolproof solution in a previous exercise
| | 00:27 | to styling just the first sentence
inside each one of our Step paragraphs.
| | 00:31 | Let's go ahead and add some numbers as well.
| | 00:33 | Press Ctrl+Shift+A, Command+Shift+A on the Mac to make
sure nothing is selected, just a good habit to get into.
| | 00:39 | Then go to the Paragraphs Styles palette, double click on
the Step style and I am going to drag it over a little bit,
| | 00:45 | this big whopping dialog box that is to say so
that we can see what is happening here on screen.
| | 00:49 | I am going to switch down to Bullets
and Numbering in the list here.
| | 00:53 | There is no keyboard shortcut for this
because it is the 11th item in the list.
| | 00:58 | Now I want the List Type not to be set to None, which
of course is giving us neither bullets nor numbers,
| | 01:03 | I want it to be set to Numbers.
| | 01:06 | So go ahead and choose the Numbers option right there.
| | 01:09 | This List item incidentally allows
you to jump between different stories
| | 01:14 | so you can actually advance the numbering
over the course of multiple stories.
| | 01:18 | We will see how that works in a future exercises but
for now, let's just go ahead and ignore the List item,
| | 01:24 | ignore Level and ignore actually the rest of this dialog box.
| | 01:28 | I want you to go ahead and click OK in order to accept the
change. And notice now that the first item starts at 1 of course,
| | 01:35 | as you would expect and then it advances to 2 and then
merrily advances to 3 and 4 for the inset bullet items.
| | 01:41 | That's wrong.
| | 01:42 | And then we go to 5, that's also wrong.
| | 01:44 | 6. It is a step, but it's wrongly numbered of course. And
then 7, 8, those are wrong, and then 9- well you get the idea.
| | 01:53 | Basically what we need to do before we move too much
farther here, we need to let InDesign know that 3, 4,
| | 01:59 | and the others are not part of the numbering sequence
because they are bullet items that are associated
| | 02:05 | with the Step Bullets style right there so
we need to modify this Step Bullet style
| | 02:09 | which we are going to do in the very next exercise.
| | Collapse this transcript |
| Assigning automatic bullets| 00:00 | In the previous exercise, I opened this document, which is
called Foolproof solution.indd found inside the 05_nested
| | 00:08 | numbered folder.
| | 00:08 | And I went ahead and assigned some
Auto Numbering to the Step style sheet.
| | 00:13 | And because the Step Bullet style sheet is
subservient, it's a child to the Step style sheet,
| | 00:19 | it went ahead and receive the auto numbering as well.
| | 00:22 | So we are starting at number 1 and we are ending at number
9, even though a lot of these are not full-fledged steps;
| | 00:29 | they are sort of meta steps that are inside the larger step item.
| | 00:33 | So we need to fix this child Step Bullet style and
that's something we are going to do in this exercise.
| | 00:39 | I want you to go ahead and make sure that nothing is selected
by pressing Ctrl+Shift+A, Command+Shift+A on the Mac.
| | 00:44 | I'm going to keep saying that because it is the best
practice. It is really a good habit to get into.
| | 00:48 | And then bring up your Paragraph Styles palette.
| | 00:51 | I want you to go ahead and double click on Step Bullet in
order to bring up its Paragraph Style Options dialog box.
| | 00:58 | Really I think the first thing we need to do is take care
of the blue italics that are haunting these paragraphs
| | 01:04 | so that's a function of having improperly
applied Nested Styles here.
| | 01:09 | So go ahead and click on Nested Styles and by the way, I'll
go back to General and you can see what I'm talking about.
| | 01:14 | The Style Step Bullet is based on
Step, which is included in Step styles.
| | 01:18 | The reason it's parenthetical, we see Step
styles here, is because Step styles is the name
| | 01:23 | of the group that contains Step and Step Bullet.
| | 01:25 | So I'm going to move that dialog box back over to the right.
| | 01:29 | Let's go ahead and click on Drop Caps and Nested Styles. Click
on Step Leader that item right there in the Nested Styles list
| | 01:36 | and click on the Delete button in order to get rid of it.
| | 01:39 | Incidentally, you can have tons of
Nested Styles inside of a paragraph.
| | 01:42 | If you want to. More than one, you can have two, three,
four whatever, all you need to do to add more from this,
| | 01:47 | click on New Nested Style right there and you
can drag them up and down the list and so on.
| | 01:51 | Anyway, what we want to do in our case is delete it.
| | 01:53 | That got rid of the bad stuff inside of those bullet items.
| | 01:58 | That's good.
| | 01:59 | We still have bad numbers.
| | 02:01 | That's no good, so I'm going to switch
over to Bullet and Numbering
| | 02:04 | and I want the List Type not to be
Numbers but rather to be Bullets.
| | 02:09 | Now at this point, you have a lot of options.
| | 02:11 | Notice immediately those numbers change to bullets incidentally.
| | 02:15 | You have a few options as to what
kind of bullet you want to assign.
| | 02:18 | You could go with the standard bullet character, you can go
with an asterisk or a losange or a diamond or whatever the heck
| | 02:25 | that is or that sort of foreign quote character thing right there
or you can go with this ornamental leaf character if you like.
| | 02:30 | Or gosh, you can go nuts and click on the Add button and that
will give you the option of specifying your own custom character.
| | 02:39 | This font, Adobe Caslon Pro, includes if you
scroll all the way down to the bottom of the list,
| | 02:44 | includes a lot of whacky characters to choose from like this kind
| | 02:47 | of five pointed snowflake right there
whatever it is, some sort of ornament.
| | 02:53 | Incidentally if you don't like the ornaments
that are offered by this font, my goodness,
| | 02:58 | you have access to every single font in your system.
| | 03:00 | So go nuts, and then once you find one that suits your
whims, go ahead and click on OK after selecting it
| | 03:08 | and then it will appear inside your listing, click on it
again and that becomes your special little bullet character.
| | 03:14 | Now for my money, that's too darn precious.
| | 03:18 | If I click OK, we can see- we zoom in. I mean that's a lovely
little doodad there but I think it's highly distracting
| | 03:26 | and it doesn't get us where we want
to go and inside of this document.
| | 03:30 | It doesn't really do us any good; it just
shows off InDesign's wonderful bullet feature.
| | 03:35 | So let's go ahead and double click on Step Bullet again and I
hate to be a party pooper but what I'm going to have you do is go
| | 03:40 | to Bullets and Numbering and let's just
go with the standard bullet, why don't we?
| | 03:44 | Notice it's saying Text After; we want it to be a tab
character that follows the bullets automatically.
| | 03:50 | We don't want any custom Character Style and we
are not going to position the text right now,
| | 03:54 | we are going to adjust the positioning later
but I need to show you how it works first.
| | 03:58 | Let's just go ahead and accept our
bullet by clicking OK and we are done,
| | 04:02 | we have fixed the text in more ways than you might have thought.
| | 04:06 | Not only that we take care of the problems with the
bullet paragraph, so you notice this is addressed here,
| | 04:12 | this guy is better that is say at the top of the screen.
| | 04:15 | These two paragraphs are all better as well,
but we also fix the problems with the numbering.
| | 04:20 | So now the automatic numbering skips to the
next occurrence of the Step style sheets.
| | 04:25 | So we go from step 1 right here to step 2 right
here, then to step 3 and then down here to step 4.
| | 04:31 | So it continues after the next A head.
| | 04:34 | That is a good thing in that it's only numbering the Step
styles now. That's good because that's all we want in number
| | 04:41 | but it's a bad thing in terms of
exactly how the numbers are sequencing,
| | 04:45 | we will fix that sequencing in the very next exercise.
| | Collapse this transcript |
| Starting and restarting numbered sequences| 00:00 | In this exercise we are going to
change the sequencing of the numbering.
| | 00:05 | Now I am working inside of a document
called Numbers & bullets.indd,
| | 00:10 | that's found inside of the 05 Nested Numbered Folder.
| | 00:14 | If you are still working inside of the
document called Pages 194-195, stick with it.
| | 00:20 | Now here is what's going on.
| | 00:21 | This is a page spread that's been lifted, with a few changes,
| | 00:26 | lifted from my Photoshop CS3 One on One
Book, and these are Pages 194 and 195.
| | 00:33 | Really the steps that we were seeing on these pages, they are
part of this larger lesson, and really the step that's up here
| | 00:40 | in the upper left hand corner of the document, that started at
9, so this is actually Step 9 inside of this particular exercise.
| | 00:48 | Then this guy is Step 10, this guy is Step 11, and
then after the headline we would reset to Step 1.
| | 00:55 | So how in the world do we make that happen?
| | 00:57 | Well, you could actually change the style if you want to.
| | 00:59 | I am going to press Shift+Tab to bring back my palettes,
because I had them hidden so we could see the big spread there.
| | 01:05 | I am going to go to the Paragraph Styles palette,
and I will double click on Step for just a moment.
| | 01:11 | You could see how inside the Paragraph Style Options
dialog box I could advance to Bullets and Numbering,
| | 01:15 | and I could say that rather than Continuing from the
Previous Number, which means that the numbering is going
| | 01:21 | to continue automatically from one occurrence of the Step
Style to the next occurrence of that style. Rather I could say,
| | 01:28 | let's go ahead and Start At a specific point, and we will
start at Step 9, because this is supposed to be 9 right there.
| | 01:35 | Then I will go ahead and press the Tab
Key in order to update the numbering,
| | 01:38 | and notice that every single one
of my steps now is numbered Step 9.
| | 01:43 | It is some crazy world where every step is Step 9, man.
| | 01:48 | Needless to say, that it is absolutely the wrong
thing to do, and in fact there is no right value.
| | 01:54 | Once you set Mode to Start At, there
is no longer any right value.
| | 01:57 | If I set this to a 101, that is going to mess
things up; every step is going to be Step 101.
| | 02:02 | Which might make you think, why does this option
exist if its always wrong, and this is always right,
| | 02:08 | then why does Adobe give us the ability
to totally mess things up?
| | 02:13 | I will tell you why.
| | 02:13 | There is actually a good reason.
| | 02:14 | You just don't want to change Mode when
you are working with a style sheet.
| | 02:18 | It is useful however for local overrides.
| | 02:20 | So I am going to go ahead and cancel out of here.
| | 02:23 | Let's go ahead and activate this first paragraph.
| | 02:25 | I am going to go ahead and zoom in a little bit here, and hide
my Paragraph Styles palette, and then I will double click.
| | 02:33 | I had the black arrow tool active, so I will double click inside
of the paragraph to activate it with the Type tool of course.
| | 02:39 | Then with just this one paragraph active inside
the document, this is the upper left paragraph,
| | 02:46 | I will go up to the Control palette, to the far right side
of the Control palette in fact, bring up the Palette Menu,
| | 02:52 | and I am going to choose this guy
right here, Bullets and Numbering.
| | 02:56 | Now we have access to that same Mode option,
but instead of it being perpetually wrong,
| | 03:02 | we can now switch it to Start At, and
we can say, let's start this at Step 9.
| | 03:07 | Go ahead and turn on the Preview checkbox
and you see, there is 9, that's good news.
| | 03:11 | Now I can't see any of the other steps so I can't confirm
whether I got it right or not, so I will have to click OK.
| | 03:17 | Then I will press Ctrl+Shift+A or Command+Shift+A
on the Mac to deselect all the objects on the page.
| | 03:23 | Let's go ahead and scroll down, and
you can see, yes, Step 10, excellent.
| | 03:27 | Then over here Step 11, see how much better that is.
| | 03:30 | Now come down here, Step 12, that's not so good because
the new section should not start off with Step 12.
| | 03:36 | That implies there is some continuity
going on that actually isn't going on.
| | 03:40 | This is a new section.
| | 03:42 | So I am going to click with my Type tool
inside of this paragraph, and check this out.
| | 03:47 | I will right click in order to bring
up this Shortcut menu right here,
| | 03:52 | and then I will choose this command
right there, Restart Numbering.
| | 03:55 | That will restart the numbering at whatever the initial
number is, which in our case of course is Step 1.
| | 04:02 | That's it, press Ctrl+Shift+A, Command+Shift+A on the
Mac, at least that's it where this exercise is concerned.
| | 04:07 | In the next exercise, we are going to take care of the fact
| | 04:09 | that the numbers aren't styled properly,
and we have some alignment issues as well.
| | Collapse this transcript |
| Nesting a number or bullet style| 00:00 | I am still working inside that same
Numbers & bullets.indd file that I opened
| | 00:04 | in the previous exercise wherein we change the numbering of
the first paragraph on the left-hand page to begin at number 9,
| | 00:13 | and we change the lower paragraph on the
right-hand page to reset to number 1.
| | 00:19 | So that's good, that's the way we want it, but
we still have some problems with these numbers.
| | 00:23 | First of all, they aren't styled properly
and then secondly, they don't align properly.
| | 00:29 | If I went ahead and dragged out a vertical
guide here from the left-hand ruler
| | 00:33 | and let's say I'll drop it roughly at this point here.
| | 00:36 | You can see that the 10 aligns quite nicely, actually we
have enough room for that double digit number right there,
| | 00:44 | but when I have a single digit number, it ends up aligning left.
| | 00:47 | It needs to align right so all of the single digits are in
a row with each other and then when we add a double digit,
| | 00:53 | it goes left, which is the way you
actually align a numbered list.
| | 00:58 | That's the way you are supposed to do it.
| | 00:59 | So what we have got here is wrong.
| | 01:01 | So here's how it's going to flesh out.
| | 01:02 | In this exercise, I am going to show you how
to assign a Character Style to the numbers.
| | 01:07 | In the next exercise, I am going to show you how to set up
an elaborate system of guides. That's going to seem elaborate;
| | 01:12 | it's just due diligence essentially so that we can get a sense of
how our number should align, and then in the exercise after that,
| | 01:19 | we are going to actually apply the alignment.
| | 01:20 | Now the reason we are working so slowly and
deliberately is because this is a bizarre feature.
| | 01:25 | It's just strangely implemented.
| | 01:27 | I don't actually like the way it is implemented,
but it does work once you understand it.
| | 01:31 | So I am going to undo the addition of that guideline and let's
set about making sure that the numbers are styled properly.
| | 01:37 | I am going to bring up the Character
Styles palette so that we can see
| | 01:40 | that we do indeed have a style called Step
Number that should be applied to the numbers.
| | 01:45 | Now I can't apply it manually, if I want to zoom in on the number
and I want to switch to the Type tool by pressing the T key,
| | 01:51 | in no matter how hard I try to select that number,
it's not there; it's a ghost, it's ephemeral.
| | 01:58 | It's something that InDesign is in charge of.
| | 02:00 | So if I want to style that number, I have to edit the
larger Step style sheet and I have to essentially nest
| | 02:07 | yet another Character Style into it. This time one
that I am applying not using the nested function
| | 02:13 | but using the automatic numbering function instead.
| | 02:17 | So let's press Ctrl+Shift+A, Command+Shift+A on the
Mac in order to deselect our text and other objects.
| | 02:23 | I am going to switch over to the Paragraph Styles palette, double
click on the Step style, move the dialog box over a little bit
| | 02:30 | so we can see the number changing on screen, if indeed
I have the Preview check box turned on which I do.
| | 02:35 | I'll switch down here to Bullets and Numbering.
| | 02:37 | There's my guy right there; Character Style.
| | 02:39 | This is yet another form of nested
Character Styles inside of InDesign.
| | 02:45 | Let's go ahead and switch our Character
Style to Step Number right there.
| | 02:50 | Immediately you will see the number change.
| | 02:52 | It's still not aligned properly and you do align numbers
using this strange set of alignment functions down here,
| | 03:00 | they look like they are easy enough to
use, but they are not. You will see.
| | 03:03 | Go ahead and click OK for now in
order to accept your modification.
| | 03:06 | At this point you may wonder, alright that worked beautifully.
| | 03:10 | My number is now styled exactly as I want
it to be styled, but if I move down here,
| | 03:14 | yes that number's styled correctly too;
all the numbers are styled properly.
| | 03:17 | Why did the bullets remain the way they want to remain?
| | 03:20 | I don't want to style them with that Step
Number style, but why didn't they get styled
| | 03:23 | with that Step Number style given that
Step Bullet is subservient to Step.
| | 03:28 | It's the child and Step is the parent.
| | 03:31 | Of course, I have children, they are not always subservient,
but you get the idea, I am going to go ahead and double click
| | 03:36 | on Step Bullet so we can get to the root of this issue.
| | 03:38 | Notice that it says this style, Step Bullet is based on
Step (Step styles), what the heck is that Step styles item?
| | 03:46 | Well that's telling us that Step, this guy right
there, appears inside of the Step styles group.
| | 03:52 | Sure enough it does.
| | 03:53 | They both do, they're both inside that group.
| | 03:55 | Okay, so fine, so it is the style that we were thinking of.
| | 03:58 | So let's go down here to Bullets and Numbering.
| | 04:01 | Notice we did not assign the Character Style to the bullets,
that would have been a bad thing, but why didn't it happen?
| | 04:06 | Well because I had changed List Type from Numbers to Bullets.
| | 04:11 | That one change basically ruled out this
entire panel of options from consideration.
| | 04:17 | So this entire panel is now operating
independently inside Step Bullet
| | 04:22 | from the modifications that I have applied to the Step style.
| | 04:27 | As I say, that's a good thing but just
something I wanted you to be aware of.
| | 04:30 | In this next exercise, we are going to begin to
take care of the alignment problems associated
| | 04:36 | with these numbers by setting up an elaborate system of guides.
| | 04:39 | You will see how useful this can be and I think
honestly, you'll learn a trick or two along the way.
| | Collapse this transcript |
| Setting precise guidelines| 00:00 | As promised, in this exercise, I am going
to show you how to set up some guidelines
| | 00:04 | to mark exactly how our Auto Numbers should be aligned
and we are going to do this in a very precise way.
| | 00:11 | I could just grab a guideline from the vertical ruler and
slop it in there and just say, "Well, right about there,
| | 00:17 | at this point we are aligning with the period after the 10,
so that's about where my 9 needs to be aligned as well."
| | 00:24 | The problem is I have no idea where that really is and
when I go to modify my Step Style then I need to be able
| | 00:31 | to enter exact numbers and I don't have
any frame of reference for this location.
| | 00:37 | So let's go ahead and give ourselves a frame of reference.
| | 00:40 | Does that make sense?
| | 00:41 | I will go ahead and delete that guide
just by pressing the Backspace key.
| | 00:44 | What I am going to do is I am going to identify
this point right there as the location for a guide,
| | 00:50 | then I am going to identify exactly the point at which all of
these lines line up with each other as a point for another guide
| | 00:56 | and then we will locate a third guide basically,
with precise reference to the second guide.
| | 01:02 | You will see, but that's going to give us
exactly a sense of where this needs to be.
| | 01:05 | So step number one is to check how
this text right here is aligned.
| | 01:09 | I am going to go ahead and double click in it in order to
activate the text and if you are looking at the Paragraph options
| | 01:17 | up here in the Control palette, you would go ahead and
switch from A to this little paragraph icon right there.
| | 01:22 | I have also given you keyboard shortcut with my Deke keys to
switch back and forth between those and that's the F4 key.
| | 01:28 | It will switch you back and forth.
| | 01:30 | InDesign ships with its own keyboard shortcut
that's more elaborate and I just think F4 is easier.
| | 01:35 | Now notice up here these options, notice that we have a First
Line Indent of 1p6 which is 1 pica 6 points incidentally.
| | 01:43 | I can replace it with 0.25in like that
which is 0.25 inches or I can do 0.25".
| | 01:52 | It's hard to see but that's a double quote character
and then if I press Tab, it's going to get replaced
| | 01:58 | with 1p6 because they are exactly the same thing.
| | 02:01 | Now this guy down here says -1p6 so basically, it means
all of the rows inside of this paragraph are aligning 1p6
| | 02:08 | that is one quarter inch in from this guideline,
this violet guideline right there, that column guide.
| | 02:15 | Alright, so let's go ahead and get the black arrow
tool, click off the text to make it inactive,
| | 02:20 | I am going to drag a vertical guide from the
vertical ruler on the left hand side of the document
| | 02:25 | over to the second violet guideline, this guy right
there, the one right next to the 9 and release.
| | 02:31 | Your guide, if things are set up the way
they are set up for me and I believe they are
| | 02:35 | because I have established all the new guides
inside of the document as being orange.
| | 02:39 | This new guide should show up as dark blue and the
reason is that's the inverted version of orange.
| | 02:44 | If I click off the guide, it's orange, if I click on
it; it turns an inverted color which is dark blue there.
| | 02:49 | Alright, I want to make sure the guide is dark blue, that
indicates it's selected and I want to move the guideline
| | 02:53 | in exactly 1p6 points or if you prefer, one quarter inch.
| | 02:59 | Now I don't know exactly how far that's going to be.
| | 03:01 | I could try to watch the rulers except look at my
little tick mark up there; that dotted tick mark.
| | 03:05 | It's not aligned exactly with any of the ruler tick marks.
| | 03:08 | So what I need to do instead is I just need to pay
attention to the X value up here in the Control palette.
| | 03:14 | Currently, it says 16p7.2 so what I need to do is
add 1p6 to 16p7.2 so I whip out my calculator, right?
| | 03:23 | No, you have InDesign do the math for you.
| | 03:26 | Enter a plus (+) character. Ah, ain't that nice?
| | 03:28 | We are just going to add 0.25".
| | 03:32 | I can even add a different unit of measure.
| | 03:35 | So 0.25" so you press Shift and the quote key for a double
quote character, that's inches, or if you prefer you could enter
| | 03:43 | in like that, either way it's going to work for you and
rather than pressing the Enter key which will move the guide,
| | 03:50 | that would be the Return key on the Mac, that
will move the guide to this different location.
| | 03:53 | I want to keep it there at its original location as well.
| | 03:56 | So I want to clone the guide.
| | 03:57 | I want to do that modification and I will enter that same thing
plus 0.25" and then I will press Alt+Enter or option Return
| | 04:08 | on the Mac in order to clone that guide to the new location.
| | 04:12 | Alright, so now that we have done that, I want to create another
clone of the guide that has just nudged in, let's go ahead
| | 04:20 | and scroll down here to the point where a
period occurs after a double digit number.
| | 04:24 | So to roughly, this location here, just a little
bit right of the period and I am going to do that.
| | 04:29 | Again, I want to be very precise here.
| | 04:30 | I am going to do this by pressing Ctrl+C, Ctrl+V.
| | 04:34 | what I just did, that's Command+C, Command+V on the Mac.
| | 04:37 | I just copied and pasted a new copy of
the guide just in that same location.
| | 04:41 | So you can see if I move it off here, I have
now got two guides at that one location.
| | 04:45 | I will go ahead and Undo that movement.
| | 04:47 | Make sure that you have a dark blue
guide indicating that it's selected.
| | 04:50 | Now press the left arrow key a few times and count as you do it.
| | 04:55 | I am going to press the left arrow
key, one, two, three, four, five times.
| | 05:00 | Five times, pressing the left arrow key moves that ruler
guide, that vertical guideline there five points to the right
| | 05:07 | because by default, InDesign nudges selected items one
point at a time, one point per every press of an arrow key.
| | 05:14 | So I now know that this guy is five points inward.
| | 05:18 | That's where I want it to be.
| | 05:19 | So that's good.
| | 05:20 | Now I have a frame of reference, don't you see?
| | 05:23 | Now I will go ahead and scroll down to the bottom of the page.
| | 05:25 | I want to grab all three of these guides, I am going to marquee
around them down here at the bottom of the page and I am doing
| | 05:30 | that at the bottom of the page so that I can make
sure I am only marqueeing the guides, not objects.
| | 05:35 | So I will select those three guides, Ctrl+C, Ctrl+V again, that's
Command+C, Command+V again that pastes new copies of the guides
| | 05:43 | to that location; all three of them
together and then I will drag those guides
| | 05:46 | over to the right, all the way to the right hand page.
| | 05:48 | Notice, I am dragging by the way from the leftmost guide, I will
drag over here so it snaps into alignment with the left edge
| | 05:55 | of the right hand page like so and now I know
where the number one needs to be as well.
| | 06:00 | So I have got guides on both pages that are
marking exactly, where the numbers need to align.
| | 06:06 | We are going to implement that alignment, all that work,
but its precise work and hopefully, you learned a thing
| | 06:12 | or two about doing math in InDesign and
of course, moving guidelines around.
| | 06:16 | That work will service well as we actually align the
numbers ever so precisely of course, in the next exercise.
| | Collapse this transcript |
| Right-aligning numbers| 00:00 | Okay, those of you who were with me in the previous
exercise may think, "Deke, dude, you need to get out more.
| | 00:06 | That was ridiculous."
| | 00:08 | Well, I will tell you what, that fastidiousness
on my part is going to service very well.
| | 00:12 | Thank you very much.
| | 00:13 | I am working inside of a catch-up document just so you
don't have to go through all that if you don't want to.
| | 00:18 | It's called Precise guides and indeed, they are precise.indd
found inside of our beloved 05 nested numbered folder.
| | 00:26 | Now let's go ahead and align those numbers.
| | 00:29 | You may have forgotten, the whole reason we did this is because
we need to align these numbers and notice the two digit numbers
| | 00:34 | and the one digit numbers, they don't align properly.
| | 00:36 | We want them to align absolutely, properly
with each other on the right hand side
| | 00:40 | as is the way when we are working with numbered lists.
| | 00:44 | So let's bring out the Paragraph Styles palette, double
click on Step, not Step Bullet but Step in order to bring
| | 00:50 | up the Paragraph Style Options dialog
box, it is associated with that style.
| | 00:54 | Switch down here to Bullets and Numbering and we are going
to focus our attention on Bullet and Number Position.
| | 01:00 | This is really odd; I mean if you know anything about an indented
list, a hanging indent, then this will seem pretty familiar.
| | 01:07 | We have a Left Indent of 1p6 which is a quarter
inch of course, and then we have a First Line Indent
| | 01:12 | that goes back a quarter inch and a quarter inch in the other
direction so we establish that the number needs to be aligned
| | 01:17 | over here to the left and then we have
a Tab Position that is saying, "Okay,
| | 01:21 | we are going to tab over 1p6," so
all this stuff is pretty familiar.
| | 01:26 | This is the way it's always set up when
you are working with hanging indents.
| | 01:29 | Here is a guy that's weird.
| | 01:30 | It's this Alignment guy right there.
| | 01:32 | It controls the alignment of the number with respect to what?
| | 01:38 | See, that's a question, with respect to what?
| | 01:40 | The answer happens to be the First Line Indent which is peculiar.
| | 01:43 | I mean right now it kind of makes sense that
Left it's left aligned to the First Line Indent,
| | 01:47 | so we are left aligning the number out here a
quarter inch to the left of all the other stuff.
| | 01:53 | But once you start aligning it to a different point, like let's
say, right because I do want to align all my numbers right.
| | 01:58 | Well, right away, nothing changes which is totally bizarre
in my opinion and that's because the First Line Indent,
| | 02:06 | it's out here at -1p6 so it's trying to Right
Align to this column guide right there but it can't
| | 02:13 | because that would put it outside of the text
frame so it's just putting it where it can put it,
| | 02:18 | but that's unlikely to make any sense to you on the face of it
and I have to tell you, I have worked with a ton of designers
| | 02:23 | who are doing this kind of stuff in
InDesign CS3 and not a single one
| | 02:27 | of them ever was getting how the heck this was put
together, but you are going to in just a moment.
| | 02:32 | I went ahead and clicked inside the First Line
Indent in order to make that option active.
| | 02:37 | You can see the blinking insertion marker after the -1p6.
| | 02:40 | Now I want to make this value smaller because I want to
nudge the number in but if you press the down arrow key,
| | 02:45 | notice you are going to get this warning that's
going to say, "Hey, that's an Invalid indent value.
| | 02:50 | Indents cannot extend outside the text frame."
| | 02:52 | Well, it already is, InDesign is already going
outside the frame so why are you grumping at me
| | 02:58 | about me doing it where you are entitled to, I don't get that?
| | 03:01 | But anyway, what it's trying to say to you, I will
go ahead and click OK, is you can't set it to -1p7.
| | 03:07 | You can't go beyond -1p6 and by virtue of the fact there was
a negative value and you were pressing down your arrow key,
| | 03:12 | it was trying to make it a larger negative value.
| | 03:14 | So you need to press the up arrow key, in other words.
| | 03:16 | So I am going to press up arrow and you are going
| | 03:18 | to see nothing whatsoever happening right there
until we get beyond there it is, that -0p10.
| | 03:25 | As soon as I get to -0p9, did you
see that tiny, little shift there?
| | 03:29 | Let's go ahead and zoom in on it.
| | 03:30 | I am going to cancel that.
| | 03:31 | Go ahead and zoom in on this text so we can see what the
heck I am talking about and I will go ahead and double click
| | 03:37 | on Step once again, inside the Paragraph
Styles palette, switch over to Bullets
| | 03:41 | and Numbering, click inside our First Line Indent.
| | 03:45 | First let's change Alignment to Right, then I will click
inside our First Line Indent and I am pressing the up arrow key
| | 03:50 | and as soon as I move it here at -0p1o,
as soon as it gets to -0p9, look at the 9.
| | 03:56 | It starts shifting over and there is -0p8 and
there is -0p7 and there is -0p6 and there is -0p5.
| | 04:04 | Now that's exactly where I want this to be aligned, not
coincidentally by the way my friends, this period is now aligned
| | 04:12 | with this guideline right there the
third guideline we added which as I say,
| | 04:17 | is not a coincidence because that's five points in.
| | 04:20 | Remember, how we moved it exactly five points in from the Aligned
Left column of rows here of text, so we moved that five points in
| | 04:29 | and sure enough, we have set up that First Line Indent
value to be five points in, -0p5, means five points.
| | 04:35 | It could be by the way, -5pts like that
that's also five points, same diff.
| | 04:41 | Alright, as soon as I press the Tab key to
advance, anyway, so now I have my bearings.
| | 04:45 | I know that's exactly where I wanted it to be
and all of my numbers are aligned properly.
| | 04:50 | If you have any doubt about that, go ahead and click on the
OK button and let's go ahead and move down into this section.
| | 04:58 | There is the 10 properly aligned as well.
| | 05:00 | If we move over to this location here, then let me scroll
up a little bit, the 11 appears to be aligned properly
| | 05:08 | and I move down to the 1 and it appears
to be aligned properly too.
| | 05:12 | If you have any concerns whatsoever I am going to zoom
in because like if you are more fastidious than me,
| | 05:17 | I don't think that's possible but let's say you are and you go,
"Hey, Deke, actually these periods aren't that well aligned.
| | 05:24 | This period next to the single digit number is floating
ever so slightly over to the left from the guide whereas
| | 05:31 | if I scroll my way very laboriously, of course over to let's
go up to the 10, it's much closer right there, notice that.
| | 05:40 | I want my periods to be exactly spot on Deke."
| | 05:44 | You are my kind of user and here is what we are going to do.
| | 05:47 | I want you to double click on Step in order to bring
| | 05:50 | out the Paragraph Styles Options dialog
box, and you know what our problem was?
| | 05:53 | We should have gone one point farther,
that's what we should have done.
| | 05:58 | Let's go to First Line Indent, it's still set to
Right Align of course, then I want you to press the
| | 06:03 | up arrow key to nudge it in one more point so it's -0p4.
| | 06:07 | That's going to put the period on the other
side of the line just a little bit, right.
| | 06:12 | You can tell by the sound of my voice, I am going
slightly insane in celebration of your fastidiousness.
| | 06:18 | I am going to click OK in order to accept that
modification and now let's really get in there.
| | 06:23 | See the way the period is aligned with respect to that guideline
right there, let's go ahead and scroll upward quite a bit to get
| | 06:30 | to the 9, ah, its period is also precisely
aligned where it needs to be and let's see,
| | 06:37 | I think I need to bring out the Navigation palette
so I can get around a little more easily here.
| | 06:42 | Let's go to Object & Layout under the Window
menu and choose Navigator and that's going
| | 06:47 | to bring out the Navigator palette right there.
| | 06:49 | That little red thing indicates where we are on a page.
| | 06:52 | Actually, I will go ahead and make
our page a little bit bigger like so.
| | 06:56 | So I am expanding the size of Navigator palette and I am going to
drag this little guy down here to where the one needs to be, ah,
| | 07:03 | and I got it and notice the period after
the one is exactly aligned as well.
| | 07:08 | Oh, my goodness, I am so proud of you.
| | 07:10 | You are doing such a brilliant job of making
things, not necessarily look good, but certainly,
| | 07:15 | we are getting the math exactly right and
the periods are where they need to be.
| | 07:19 | Notice, we still have a problem and that is
that the bullets aren't where they need to be.
| | 07:24 | They are too far over to the left aren't they?
| | 07:26 | We are going to fix that alignment as well in the next exercise.
| | Collapse this transcript |
| Center-aligning bullets| 00:00 | Oh Man! I had fun in that last exercise.
| | 00:03 | So here is the deal.
| | 00:04 | In this exercise, now that we have fastidiously
aligned the numbers inside of our numbered list,
| | 00:11 | we need to similarly fastidiously
align the bullets in the bulleted list.
| | 00:18 | Here is what I want to see happen.
| | 00:19 | I am going to ahead and zoom in a little bit.
| | 00:21 | Actually, let's move over; it's going to be a
little easier if we move over to the left-hand page.
| | 00:25 | Let's go ahead and scroll upward until
we can find those bullets right there.
| | 00:29 | By the way, I am still working inside that Precise guides.indd
file that I opened at the outset of the previous exercise.
| | 00:35 | So some changes have been made.
| | 00:37 | Now, what I am going to do is setup another guide that
is exactly aligned where these bullets are intended to,
| | 00:44 | which is to say another 1p6, essentially another quarter
inch in and because I am working on the right-hand page,
| | 00:53 | it happens to align properly to the ruler tick marks.
| | 00:57 | I can take advantage of the Shift key
as you are dragging a vertical guide
| | 01:01 | or horizontal guide but I have got a vertical guide going.
| | 01:03 | If I am pressing hold the Shift key notice that
I am going to move from one tick mark to another.
| | 01:10 | So I am constraining the location of
this vertical guideline to a tick mark.
| | 01:16 | So I still have the Shift key down, I am going to move it in to
this location so the guide is perfectly aligned with the text
| | 01:23 | and then I will release my mouse button
and then I will release the Shift key.
| | 01:28 | Now, when I created another vertical guide that is centered
between these two locations here, and 1p6, by the way,
| | 01:35 | as I was saying before, it's 1 pica 6 points.
| | 01:38 | There are 12 points in a pica, so that's
actually 18 points between these two locations.
| | 01:43 | So I want to move this guy back 9 points.
| | 01:46 | So I am going to go up to the X location here,
the X item that is inside of the Control palette.
| | 01:51 | This guideline is still selected as
indicated by the fact that it's dark blue.
| | 01:55 | I will subtract, so enter a minus sign and I will
say a 9 pts, 9 points or it could just be 9 pt
| | 02:01 | if you want to; you don't have to get that tense right.
| | 02:04 | Then I'll go ahead and press Alt+Enter or
Option+Return on the MAC in order to clone the guide
| | 02:10 | as I created a new guide and it's now exactly the right location.
| | 02:13 | Here is the upshot.
| | 02:14 | I want my bullets to align to this
9 points-in location right there.
| | 02:20 | So I want the bullets to be centered between these two guidelines
| | 02:24 | and so they would be centered right
on that new selected guideline.
| | 02:28 | Alright, isn't this fun?
| | 02:30 | Let's go to Step Bullet.
| | 02:31 | Double click on it, go down here, the Bullets
and Numbering, go to the Alignment option.
| | 02:37 | So I am working on the Step Bullet item this time by the way.
| | 02:40 | We want it to be aligned center at this time.
| | 02:43 | That's not going to do really much in a way of any positive
good, because what InDesign is doing at this point is it's trying
| | 02:49 | to center the bullet set- well, I don't even know what
location at this point, some weird location actually between -1p2
| | 02:56 | which would be about here and this location right there.
| | 03:00 | So it just would be this arbitrary totally not right location.
| | 03:04 | Let's go ahead and click inside the First Line Indent and I am
going to press the up-arrow key until I reduce this value to 0p9,
| | 03:12 | -0p9, which is exactly where the bullets need to be centered.
| | 03:16 | So it's centered on that first line
indent right there on that guideline.
| | 03:21 | Click OK to accept your modification and all is well.
| | 03:25 | Ah! Such happiness when we get the numbers and
bullets aligned properly inside of InDesign.
| | 03:33 | Alright, that takes care of this
document, it is totally completely done.
| | 03:37 | I am going to press the W key to hide all of those
guides, which are really getting on my face now.
| | 03:43 | This is the finished version, as I say, of this document.
| | 03:46 | There is one more thing though that I want to
pass along where automatic numbering is concerned;
| | 03:51 | InDesign's ability to automatically
number across different stories.
| | 03:56 | This is an incredibly cool feature.
| | 03:57 | It's still a little bit fastidious and it's a
little bit odd and but it will save you so much time
| | 04:02 | where figure numbering is concerned and I will show you how
that works using a different document in the very next exercise.
| | Collapse this transcript |
| Auto-numbering figures| 00:00 | Alright kids!
| | 00:01 | We are working inside of a new document; an entirely new
document this time around, it's called Another spread.indd.
| | 00:08 | Once again it is found inside the 05_nested numbered folder.
| | 00:11 | Once again, this document hails from
my book, Photoshop CS3 One on One.
| | 00:16 | The difference is this spread represents pages 198 through 199.
| | 00:21 | So a few pages farther along inside
the book but we are still working
| | 00:24 | on that same butterfly project, hence,
the insect continuity here.
| | 00:29 | So we have seen how the automatic number function inside of
InDesign allows you to create sequential steps or other kinds
| | 00:38 | of sequentially numbered paragraphs where
InDesign automatically updates the numbers
| | 00:43 | from one occurrence of a style sheet to the next.
| | 00:46 | That offered us two wonderful advantages.
| | 00:49 | First of all, of course, it saves us some time so I don't have
to go in there and enter the number 20 and style it manually;
| | 00:56 | I can have InDesign do that for me but
also, this ensures us accuracy, doesn't it,
| | 01:01 | because InDesign is in charge of updating the number.
| | 01:04 | So if I double click after the word, other,
here at the end of step 20 in order to switch
| | 01:09 | to the Type tool and position my blinking insertion marker.
| | 01:12 | Notice that the next paragraph begins with the number 21 but
if I press the standard Enter key just above the Shift key
| | 01:19 | or the Return key on the Mac, then I create a new
step 21, and what was formally step 21 become step 22
| | 01:25 | and all of the other steps advance forward as well
and then I could enter something like Do this.
| | 01:30 | and press Ctrl+Shift+N or Command+Shift+N on the
Mac, which is a keyboard shortcut for the en space
| | 01:37 | and then enter 'Do that' or something along those lines.
| | 01:40 | So you get the idea; you can insert steps wherever you
want them to be and this is great because in the old days,
| | 01:46 | I used to have to do this manually prior to InDesign CS3 and as
often as not, I got it wrong and I had to wait for my editors,
| | 01:53 | Carol and Susan, these people work for me in order to
solve my problems for me and they invariably got it right.
| | 01:59 | But it's still better to allow InDesign
to do it automatically for us
| | 02:03 | so we can focus our collective intelligence
on some higher level task.
| | 02:07 | Don't you know?
| | 02:08 | So I am going to go ahead and undo the addition of that text.
| | 02:12 | By the way, I will go and redo it.
| | 02:14 | I could have also, of course, you know this, I could
have selected the text like so, triple clicked on it
| | 02:19 | and press the Backspace key in order to delete
it and InDesign would again, very forgivingly,
| | 02:23 | take care of my automatic numbering
for me without even saying, Ah!
| | 02:28 | The things you make me do.
| | 02:29 | See it doesn't even give me a guilt trip over it, that's great.
| | 02:32 | But it gets even better.
| | 02:33 | You can use InDesign's automatic numbering function to advance
numbering across different stories that is unrelated text blocks
| | 02:42 | so that, for example, I can automatically number the
figures inside of my book, which is an extraordinary thing.
| | 02:49 | I have to say if you are interesting
in pulling something like this off,
| | 02:53 | it is little bit tacky but it is definitely wroth knowing.
| | 02:55 | If you are interested, stick with me for the following exercises.
| | Collapse this transcript |
| Creating a custom Number setting| 00:00 | In this exercise, we are going to establish
a Paragraph Style that is going to permit us
| | 00:05 | to automatically number figure captions, in our
case, across different and unrelated stories.
| | 00:12 | So I will show you what I mean here.
| | 00:14 | Go ahead and grab your Text tool and click somewhere inside of
the text that says Figure 6-1 underneath the upper-left butterfly
| | 00:21 | and we are working, by the way, inside of that
same Another spread.indd file that's available
| | 00:26 | to you inside the 05_nested numbered folder.
| | 00:30 | So go ahead and set your blinking
insertion maker inside that text.
| | 00:33 | Then I want you to go ahead and bring
up- actually, what I need to do.
| | 00:37 | I am going to press the Enter key in the keypad for a moment
and Shift+Tab up my palettes because they were missing.
| | 00:42 | Let's go ahead and do that again.
| | 00:44 | I am going to once again activate Figure 6-1 there
and I will bring up my Paragraph Styles palette
| | 00:50 | and I need to create a new Paragraph Style, which of
course you know, you do by Alt+clicking or Option+clicking
| | 00:56 | on that little Page icon there at the bottom of the palette.
| | 00:59 | We will call this guy Figure Number
or something along those lines.
| | 01:03 | Then I want you do to advance down to Bullets and
Numbering and we are going to set the List Type to Numbers,
| | 01:09 | of course, in order to add a number afterwards.
| | 01:12 | InDesign is thinking that what we want to do
is add the number at the beginning of the text
| | 01:17 | as if we were creating a numbered entry in a list, for example.
| | 01:21 | But that's not what we are going to do.
| | 01:23 | So we need to change how the number is set up right here.
| | 01:26 | So I want you to go down to this Number option
right there, which is saying basically it's going
| | 01:31 | to do a number that's the ^#, it's going to add an
automatic number, then a period and then a Tab character
| | 01:37 | for the ^t. I want to completely change that.
| | 01:39 | I want it read Figure+space.
| | 01:42 | So go ahead and enter Figure+space like that.
| | 01:44 | Just enter the word Figure followed by
a space with capital F incidentally.
| | 01:48 | Then I want you to click on this right pointing arrow head
and we are going to insert a number placeholder and it's going
| | 01:54 | to be chapter number because the way
my numbers work is, it's Figure 6-1,
| | 01:59 | which indicates that we are working inside of Lesson 6.
| | 02:01 | I call them lessons but they are chapter same dif.
| | 02:04 | Figure 6-1 is inside Lesson 6 and that's
the first figure inside of that lesson.
| | 02:11 | So I am going to go ahead and say Chapter Number and it goes
and it gives me a placeholder code right there which is ^H
| | 02:17 | and then hyphen, because I have a
little hyphen character separating them.
| | 02:22 | Notice that InDesign is struggling to keep up
with me, so it's duplicating my efforts right now.
| | 02:25 | That's okay.
| | 02:26 | By clicking on right pointing arrow head there, I am
going to say Insert Number Placeholder, Current Level.
| | 02:31 | Now, you can do multiple levels of these
guys if you want to get really intricate.
| | 02:35 | We are just going to stick with Current Level, which
is to say one level of sequence numbers in this case.
| | 02:41 | So I will say Current Level and that's going to give me
^# just like we saw at the outset of our numbered list.
| | 02:48 | That's all I am going to do.
| | 02:50 | Notice that my entry ends with a period right there, so I could
enter a period, but I need to have some kind of text sitting
| | 02:57 | in this text block in order to make things work.
| | 03:00 | I will show you what that means in just a moment,
but I'll go ahead and take that period out there.
| | 03:04 | So your Number item should read Figure
with capital F, space ^H-^#.
| | 03:11 | You are done for now.
| | 03:12 | We still need to do some more work in
here, but that's good enough for now.
| | 03:15 | Format should be set to 1, 2, 3, 4 fine.
| | 03:18 | Then go ahead and click OK in order to accept that modification.
| | 03:21 | Now, I want you to triple click inside of
this text in order to select all of it.
| | 03:26 | Then I want you to press the Backspace key.
| | 03:28 | Notice, as soon as you backspace all of the text, it
all goes away including all of that placeholder stuff.
| | 03:33 | But when you enter a single character of Type into this text
block right here, like let's say, I press the Period key.
| | 03:40 | As soon as I add that period, notice that InDesign goes
ahead and it automatically gives me all the other text.
| | 03:44 | It just needs something to hang on to.
| | 03:46 | So that's why, I have that period right there.
| | 03:49 | Then I am going to go ahead and press the Enter in the keypad if
you've loaded Deke Keys that is to say, you'd press the Enter key
| | 03:54 | in the keypad, otherwise you press the Escape key in order to
accept the modifications to that paragraph, so far, so good.
| | 04:01 | We do have a few problems.
| | 04:02 | For example, this needs to be Figure 6 something, it's needs
to be part of Chapter 6 and it actually needs to start off
| | 04:09 | with Figure 6-30 as it turns out
that's where our numbering starts off.
| | 04:13 | So we are going to set that in motion
starting in the next exercise.
| | Collapse this transcript |
| Specifying a chapter number| 00:00 | Alright gang!
| | 00:01 | We have now established this wonderfully intelligent
figure number right here below the top-left figure inside
| | 00:08 | of this document and by this document, I mean in this case,
| | 00:11 | a catch-up document that I am calling Fig Number style.indd
found inside of that same 05_nested numbered folder.
| | 00:18 | You can see that it is styled with the Fig Number
style here inside the Paragraph Styles palette.
| | 00:24 | Great! But this figure needs to begin in Chapter 6 for one thing
so the first number should be 6 and this is actually Figure 6-30
| | 00:33 | for what it's worth, so we need to advance the numbering to 30.
| | 00:36 | So how do we do that?
| | 00:37 | Well, first we need to specify a chapter number.
| | 00:41 | So I am going to deselect everything, I am going to switch over
to the Pages palette right here, which you can get by going
| | 00:47 | to the Window menu and choosing Pages or pressing
the F12 key, very common palette for navigating pages
| | 00:53 | and creating pages and organizing pages inside of InDesign.
| | 00:57 | You may see this little down pointing
arrow head at the top of page 198.
| | 01:01 | That is the section marker and it provides
you with the quickest route to getting
| | 01:06 | to the Numbering and Section Options dialog box.
| | 01:09 | You can also go over to the palette menu right there and you
can choose this guy down here; Numbering and Section Options,
| | 01:15 | if you want to, just because it's so convenient.
| | 01:17 | I prefer to double click on that
down pointing arrow head right there.
| | 01:20 | So go ahead and double click on it.
| | 01:21 | That's going to bring up the dialog box and
you want to change chapter number from 1,
| | 01:26 | which is the default setting, to, in our case, 6.
| | 01:29 | If you have a chaptered book or other publication, you'll
want to go ahead and update these chapter numbers as well.
| | 01:35 | Typically, you lay out an entire chapter inside of
one publication and you keep each chapter inside
| | 01:41 | of a separate publication for this very reason
so you can update the chapter numbers and so on.
| | 01:45 | So I'll click OK and notice right away,
look Figure 6-1 now, it's that smart.
| | 01:51 | Isn't that great?
| | 01:53 | Now let's update the number after the hyphen by clicking on this
guy, I am not even going to double click inside the paragraph
| | 02:00 | because there is only one paragraph inside this
entire story, which is this one unthreaded frame here.
| | 02:06 | I am going to just click on it with the Black Arrow
tool, where would I go in this case since I have decided
| | 02:10 | to get fancy and work with the black arrow tool.
| | 02:12 | I can't go to the Control palette so instead, I
am going to go ahead and hide my Pages palette.
| | 02:16 | I'll go to the Paragraph palette and by the way, you can get
to the Paragraph palette by choosing the Paragraph command
| | 02:22 | from the Type menu right there or by pressing Ctrl+M,
Command+M on the Mac and then I am going to click
| | 02:29 | on the Palette Menu icon and I will choose Bullets and Numbering.
| | 02:32 | I will tell this guy right here, the Mode option I will set it
not to continue from the previous number but rather to start
| | 02:40 | at number 30, like so and then I will click OK and
that goes ahead and advance that entire text frame;
| | 02:46 | the contents of the entire frame, which
is to say just that one paragraph.
| | 02:50 | Now, in the next exercise, I am going to show you
how we can now take this magical text block here,
| | 02:56 | which is actually only semi-magical so far but we
are going to take it and we are going to update it
| | 03:00 | to full magical capabilities so that we can automatically
number all of the figures inside of a document.
| | 03:07 | Stay tuned.
| | Collapse this transcript |
| Numbering across threaded frames| 00:00 | Alright kiddos!
| | 00:01 | Here we are still working inside of this document that represents
pages 198 through 199 inside of my book, Photoshop CS3 One on One.
| | 00:11 | We have established an intelligently numbered figure item here.
| | 00:15 | Really, this text block only contains one character
of type and that is that period right there.
| | 00:20 | If I select that period and delete it, everything goes away
because the period is a placeholder that basically ensures
| | 00:26 | that the rest of this automated stuff is remaining intact.
| | 00:29 | So I will go ahead and reenter the period.
| | 00:31 | By the way, I am working inside of
an updated version of my document.
| | 00:35 | It's called Chapter 6 spread.indd, so called because
now we are aware that we are working inside Chapter 6
| | 00:42 | because we set our Numbering & Section
options to include 6 as our chapter.
| | 00:46 | InDesign is automatically numbering this figure
as a result, Figure 6 whatever so that each one
| | 00:52 | of the figures is obviously inside of Chapter
6- By the way, this document, of course,
| | 00:58 | is found inside the 05_nested numbered folder.
| | 01:01 | So I am going to press the W key in order to
bring back my guidelines in order to switch
| | 01:06 | out of the Preview mode back to the Normal mode.
| | 01:09 | Then I am going to grab this item right there,
this Figure caption with my black arrow tool.
| | 01:14 | Make sure you have the black arrow
tool active here inside the toolbox.
| | 01:17 | Then I want you to Alt+drag or Option+drag that item
right there, that text frame in order to duplicate it.
| | 01:24 | It should what would I like to see happen is, I would like to
see this automatically update from Figure 6-30 to Figure 6-31
| | 01:31 | because then I want use this guy; I want to grab this
text block and I want to move it down under said figure,
| | 01:37 | under figure what is actually Figure 6-31 inside the book.
| | 01:40 | But InDesign did not bother to update the
numbering for me and that's because by default,
| | 01:45 | InDesign is set to reset the numbering
from one story to another story.
| | 01:51 | So notice that these items are not threaded.
| | 01:53 | Now, I could go ahead and thread the two text blocks if I wanted
to in order to make sure they are all part of the same story,
| | 01:59 | and if I like to do that then I would click on the top
Figure 6-30 text frame right there with the black arrow tool.
| | 02:06 | I will click on this guy.
| | 02:07 | Notice this big handle right there that represents the thread
handle so that I can flow the text from one story to another.
| | 02:14 | I would click right there and that loads my
cursor in case I want to draw another text block
| | 02:19 | into which the future text will be flown or I can move my cursor
over this text frame down here, this Figure 6-30 text frame
| | 02:27 | and notice that my cursor changes to a chain, so I am
establishing a link between these two frames and I will click.
| | 02:33 | Now that is going goof things up so notice I have Figure 6-30..
| | 02:36 | because it's not recognizing that there needs to be a character
term between the two periods, so I will get my Type tool
| | 02:43 | and I will click between the two periods like so.
| | 02:46 | Then I will press the standard Enter key or the
Return key in a Mac and that knocks the text
| | 02:51 | down to the next line which forces it to the next threaded frame.
| | 02:55 | Now goes an update from Figure 6-30 to 6-31.
| | 02:59 | That's one way to handle this problem, but I
don't like this method for handling the problem.
| | 03:05 | I mean InDesign, by default, will go ahead and update from
one occurrence of a style sheet to the next occurrence
| | 03:11 | of the style sheet so to update the numbers as
long as those items are inside the same story.
| | 03:16 | But just imagine doing this for a book.
| | 03:19 | Imagine you have 60 to 100 figures per
chapter, so you have got to thread all
| | 03:25 | of these darn text blocks in order to make this work.
| | 03:27 | That's a pain in the neck.
| | 03:28 | I assure you.
| | 03:30 | So that's not the way that we are going to do things.
| | 03:32 | Let's go ahead and press Ctrl+Z a couple of times in a
row there, Command+Z, Command+Z, Command+Z on the Mac.
| | 03:37 | So I have to do it three times in a row in order to get back
to where we started right after I duplicated the text frame.
| | 03:45 | I am going to show you a different
way to work, an easier way to work.
| | 03:49 | It's a little bit tough to wrap your mind around
it because some of the interfaces are a little odd.
| | 03:54 | But once you do it, it's done and you never have to
revisit it and your figure number will update like magic,
| | 04:00 | I assure you and you will see how in the very next exercise.
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| Using a "list" to number across stories| 00:00 | In this exercise, I am going to show you
how to update the Figure Number style,
| | 00:04 | so it will automatically sequentially update
the numbers across independent stories.
| | 00:09 | I am still working inside the document Chapter 6 spread.indd
| | 00:13 | from the 05 Nested Numbered Folder
that I opened in the previous exercise.
| | 00:17 | The only difference is that I went ahead and duplicated
this Figure 6-30 item to this location down here.
| | 00:23 | So we have two figures that are currently
numbered, Figure 6-30 that's a mistake, of course.
| | 00:28 | We want them to update sequentially and incidentally, I am going
to go ahead and double click inside of Figure 6-30 in order
| | 00:36 | to set by blinking insertion marker and I
am going to go over to my Paragraph palette
| | 00:40 | and notice that it has this override, it says, Figure Number+.
| | 00:44 | Next to it, it has a local override and that local
override even says, is that the list will start
| | 00:49 | at a value of 30, continue from previous, no.
| | 00:52 | So that's a mistake right, we need to go ahead and update that.
| | 00:55 | So I am going to Alt+Click or Option+Click on the Figure
Number item, so that it will start the list over again,
| | 01:01 | so it will continue on from with the previous number.
| | 01:04 | The only thing is, it doesn't think it's continuing
from anything, so it starts at Figure 6-1.
| | 01:10 | Alright, we are going to solve that right now.
| | 01:12 | I am going to press Ctrl+Shift+A or Command+Shift+A
on the Mac, in order to deselect that item down there.
| | 01:17 | I am also going to go ahead and press the V
key, to switch back to the black arrow tool.
| | 01:21 | Alright, let's go ahead and edit this Figure Number
item right here inside the Paragraph Styles palette.
| | 01:26 | So make sure you are seeing the Paragraph Styles palette. Double
click on Figure Number and we are going to go down to Bullets
| | 01:32 | and Numbering and when you are numbering across
stories; that's where this List item comes into play.
| | 01:37 | That's where you're basically overwriting how InDesign
is sequentially numbering items inside of the document.
| | 01:45 | So right now, List is set to Default, so you are just letting
InDesign do its thing, where it continues that numbering
| | 01:50 | from one occurrence of the style sheet to the next occurrence
of the style sheet, over the course of a single story.
| | 01:56 | We are going to change that to create
a New List and this is kind of weird.
| | 02:01 | You can just basically create a list out
of thin air and call it anything you want.
| | 02:05 | We are going to call ours Figures and we want to
continue the numbers across the story as long as they fall
| | 02:11 | onto this Figures camp, which they will, as
long as they are using Figure Number style.
| | 02:16 | So we do want to continue number across stories.
| | 02:18 | That's a good check mark, but the next one Continue Numbers from
Previous Document in a Book that's not something we want to do.
| | 02:24 | Now, I haven't discussed book inside the
confines of this little micro series here,
| | 02:29 | but inside of my InDesign CS3 One on One
book, I certainly discuss how books work.
| | 02:34 | Basically books are combinations of documents where basically you
are creating a long document and you have chapter 1, chapter 2,
| | 02:41 | chapter 3 and then you combine them into a book and we don't want
to- if we were to create multiple documents inside of a book,
| | 02:49 | we wouldn't want to continue the numbering, because we want
to reset the numbering at the beginning of each chapter.
| | 02:54 | We would reset the numbering to 1.
| | 02:56 | So I will go ahead and turn off this checkbox, this is where it
comes down to, and so, we got one checkbox on and the other off.
| | 03:02 | We have gone ahead and named it, whatever we decide to name it.
| | 03:04 | I am calling it Figures and I'll
click OK and that's all it takes.
| | 03:07 | Now if I click OK in order to accept
the updated Figure Numbers on.
| | 03:12 | You can see it's already happen back here in
the background because Preview is turned on.
| | 03:16 | You can see that it's now got Figure
6-31 and I will go ahead and click Ok,
| | 03:19 | so it's now smart about jumping from one story to the next.
| | 03:24 | I am going to go ahead and zoom-out here, so
that we can take in more of this document.
| | 03:29 | I will hide the Paragraph Styles palette and I need to go ahead
and duplicate this figure over to this location right there,
| | 03:35 | and you don't necessarily have to duplicate it.
| | 03:37 | You could create a new text block, assign
it that same Figure Number style sheet
| | 03:41 | and enter a period and it would go ahead and do it's thing.
| | 03:44 | It would go ahead and update the numbers well, but
it's just so much easier just to duplicate it.
| | 03:48 | So I am going to go ahead and Alt+Drag
or Option+Drag with a black arrow tool.
| | 03:52 | Alt+Drag or Option+Drag this story,
in order to create a duplicate of it.
| | 03:56 | Then I will move it in a position and
you can see, once I click off of it,
| | 03:59 | it is indeed numbered Figure 6-32, quite automatically.
| | 04:04 | It's an amazing thing.
| | 04:06 | InDesign's ability to automatically
update these figure numbers for you.
| | 04:09 | Now it can go a little bit awry, so you have to keep your
eye on things just to make sure it's getting the sequence
| | 04:15 | of your stories right, and I will show you how to
address that and I will also show you what doesn't work,
| | 04:21 | what you can't automatically number inside of
InDesign, in the next and final exercise of the chapter.
| | Collapse this transcript |
| What you can and can't do| 00:00 | In this final exercise of the chapter, I am going to show
you what can go wrong with our automatic numbering scheme
| | 00:07 | when we are sequentially numbering paragraphs across different
stories and I will also show you what we can't automate
| | 00:14 | where numbers are concerned inside of InDesign.
| | 00:17 | I am working inside of a catch-up document called the
automatic figs.indd found inside the 05 nested numbered folder
| | 00:24 | and it includes the highly automated Figure
Number style sheet but now see what can go wrong.
| | 00:29 | Notice that currently if I go over to the left hand page, I have
got Figure 6-30 followed by Figure 6-31 just as it should be,
| | 00:36 | and then over here I have Figure 6-32; great. But let's say I
am sort of messing around with the page's design and I decide
| | 00:43 | to marquee, I have got my black arrow tool selected, I decide
to marquee both the figure caption and the figure itself
| | 00:51 | and I will go ahead and drag these items down like so
after selecting them. And I am pressing the Shift key
| | 00:56 | so that I am constraining the angle of my drag to exactly
vertical, and so I am moving the figure to the bottom of the page.
| | 01:03 | Then I think, you know what, I actually
want two figures on this page.
| | 01:08 | That's going to work better.
| | 01:09 | So I will just go ahead for purposes of just creating
a place holder, I will press both the Shift+Alt keys,
| | 01:16 | that would be the Shift+Option keys on the
Mac, and I will drag these guys upward like so.
| | 01:22 | They are both still selected and because they have the Shift
key down of course, I am constraining the angle of my drag
| | 01:26 | to exactly vertical because I have the Alt or Option key down,
I am creating a clone. I am going ahead and copying these items
| | 01:32 | on the fly and notice just by virtue of the order in which
I worked, of course I could have worked in a different order
| | 01:38 | if I wanted to, but by virtue of the order in which I worked,
I have got a 6-30, followed by 6-31 and then over on this page,
| | 01:45 | 6-33 followed by 6-32. And that's obviously, wrong, right?
| | 01:52 | This has to do with the order in
which I created the items on the page.
| | 01:55 | So the items on page 199 are always going to
follow the items on page 198 which are always going
| | 02:01 | to be numbered sequentially after
the items on page 197 and so on.
| | 02:05 | As long as they are in different pages,
you don't have to worry about them.
| | 02:07 | But when they are all on the same page, then InDesign numbers
the paragraphs in the order in which you created them;
| | 02:14 | this is not stacking order or layering
order or anything like this.
| | 02:18 | This is actually the order in which you created the items.
| | 02:21 | So what you are going to have to do is go down to Figure
6-32 right here, let me zoom in on a little bit here,
| | 02:26 | grab the Figure 6-32 caption, go ahead and cut
it by pressing Ctrl+X or Command+X on the Mac.
| | 02:34 | You could have also gone to the Edit menu and you
could have chosen the Cut command if you wanted to.
| | 02:39 | Now having cut it, I am going to choose Paste in Place- this
would be Ctrl+Shift+Alt+V or Command +Shift+Option+V on the Mac-
| | 02:47 | and notice that goes ahead and pastes it afterwards so
this becomes later in the order, sequentially on a page.
| | 02:54 | And because this item was introduced
later, it now becomes the last item
| | 02:58 | and it becomes numbered later on the page that is to say.
| | 03:01 | So it's Figure 6-33 which follows 6-32, just
as it ought to in the grand order of things.
| | 03:07 | Now what can you not number? That's a
little bit of troubleshooting there.
| | 03:11 | What about cross-references inside of the text?
| | 03:15 | Those you cannot automate.
| | 03:16 | There is just no way to pull that off.
| | 03:19 | That's because you can't say that this Character Style follows
another Character Style or something along those lines.
| | 03:24 | InDesign isn't that smart yet and also you can't create a live
link between this cross-reference and the figure caption below.
| | 03:33 | So what you have to do in this case is you just have to manually
update these items like I would change this guy to Figure 6-30
| | 03:40 | and the one that currently says 6-Y needs
to be changed to 6-31, oops. Let's go ahead
| | 03:45 | and change it to 6-31, not any other characters.
| | 03:48 | This guy, that's 6-Z needs to be 6-32 and then this
guy down here that's 6-4 should be 6-33 and so on.
| | 03:55 | Also if you are referencing other page numbers inside of
a document, unless they are like continued on page numbers
| | 04:03 | which are a completely different scenario, but if they are-
basically, if you are referencing a completely different part
| | 04:08 | of your book or your document or something, then you will
have to manually enter those page references as well.
| | 04:14 | So we will see if one day that kind of stuff gets automated
but it hasn't been automated inside of InDesign CS3. Still,
| | 04:21 | it's a very rosy scenario.
| | 04:22 | So we see how Nested Styles are going to save you a ton of
time and Automatic Numbering is not only going to save you time
| | 04:30 | but it's also going to ensure accuracy
inside of your numbered documents.
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|
|
6. Using Table and Cell StylesIf you make tables, listen up| 00:00 | If you have ever tried to craft a table, whether a tabbed list
or an actual table that comprises rows and columns of cells,
| | 00:07 | you know it takes some effort.
| | 00:09 | Fortunately, you table makers are in luck.
| | 00:11 | New to InDesign CS3 is the ability to save cell and table
styles, which like other style sheets we've seen,
| | 00:18 | can spare you ages of repetitive and tedious work.
| | 00:22 | Note that I mentioned two kinds of style sheets, Cell Styles,
which effect individual cells, those row column intersections,
| | 00:29 | and Table Styles which effect entire tables.
| | 00:32 | Cell Styles get nested inside Table Styles, so it makes the
most sense to create the Cell Styles first and then wrap them
| | 00:39 | into an overarching Table Style.
| | 00:41 | In the following exercises, we will do precisely that.
| | 00:45 | Along the way, I will show you how to use these style sheets
to refine the formatting of one table and transfer that
| | 00:51 | formatting goodness to another table.
| | 00:54 | If you are like me, you will be flat
out amazed by what you can automate,
| | 00:58 | and what you can't.
| | Collapse this transcript |
| A tale of two tables: Introducing the document| 00:00 | In this exercise, I am going to essentially
introduce you to the sample document
| | 00:04 | which contains both a formatted table and a tabbed list.
| | 00:09 | We are going to use the formatted table in order to
construct some Cell and Table Styles and then we are going
| | 00:14 | to apply the Table Style, which will contain
the inset Cell Styles, to the tabbed list.
| | 00:20 | You will see, it's going to work out marvelously.
| | 00:22 | Anyway, here's the sample document. You should get
to know each other. It's called 55-word review.indd,
| | 00:27 | it's found inside of the 06 Table Styles folder.
| | 00:32 | Notice that it is indeed a 55-word review of this CD,
this real live CD, that's called Radio 1 Established 1967.
| | 00:40 | And I know that doesn't seem like the catchiest
name for a CD, but it's actually a two CD set.
| | 00:45 | Radio 1 is radio station in England
and they were established in 1967.
| | 00:50 | This CD set came out in 2007 and they were celebrating their
40th anniversary with 40 songs covered by different artists.
| | 00:57 | One for each of the years from 1967 through 2007, so check it
out. I am going to go over to the Layers palette. which I can get
| | 01:04 | by going to the Window menu and choosing the Layers command
or pressing F7 or just bring it up of course the way I did
| | 01:08 | by clicking this little icon. And notice this top layer
right there, Text & tables, I want you to click on it
| | 01:13 | to make it active and then turn it On, so we can see it.
| | 01:16 | Click in its little eyeball column right there. Leave Highlights
turned off for now; we'll come to that later in this chapter.
| | 01:22 | Alright, go ahead and hide Layers and you can see here
are the contents of the two discs. There is disc one,
| | 01:27 | there is disc two, they each contain 20 songs a piece.
| | 01:30 | 'Flowers in the Rain' by the way, that was the first song ever
played on Radio 1. I don't know if you care, by The Move,
| | 01:35 | that was the original artist, the
cover artist is the Kaiser Chiefs.
| | 01:39 | So you get the sense of how this works.
| | 01:40 | Anyway, I've got a formatted table at the top,
that's more less the way I want the table to be.
| | 01:45 | We will be modifying the table little bit here and there. And
then we've got this unformatted, just tabbed table down below.
| | 01:51 | Alright, so we are going to fix the top table, generate some
Cell and Table Styles and then apply that to the table below,
| | 01:57 | so that we are of course automating the process and if we
had more tables, just tons and tons of CDs that we are trying
| | 02:03 | to format, we could format them as
well using the same techniques.
| | 02:07 | I am going to create a Cell Style and I hope you will
join me as we do that together in the next exercise.
| | Collapse this transcript |
| Creating a cell style| 00:00 | In this exercise, we are going to build a Cell Style,
an individual Cell Style based on the header at the top
| | 00:07 | of this formatted table here for disc one, of of course
this CD collection called Radio 1 Established 1967.
| | 00:13 | That is the name of the real CD, two disc collection.
| | 00:16 | It's inside of this document called 55-word review.indd
that you'll find inside of the 06 Table Styles folder
| | 00:23 | and we are just going ahead and turn On the top layer, so that we
can see these tables right here, one formatted, one unformatted.
| | 00:29 | Now, why would we start with a Cell Style?
| | 00:32 | First of all what is a Cell Style?
| | 00:33 | A Cell Style allows you to format just
a single cell inside of the table.
| | 00:37 | So each one of these rectangular areas inside of the
table is a cell. A Cell Style formats a single cell
| | 00:44 | and then a Table Style affects the entire table.
| | 00:47 | Now basically we've got a relationship like that
between Character Styles and Paragraph Styles.
| | 00:52 | So you can recall how you can nest, as we saw in the previous
chapter, you can nest the Character Style into a Paragraph Style.
| | 00:57 | Well, with Cell Styles and Table Styles, you have the
same relationship. You can take a Cell Style and nest it
| | 01:03 | into a Table Style. The difference is that Table
Styles by themselves really don't do very much.
| | 01:08 | You are really just using them to hold a bunch of Cell Styles.
| | 01:10 | So you want to start by creating your Cell Styles
| | 01:13 | and then build your Table Styles based on
those, as we are going to do of course.
| | 01:17 | So let's start by creating a Cell Style that will accommodate the
header right here. And I am going to select the header at the top
| | 01:23 | of this table by grabbing my Type tool, it's very important
you get the Type tool, press the T key if necessary.
| | 01:29 | I am going to click inside of the table just to make it active
here and then I am going to move my cursor over the T in Track
| | 01:36 | and notice that it changes to this
big thick right pointing arrow.
| | 01:40 | You've got to get right on that T. Notice if you move
too far over, if you move your cursor over a little bit,
| | 01:46 | you are going to lose the arrow cursor and you are just going
to get a Type cursor, and if you move too far over to the right,
| | 01:52 | you are also going to lose that big thick arrow cursor.
| | 01:54 | Basically you've got five pixels, as I calculated it, you've
got five pixels of wiggle room right here and that's it.
| | 02:00 | So you've got to be kind of into the header in order to make
it work like so and then click to select that entire header.
| | 02:06 | If you just can't get it to work for whatever reason, you
can click inside of any of the text at the top of the table.
| | 02:11 | Then you go up to the Table menu, you choose
Select and you choose this guy right here,
| | 02:15 | Header Rows and that will select the
one header row inside of this document.
| | 02:19 | Now, let's make a Cell Style based on it.
| | 02:21 | I'll go to the Window menu, I'll choose Type & Tables and I'll
choose Cell Styles. This is the only way to get to this command;
| | 02:27 | it does not have a keyboard shortcut by default.
| | 02:29 | So it's kind of a pain in the neck to get to it, but on the plus
side, when you choose Cell Styles you are also going to bring
| | 02:35 | up your Table Styles and your Table palettes,
which is great because we need all these palettes.
| | 02:40 | So I am going to grab Cell Styles.
| | 02:41 | I am going to actually move my table.
| | 02:43 | Notice that I am dragging it by that empty area above the
tabs. I'll drag it up here until I get that blue line.
| | 02:49 | See that blue line right there?
| | 02:50 | And I'll release and then I'll add it to the column
of palettes right there, palette icons that is to say.
| | 02:56 | Then I'll click on Cell Styles to bring it up.
| | 02:58 | Now we are going to generate this Cell Style in much
the same way we have generated other style sheets,
| | 03:02 | which is to say by pressing the Alt key or the Option
key on the Mac and clicking on that little page icon.
| | 03:07 | So Alt+Click or Option+click on a page icon to bring
| | 03:09 | up the new Cell Style dialog box and
I'll call this style Table head like so.
| | 03:15 | Notice right here, you are going to see a ton of just gobs
and gobs of cell formatting attributes that are all based
| | 03:22 | on the collection of attributes we
have applied to these header cells.
| | 03:26 | But nothing about the text, nothing at
all about how the text is formatted there.
| | 03:32 | Notice that it's just all about lines
and strokes and junk and the reason is
| | 03:36 | because you format the text using a Paragraph
Style. You have to setup a Paragraph Style
| | 03:41 | in advance in order to properly format your cells.
| | 03:44 | So I've got a bunch of Paragraph Styles that I've setup
in advance and that's all I have inside of this document
| | 03:50 | or just a handful of Paragraph Styles,
no other kinds of style sheets.
| | 03:53 | If I click the down pointing arrow head, you can see
there they are. And this is the one I want right there,
| | 03:57 | Table title, that's the Paragraph Style I want.
| | 04:00 | Notice now that we can base some formatting
attributes in the form of this item right there,
| | 04:03 | that says 'Paragraph Style: Table title.'
That's really all there is to it.
| | 04:06 | So be sure to setup a Paragraph Style in advance to accommodate
your text because otherwise you are not going to be able
| | 04:12 | to apply standard formatting attributes
like typeface and type size and so on.
| | 04:16 | Alright, that's good for this exercise; there
is how you go about creating a Cell Style.
| | 04:20 | I would like you, now at this point to go ahead and click
OK. There are some other things that we want to change,
| | 04:26 | but notice that there is not checkbox here to say that we want to
apply the Cell Style to the text as we generate that Cell Style.
| | 04:33 | So this Preview checkbox inside the New
Cell Style dialog box serves no purpose,
| | 04:36 | it doesn't do anything because we really don't have
a link between the Cell Style and the selected cell.
| | 04:41 | There is no link right there, so we are not going to
be able to preview the effects of what we've done.
| | 04:44 | So the moral of the story is try to do as little as
possible inside this dialog box. Really just name it,
| | 04:49 | apply a Paragraph Style, then go ahead and click OK,
then go back to Cell Styles and click on Table head
| | 04:57 | in order to apply that style to your selected text.
| | 05:00 | Now you have a link between the two and you can now preview
other modifications that you'll make in future exercises.
| | Collapse this transcript |
| Adjusting the Inset values| 00:00 | In this exercise, we are going to modify the Cell Style that
we created in the previous exercise. And by virtue of the fact
| | 00:08 | that we have now created a link between that Cell Style and the
style yext, we can now preview what in the world we are doing
| | 00:15 | because we need to be able to preview,
otherwise we just have no idea what we are up to.
| | 00:19 | Alright, so I am working inside of this document called Lone
Cell Style.indd found inside the 06 Table Styles folder,
| | 00:26 | it's just a catch-up document of course.
| | 00:27 | I want you to press Ctrl+Shift+A or Command+Shift+A on
the Mac to deselect everything inside this document.
| | 00:33 | I am going to zoom in. You may recall that
we are formatting the header right here.
| | 00:37 | So I am going to zoom in on that header and
you can see how Track and Name are too close
| | 00:42 | to the bottom left edge of their respective cells.
| | 00:46 | I am actually going to scroll over to the right a little
bit, so that I can take in Original Artists right there
| | 00:52 | because Original has a G which has a
descender, so that we can get a sense
| | 00:57 | of just how close this descender is
getting to hitting the bottom of the cell.
| | 01:01 | So we need to tweak the positioning
of that text. We wouldn't have a clue
| | 01:05 | as to how much we should position
it, if we didn't have a preview.
| | 01:08 | We can only get a preview by going ahead and roughing out
the Cell Style, assigning into the text and then going back
| | 01:14 | and modifying the Cell Style- as we are about to do now.
| | 01:17 | So let's go ahead and modify that Cell Style, bring up the Cell
Styles palette, it should still be up from the previous exercise.
| | 01:22 | But if you can't find it, you go Window, Type
and Styles and then Cell Styles, like so.
| | 01:27 | Alright and then once you get Cell Styles up, I
want you to double-click on Table head in order
| | 01:32 | to bring up the Cell Style Options dialog box.
| | 01:34 | Make sure the Preview checkbox is turned on,
this time it's actually going to do us some good.
| | 01:38 | We are actually going to be able to use
it. That's nice. Because it was unusable,
| | 01:42 | that was non-functioning essentially
inside of the New Cell Style dialog box.
| | 01:46 | Now I want you to switch to this next item right there,
| | 01:48 | Text, which you can get by pressing Ctrl+2
or Command+2 on the Mac if you like.
| | 01:53 | First of all, let's go ahead and change the Vertical
Justification from Align Bottom to Align Center,
| | 02:00 | so that we are centering the text vertically, that looks better.
| | 02:03 | Now, we need to go ahead and adjust the Cell Insets.
| | 02:06 | Now for you, probably most likely
you're going to see this chain icon On,
| | 02:10 | so that changing any one of the Cell Inset values
changes all four of them. We don't want that.
| | 02:16 | I am going to go ahead and turn the chain Off, and
then I encourage you to modify the values like so.
| | 02:22 | Basically, I am going to take the Top value
down to 0 in order to scoot the text upward.
| | 02:26 | Notice how I moved upward as I reduce the Top value; that scoots
it too far up, so I am going to reduce the Bottom value to 0p1.
| | 02:34 | So 0 for the Top value, 0p1 for the Bottom value.
| | 02:37 | That creates a nice centering right there,
that works very well for the descender.
| | 02:41 | Also, I am going to go over to the Left value and I am going
to increase that, I am just nudging it up from the keyboard
| | 02:45 | by pressing the up arrow key until I get a Left value of 0p6.
That is 6 points of space right there and that nudges the text
| | 02:52 | over to the right by creating more
of a margin on the left-hand side.
| | 02:56 | That's it. That takes care of the modifications we want
to apply to this cell. It is now absolutely perfect.
| | 03:02 | Go ahead and click OK in order to accept your modifications,
then if you like you can zoom out in order to take
| | 03:07 | in your entire header or most of it anyway, and then
go ahead and press Ctrl+Z in order to get a sense
| | 03:13 | of what it looked like before, it's Command+Z on the Mac.
| | 03:15 | And then for after, press Ctrl+Shift+Z
or Comman+Shift+Z on the Mac.
| | 03:20 | So it makes a huge difference.
| | 03:21 | Good job. You edited those inset values
inside of the Cell Style Options dialog box.
| | 03:27 | In the next exercise, we are going to create
a Cell Style, create and modify a Cell Style
| | 03:32 | to accommodate all of the text inside of the table.
| | 03:35 | Stay tuned!
| | Collapse this transcript |
| Formatting the body of a table| 00:00 | In this exercise we are going to create a second Cell
Style. We have got one, we are going to create another one.
| | 00:04 | In all we need four Cell Styles to
pull off this particular table.
| | 00:09 | So we are going to create a second one
that accommodates all of the contents
| | 00:12 | of the table, basically, everything except the header.
| | 00:15 | I am still working inside the same Lone Cell Style.indd file that
I opened in the previous exercise. Made a little bit of a change
| | 00:22 | to the Table Head style to give it a little bit
of additional inset on the left hand bottom sides.
| | 00:27 | Alright, so now I want you to get your Type tool,
click some place inside of the table, anywhere.
| | 00:31 | I am clicking on 'The' in 'The Feeling' and I am going to go
ahead and select the entire contents of the table, everything
| | 00:38 | but the header by going to the Table menu, choosing
Select, and choosing this guy right there, Body Rows.
| | 00:44 | That's going to select the body. Everything but
the header. Notice the header is not selected.
| | 00:48 | Then, I am going to go to the Cell Styles palette which is still
up on screen. Alt+Click or Option+Click on the little page icon.
| | 00:54 | Let's go ahead and name this style and we are going to
call it Songs & Artists, because that's what it is, like so.
| | 01:01 | I am going to go ahead and assign a Paragraph Style and
that Paragraph Style will be Table body, big surprise there,
| | 01:06 | but it is important, it is very important
to setup those Paragraph Styles in advance.
| | 01:10 | So step one when formatting a table, in the way that we
are doing it, should be to setup your Paragraph Styles.
| | 01:15 | Step two, setup your Cell Styles and then step
three, put them altogether inside of a Table Style.
| | 01:21 | Alright, so grab Table body right there.
And that it, go ahead and click OK,
| | 01:25 | because remember, we haven't applied new style to the text.
| | 01:29 | So this Preview checkbox is meaningless
inside of this particular dialog box.
| | 01:33 | So we need to go ahead and establish the link
before we make any of our trickier modifications.
| | 01:38 | Oh! Actually you know what, check this
out. Change Based On to Table head,
| | 01:42 | that way we will get that same inset information
going. That will help us out quite a bit.
| | 01:47 | So Change Based on to Table head, Table
body down here for Paragraph Styles,
| | 01:50 | there's your name, that's all we are going to do, click OK.
| | 01:53 | Then we need to apply this Style to the selected
text, we will go ahead and click on Songs & Artists.
| | 01:58 | That's going to make a slight modification;
that has slightly changed that text.
| | 02:02 | Now, press- I want you to press Ctrl+Shift+A, Command+Shift+A
on the Mac to deselect the table. It had a pretty profound affect
| | 02:09 | on our cells, because we went ahead and lifted
the sort of the beige interiors that are associated
| | 02:15 | with the header, so that's bad. That's really bad news.
| | 02:17 | So here is what I want you to do,
let's make some modifications here.
| | 02:20 | Double click on Songs & Artist, then make sure
Preview is turned on, this time we can see a preview,
| | 02:26 | because there is a link that's been established.
| | 02:28 | Go to Text and I think what I want to do inside of this dialog
box here, is I just want to click inside the Right value there
| | 02:36 | and I want to take it up to 0p1 and that's
actually down from the Right value of 0p3.
| | 02:42 | So that just gives us some more space on right hand side
in case we need it, it's just a little bit of precaution.
| | 02:47 | That's all I want to do here inside of this panel.
| | 02:49 | Then I am going to move to Strokes and Fills and I
want to change the color of the Strokes from Paper,
| | 02:55 | which is that sort of whitish color
that we are seeing there, to Black.
| | 02:59 | InDesign calls white paper, because it's a printing program
| | 03:02 | and you can't print anything that's
lighter in color than the paper, after all.
| | 03:07 | So it's just basically saying, as white as your paper is going
to get. We want black, which is going to be the black ink.
| | 03:12 | Then I am going to change the Cell Fill
from white or whatever color it is right,
| | 03:17 | actually it is just defaulting to
whatever was assigned by Table head.
| | 03:21 | We are going to override that and we are going to
apply None, and you can see that it changes on the fly,
| | 03:26 | so we get a sense of what we are doing, thanks to
that link that we have established between the style,
| | 03:32 | the Cell Style and the text that we are modifying.
| | 03:34 | Let's go back to General and just check out the settings.
It should say, Table head +, because it's based on that,
| | 03:40 | + Paragraph Style, which is Table body. And also we have a little
bit of a Right inset value and then the Fill color is set to None
| | 03:48 | and that's all that we need to see. For whatever reason, it's not
listing that fact that we have also assigned some black strokes.
| | 03:54 | That's fine, because it is doing the job we need
it to do and I could go back to Stokes and Fill
| | 03:58 | and I can see that yes indeed, the color is at the Black.
| | 04:00 | So good enough, go ahead and click OK,
in order to accept that modification.
| | 04:05 | Now that's our second Cell Style. As I was
telling you, we need two more, we need four in all,
| | 04:09 | because I want to change the appearance of the
right hand column and of the left hand column
| | 04:14 | to get rid of the farthest strokes in the table.
| | 04:18 | You'll see what I mean, if you join me in the next exercise.
| | Collapse this transcript |
| Creating and applying column styles| 00:00 | In this exercise we are going to build a third Cell Style that's
going to accommodate the text in the final column of this table
| | 00:08 | and the idea is we want to open up the side here, we want to get
rid of this Vertical Stroke along the right side of the table.
| | 00:15 | Just to open up the table a little bit
and give it some room to breathe I guess.
| | 00:19 | I am working on a catch-up document called Formatted
interior.indd that's found inside the O6 Table Styles folder.
| | 00:26 | Now with your Type tool, you want to select the final column
and you could do that if you wanted to by positioning your cursor
| | 00:33 | over the top of the word Year like that, so
that it's in that blank area above Year there.
| | 00:40 | If you get in a right place, you will see a
down pointing arrowhead, then you can click
| | 00:43 | and you will get the entire final column. But we
don't want that, because I don't want the header.
| | 00:48 | I don't want the word Year right there.
| | 00:49 | So the easiest thing to do is just to drag after clicking off
of that column to deselect it, then just drag from the beginning
| | 00:56 | of 1967 to the end of 1986, to select of all of those years.
Get them all, very important. And then I want you to go
| | 01:03 | to the Cell Styles palette like usual and
Alt+Click or Option+Click on that little page icon,
| | 01:08 | we call this guy Last column, like so. And notice
it's already based on Songs & Artists, what gives?
| | 01:14 | Why is InDesign so smart all of a sudden that it knows
that we want to base the style on Songs & Artists?
| | 01:18 | Well because that text is already formatted
with Songs & Artists, so it picks up on that.
| | 01:22 | When the text is already formatted with another style, InDesign
knows that you want to base the new style on that previous style.
| | 01:29 | Alright, let's go over here. We actually
don't need to change the Paragraph Style,
| | 01:32 | because Songs & Artists already has its
own Paragraph Style assigned, so it's fine.
| | 01:36 | What we do want to do is knock off that edge there and
we are not going to be able to preview our changes on the fly,
| | 01:42 | we are just going to have to accept that this is
the way it works, unless if you do want to preview,
| | 01:46 | then you click OK, of course to accept that modification.
| | 01:50 | It looks like it went ahead and
deselected the table automatically.
| | 01:52 | So I need to drag across that text once again and then I
would click on Last column in order to apply it to the text.
| | 01:58 | Now press Ctrl+Shift+A, Command+Shift+A on the Mac to make sure
nothing is selected, then double click on Last column inside
| | 02:04 | of the Cell Styles palette, and then I want
you to go over here to Strokes and Fills.
| | 02:10 | Now you might think this is a simple matter,
since we want to lop off the right edge here
| | 02:14 | and this guy represents the edges, the borders around the cell.
| | 02:18 | You might think you could just click there
to turn of that edge and then it is gone.
| | 02:21 | Well, that's not how it works.
| | 02:23 | These little controls there affect exactly which
edge is being affected by the other controls.
| | 02:29 | So what you need to do is turn that edge on, make sure it
is blue and then turn the others off by clicking on them.
| | 02:34 | So only the right edge of this little rectangle should be active.
| | 02:38 | Now I change its Weight to 0 point and because Preview is
turned on, we can preview our changes as we have seen before.
| | 02:44 | Now go ahead and click OK in order to accept that modification.
| | 02:47 | Now let's go ahead and make another Cell Style, as long as we
are here, let's make another Cell Style for the first column.
| | 02:53 | So drag across all of the track numbers, not
the word Track, so one through twenty (1-20).
| | 02:59 | Then Alt+Click or Option+Click on the little page icon,
let's go ahead and change the name of this guy to
| | 03:04 | First column I would gather, since the other
one was the last column, for parity of course.
| | 03:08 | Songs & Artists is what we want. This time I am
going to set the Paragraph Style to Track number,
| | 03:14 | to this one right here, because we
want to make some slight changes.
| | 03:16 | I want my text to be aligned to the right.
| | 03:19 | So the single digits align with the
second digits of the double digits.
| | 03:22 | Just like we saw in the previous chapter, it
is very important to align your numbers right.
| | 03:27 | Otherwise you look like a moron. Just take it from me.
| | 03:30 | Alright, so go ahead and change the Paragraph Style option
to Track number, which will align the text to the right.
| | 03:36 | Doesn't look like it does for you, but that's because
Preview is ineffective inside of this dialog box.
| | 03:40 | Go ahead on click OK in order to accept that change.
| | 03:43 | Then click on first column in order to style the text, ooh!
| | 03:46 | Now you can see what you are doing,
it's too far over to the right.
| | 03:49 | So I want you to press Ctrl+Shift+A,
Command+Shift+A on the Mac to deselect the table.
| | 03:52 | Then I want you to double click on First column, to bring
up the Style Options dialog box and let's go to Text,
| | 03:59 | because we need to change our insets, our Cell Insets.
Make sure that the link icon right there is turned off.
| | 04:05 | So there is a break in the chain and then I want you to go to
Right, right there, because the text is too far over to the right
| | 04:11 | and let's take it up actually pretty high. Let's go ahead and
experiment with this value. I think we can take it as high as,
| | 04:16 | we could try something like 0p9 and
then Tab off of it to see what kind
| | 04:20 | of difference that makes and that's not quite far enough.
| | 04:22 | So let's go ahead and Shift+Tab back to this value and I
am going to press the up arrow key, until things look right
| | 04:28 | and right about there I think the numbers
look good actually, and then I'll come back
| | 04:31 | and my right value is now one pica, 1p0. So a full pica, fine.
| | 04:36 | Then I will go to Strokes and Fills. I need to
turn off this left stroke right there. By the way,
| | 04:41 | I should say the keyboard shortcuts, the keyboard shortcut for
Strokes and Fills is Ctrl+3, Command+3 on the Mac and that's 1,
| | 04:47 | 2, 3, you can count. You could figure that up
by yourself. You didn't need me to tell you that.
| | 04:50 | Alright, so let's say I just want to affect this left
edge. Here is another way to change this rectangle guy.
| | 04:57 | So just a left edge is selected. Click
twice to deselect the entire rectangle
| | 05:02 | and then click a third time to turn that left edge on.
| | 05:05 | So another way to work as opposed to tediously turning each of
these edges on and all of these methods involve three clicks.
| | 05:11 | But still, you might want different methods,
let's go ahead and change Weight to 0 point,
| | 05:15 | and that's going to get rid of that edge as well, nice!
| | 05:19 | The job is done go ahead and click OK, we have now formatted
the table with a collection of four Cell Styles in all.
| | 05:26 | In the next exercise we are going to
assemble our Cell Styles into a Table Style.
| | Collapse this transcript |
| Creating an all-inclusive table style| 00:00 | For those of you who've had enough of Cell Styles,
I have very good news for you, we're done for now.
| | 00:05 | In this exercise we're going to create a Table Style
that's going to bind all of the Cell Styles together.
| | 00:12 | Like rings in a strange adventure world filled with Hobbits.
| | 00:18 | [Laughs.] We're going to bind them, that's what we're going to do.
| | 00:21 | And we're going to do that inside of this big Sauron
of a document here, it's called Cell Styles P&AF.indd.
| | 00:28 | See I am just taking it for granted that you are a big nerd.
| | 00:31 | I think I can, but some of you are
going to be going, what the he...?
| | 00:35 | Anyway, Cell Styles P&AF stands for Present and Accounted
For.indd found inside the 06 tables styles folder
| | 00:43 | and notice that we have got all of
our Cell Styles, all four of them.
| | 00:46 | So there is Table Head that goes at the top here.
| | 00:49 | And then we have Songs and Artists, which is the body and then
first column and last column, which I think speak for themselves.
| | 00:55 | Now we're going to go ahead and join them into a Table
Style, so I want you to switch to the Table Styles palette,
| | 01:00 | either by clicking on its tab or by going up to the Window menu,
choosing Type and Tables and then choosing Table Styles, like so.
| | 01:07 | And having done that I want you to go ahead and
Alt+Click or Option+Click on the little page icon,
| | 01:13 | to bring up the New Table Style dialog box.
| | 01:15 | And incidentally, I should have mentioned, I do
not have anything on a page selected right now.
| | 01:19 | I didn't bother to select anything inside
the table, so you can just go ahead
| | 01:22 | and press Ctrl+Shift+A Command+Shift+A
on a Mac to deselect everything.
| | 01:25 | Then let's go ahead and call this thing Disc contents,
because that's what it represents. Based On should be set to
| | 01:32 | No Table Style, because, well, there is
no Table Style that we can set it to.
| | 01:36 | So might as well leave that alone.
| | 01:38 | Shortcut, you can set if you like. That's totally up to you.
| | 01:40 | Here is where the real action is.
| | 01:42 | Friends, we have got Cell Styles down here and you may recall
| | 01:47 | that Cell Styles can have Paragraph
Styles nested inside of them.
| | 01:51 | In fact, you should assign Paragraph Styles to Cell Styles.
| | 01:53 | You can't assign Paragraph Styles directly to table
styles, instead you go with a middleman there,
| | 01:59 | you assign the Cell Styles to the Table Styles.
| | 02:02 | So really Table Styles are just holders,
just containers for lots of Cell Styles.
| | 02:06 | We have the Header Rows. I want you to go ahead
and set Header Rows to Table head, like so,
| | 02:12 | and by the way we have got Preview checkbox turned
on. That's not going to do you a lick of good,
| | 02:16 | because we haven't assigned a style to
anything, so we don't have anything to preview.
| | 02:19 | So you are not going to see any changes on the
current screen, but just follow along here.
| | 02:22 | Header Rows are set to Table head. Footer Rows- we don't
have footers in this table, so don't worry about that.
| | 02:27 | Body Rows. You're going to need body rows, we'll
go ahead and set that to Songs & artists.
| | 02:31 | And then for Left Column, that will be First column and
Right Column will be of course Last column, same diff, right?
| | 02:39 | And that pretty much takes care of everything with one
exception. I want you to go over to Table Setup right there,
| | 02:45 | so you can press Ctrl+2, Command+2 on a Mac if you want to.
| | 02:48 | And I just want you to eradicate any hint of a table border.
| | 02:52 | Table borders are eliminated automatically. They are superseded
by the cell borders, but why have those two competing
| | 02:58 | with each other, why have that friction, I ask you?
| | 03:02 | Let's have everybody get along by changing Weight to
(0) zero point, so that there is no table border going
| | 03:07 | on competing with anything else inside of the table.
| | 03:10 | And then go ahead and click OK in order to
accept your new Disc contents Table Style.
| | 03:15 | Now as I said, we haven't got any way to
preview what we have done unless we go ahead
| | 03:20 | and eradicate the Cell Styles that we
have already applied to this table.
| | 03:24 | So here is what I am going to do.
| | 03:25 | I am going to grab my Type tool, click inside the table
at some place and press Ctrl+Shift+A or Command+Option+A
| | 03:31 | on the Mac in order to select the entire thing.
| | 03:33 | And then I want you to go over to Cell Styles, because see,
| | 03:35 | we have already formatted the entire
table using the independent Cell Styles.
| | 03:39 | So let's go ahead and get rid of that.
| | 03:40 | I want you to click on None.
| | 03:42 | Just click on None, it's going to destroy everything.
| | 03:44 | It's going to be the end of your table. It's like setting all
the text to be invisible or you know a 100 points tall
| | 03:51 | so it all falls off the cells or something, something
horrible is going on there, I am not sure what.
| | 03:55 | But we're devastating the table at this point.
| | 03:57 | But we're going to make it all better, when
we go to Table Styles and click on Disc contents
| | 04:02 | and notice that completely formats the entire table in one click.
| | 04:05 | Now if you see this little phenomenon here where there is a
plus sign after discontents, I want you to go ahead and Alt+click
| | 04:11 | or Option+Click on discontents, to make sure that you are
clearing any and all overrides, any local overrides inside
| | 04:18 | that table. Then just go ahead and
press Ctrl+Shift+A or Command+Shift+A
| | 04:21 | on the Mac to deselect the table and the deed is done.
| | 04:24 | We have now created a Table Style
filled, just rife with Cell Styles.
| | 04:29 | Well done.
| | 04:30 | In the next exercise we are going to begin to take this
second table the one that's really just a tabbed list,
| | 04:35 | we're going to convert it into a
table and style it in one operation.
| | 04:40 | Check it out.
| | Collapse this transcript |
| Converting and styling a table| 00:00 | In this exercise, we're going to take this tabbed list down at
the bottom of the page that represents the contents of disc two,
| | 00:06 | part of this two CD series that goes by the catchy name
Radio One, Established 1967 and we're going to format it more
| | 00:13 | or less like the formatted table at the top of the page, using
that Table Style that we created in the previous exercise,
| | 00:20 | which comprises the Cell Styles that
we created before that and so on.
| | 00:24 | By the way if you are just joining
us, if you can catch right up with me
| | 00:27 | by opening this document that's called Table
style RTD.indd, that is Table Style Ready
| | 00:31 | to Deploy, found inside of the 06 Table Styles folder.
| | 00:36 | Alright. I am going to scroll down to the bottom region of
the page here and I am also going to press the W key in order
| | 00:43 | to switch out of the Preview mode into the Normal mode.
| | 00:46 | Now, I want you see these hidden characters, the tabs
and the carriage returns and if you can't see them,
| | 00:52 | then you need to go to the Type menu and choose
this guy right there, Hide Hidden Characters
| | 00:56 | and then choose this command right here
which would appear as Show Hidden Characters.
| | 01:00 | If it says Hide Hidden Characters then you can't see the
hidden characters that are already displayed on screen.
| | 01:05 | Alright, so I am going to go ahead and escape
out of that menu and then I am going to go ahead
| | 01:07 | and zoom in to the lower region here, so
that you can see these guys right here,
| | 01:11 | these double right arrows, the really double quote
character, they represent the Tab characters.
| | 01:17 | Then these guys, these backward Ps, they
represent the paragraph breaks or the carriage returns
| | 01:22 | if you prefer, that's what I call them anyway.
| | 01:24 | And then that number sign represents the end of the story.
| | 01:27 | Now I am pointing that out because those items become
instrumental when we convert this tabbed list to a table.
| | 01:33 | Now I want you to get the Type tool right here in
the palette of course, in the toolbox, and I want you
| | 01:37 | to select everything that's part of this text block, by this
text block I mean I'll go ahead and Ctrl-click or a Command-click
| | 01:44 | on this text box to select it, because I have got the Type
tool active right now, I have to press Ctrl or Command.
| | 01:48 | And you can see that this is indeed a text block.
| | 01:51 | There is also a threaded text block that little guy right there,
that little arrow head that you can barely see above the T
| | 01:55 | in the word Track, that shows you that its
threaded from the previous text block,
| | 01:59 | the one up above, so you just have to bear that in the mind.
| | 02:01 | Altogether in this lower text block we have a total of 22
paragraphs and I know that because there are 20 tracks, each
| | 02:09 | of which is represented as a separate paragraph
and then we have got the header row right here,
| | 02:13 | which is a paragraph and then disc two, which is a paragraph.
| | 02:16 | I want you to select all of those paragraphs except
for the paragraph that contains the words disc two.
| | 02:21 | So in other words, I want you to
one, two, three, four click and drag.
| | 02:25 | So quadruple click and drag, down from the track row all the
way down to the bottom of this text block in order to select all
| | 02:33 | of the text that you see selected before you in the video.
| | 02:35 | Then we can't just start applying a Table Style,
I can't go over here to the Table Styles palette
| | 02:40 | and click on Disc contents. Notice that it's dimmed.
| | 02:43 | And the reason is because this is not a table, this
is a tabbed list so you can't apply a Table Style to it.
| | 02:48 | What we're going to do is convert this tabbed list to a table and
apply the style at the same time by going up to the Table menu
| | 02:56 | and choosing this guy right there, Convert Text to Table.
| | 02:58 | Just the easiest way to work, I have to tell you.
| | 03:01 | Go ahead and choose this command then up comes the Convert
Text to Table dialog box, our column separators are indeed Tab.
| | 03:07 | I just showed you that a moment ago. We're using tabs to
separate the columns of information and I had taken time
| | 03:13 | to go ahead and format the tabbed list by the way, so that these
columns don't overlap each other and the row separators are
| | 03:20 | of course paragraph breaks, carriage returns, same dif.
So you don't need to change those first two options,
| | 03:25 | but you do need to change tables style
from No Table Style to Disc contents.
| | 03:29 | Just like tha. There is one operation allows you to convert
the text to the table and format the table at the same time.
| | 03:35 | So now I am going to click OK in
order to apply that modification.
| | 03:39 | Now, a couple of things to note. First of
all the columns aren't of the right width.
| | 03:43 | So I am going to go ahead and press the Enter key on a keypad,
| | 03:45 | or you can press the Escape key, if
you want to if you did not load Deke keys.
| | 03:48 | Just to deactivate that text for a moment.
| | 03:51 | Notice that the columns don't line up properly with the columns
in the table below. Even worse the rows are way too tight.
| | 03:58 | They don't have the breathing rooms of the rows
up above, so they are not nearly big enough.
| | 04:03 | We have a problem with the header. The header isn't formatted
properly, we'll take care of that in a moment and then down here,
| | 04:08 | you can see that all of the text is formatted properly except for
2006. That's set in a serif font. If you look very closely at it,
| | 04:16 | you'll see that the text above is set in the proper font,
which if I double click inside of there is Myriad Pro,
| | 04:22 | but then I'll go ahead and dropdown to 2006
and you'll see that's it's a Adobe Caslon Pro.
| | 04:28 | So it didn't take the proper formatting, just that one last cell.
| | 04:32 | I am going to show you how to solve those problems
by the way, the formatting problem right here
| | 04:36 | and the fact that the header isn't formatted properly.
| | 04:39 | We'll solve those two problems in the next exercise
and then after that, we'll take care of the fact
| | 04:44 | that the rows aren't tall enough and
the columns aren't the right width.
| | Collapse this transcript |
| Fixing formatting errors| 00:00 | Alright gang, you may recall that our table has some formatting
problems, the least of which I have to say is the fact
| | 00:07 | that the word, if you will, 2006 is formatted
differently then all of the text around it.
| | 00:13 | So, it's set in the Abode Caslon Pro. Everything else
is set in Myriad Pro and that's a function of the fact
| | 00:18 | that 2006 didn't get assigned the right Paragraph Style.
| | 00:22 | So I could assign it manually if I wanted to, but
I want to take advantage of a less clumsy solution.
| | 00:27 | Then we need to take care of the fact
that the header is not formatted properly.
| | 00:31 | Those are the things we are going to do in this exercise
and then in the following exercises we'll take care
| | 00:36 | of the real height and column width problems.
| | 00:39 | Alright. So what I am going to do is I am
going to press Ctrl+Z or Command+Z on the Mac
| | 00:43 | to undo the conversion of the Tab list to a table.
| | 00:47 | Then I am going to scroll upward, just a little bit.
| | 00:50 | Now I want you to see down here, here is our problem child.
Notice that 2005, 2006, now they're both set in Adobe Caslon Pro
| | 00:58 | because they have been styled properly in terms of the
typeface and Paragraph Style and so on being applied.
| | 01:04 | But our problem is that this number sign, we
have the document ending right after the six.
| | 01:11 | What we like to have is just an additional
paragraph break or a little carriage return just
| | 01:17 | to say this is the end of our text before the entire story ends.
| | 01:21 | Alright. So I want you to set your blinking insertion marker
after the six in 2006 and then I want you to press the Enter key
| | 01:29 | or the Return key on the Mac to move the number sign down to the
next line and this assumes that you can see the hidden characters
| | 01:35 | by the way and then if I press the left arrow
key to go back up to where I was before,
| | 01:39 | you can see I have added a carriage
return, that's all I need to do.
| | 01:42 | Now, I am going to go ahead and deactivate the text by pressing
the Enter key on the keypad that could be the Escape key
| | 01:48 | if you are not working with Deke keys, if you didn't load them up.
| | 01:51 | Then I am going to grab my Type tool do that
same thing. One, two, three, four clicks on Track
| | 01:57 | and drag on the fourth click downward in
order to select all of the text inside
| | 02:01 | of this text block, except for the disc two paragraph.
| | 02:05 | Then go up to the Table menu and choose Convert Text to Table.
| | 02:09 | Column separator is fine set to Tab, Row Separator is fine set
to Paragraph. We are now going to set Table Style of course
| | 02:15 | to Disc contents and then we click OK and notice that
that does indeed take care of our 2006 problem.
| | 02:23 | It is now formatted properly because in
this I knew to put it inside the table,
| | 02:28 | completely inside the table and assign
the proper formatting as well.
| | 02:32 | However, InDesign decide that you know what just to be
careful, just to be a swell program, I am going to go ahead
| | 02:38 | and give you an extra row. Just a little bit of
fluff to protect you. We don't want that extra row,
| | 02:45 | so click anywhere in that final empty row with the Type tool,
then go up to the Table menu and choose Delete and choose Row
| | 02:52 | or you can press Ctrl+Backspace here on the PC or
Command+Delete on the Mac and that will delete that last row.
| | 02:59 | Then I will press the Enter key on the keypad again to deactivate
the text and you can see 2006 still in good shape. Yay for that.
| | 03:06 | That is a best solution, that just ensures by the way that
your Table Style is applied uniformly across the entire table.
| | 03:12 | The next thing I am going to do, actually the final
thing in this exercise I am going to do is go ahead
| | 03:17 | and format this first row inside of the table as a header
row and I am going to do that by grabbing the Text tool.
| | 03:24 | Once again clicking anywhere inside the first row so I clicked
inside the word Name and then I am going to yet again go
| | 03:30 | up to the Table menu. I am going to choose
Covert Rows and I am going to say To Header.
| | 03:35 | That is going to take care of that issue.
| | 03:37 | Now, those are kind of the least of the problems though.
| | 03:40 | Again, I am going to switch back to the
black arrow tool, deselect everything,
| | 03:43 | zoom out and you can see that the bigger problems
are the fact that top row looks great and roomy
| | 03:50 | and the bottom row looks horrible and scrunched and ridiculously
bad, regardless of all the other formatting that I have applied.
| | 03:56 | Table Styles cannot address row height or column
width and I've got to say, that is terrible,
| | 04:03 | I can't believe they don't address that. It is just
unconscionable in my opinion, maybe I am going a little too far
| | 04:09 | with my reaction to this, but I can't believe it doesn't do this.
| | 04:12 | Anyway, you have to do it manually. I am going to show you the
quickest way to fix this table manually in the next exercise.
| | Collapse this transcript |
| Fixing row height and column width| 00:00 | In this exercise, we are going to take care
of the problems that weren't addressed,
| | 00:04 | the issues that were not addressed by
the application of the Table Style.
| | 00:08 | Namely, the fact that the column widths
aren't everything that they should be,
| | 00:12 | and of course, the fact that the rows are too scrunched.
| | 00:17 | By the way, if you are just joining us, you
can open up a document that goes by the name,
| | 00:21 | the simple name is Scrunched.indd that's found inside
of the O6 Table Styles folder and I am going to go ahead
| | 00:28 | and press the W key to get us back into the Preview mode,
so we don't have all that other distracting stuff going on,
| | 00:34 | all those hidden characters and guidelines and so on.
| | 00:37 | Now, I am going to switch to the Type tool,
let's go and Zoom in just a little bit here.
| | 00:40 | I will switch to the Type tool and then I will click anywhere
inside this bottom scrunched table and I will press Ctrl+Alt+A
| | 00:48 | or Command+Option+A on the Mac to
select the contents of the entire table.
| | 00:52 | Now let's go over to the Table palette and it is this
palette right here, that's how I can bring it up anyway.
| | 00:58 | If you can't find the Table palette over here inside of your
docking columns, then go over to the Window menu and choose,
| | 01:05 | Type & Tables and then choose this guy right there, Table.
| | 01:09 | It does by the way have a keyboard
shortcut as you can see, of Shift+F9.
| | 01:13 | Alright, notice this guy right here, the guy that says 0p3,
that guy indicates the height of the rows and what I want you
| | 01:21 | to change it to- and I figured this out by the way,
just by trial and error and you could find it out,
| | 01:27 | if you wanted to match another table, all you would have to
do is click in it, to see what the height of the rows are
| | 01:31 | and you could then look over here inside
the Table Palette and say, "Oh gosh!
| | 01:34 | It's 1p4.7," so 1 pica, 4.7 points.
| | 01:39 | That's fine, you know that's a weird
value, but still if it works, it works.
| | 01:42 | So I'll go ahead and click inside the lower table.
| | 01:44 | Once again, press Ctrl+Alt+A, Command+Option+A on the
Mac and I've just entered that value, which was 1p4.7
| | 01:50 | and then press the Enter key or the Return key on the Mac and
low and behold, now Table Styles couldn't do that for me, what?
| | 01:59 | That's what I am asking?
| | 02:01 | You know, I had to do that manually InDesign
really, really, just think about it, InDesign?
| | 02:07 | Just think about what you made me do.
| | 02:09 | Alright, now let's go ahead and grab the columns, the columns
are still a problem as well and if you wanted to click, again,
| | 02:15 | inside the formatted table, you could see
that this column measures 13 picas wide.
| | 02:20 | This value right here indicates the width of the column.
| | 02:22 | Then this guy also 13picas wide and this guy, also 13picas wide.
| | 02:26 | Huey Lewis & The News is 13picas wide.
| | 02:29 | Then we have 1985, that is 3picas wide
whereas 19, the track number, is 3picas wide.
| | 02:36 | So we here have three columns that are 13picas wide,
two columns on the outside that are 3picas wide.
| | 02:40 | Once again, how hard is it InDesign, let's go ahead and click
here in the name, notice where I am positioning my cursor,
| | 02:48 | I am clicking above the word Name, just a little bit above
it, inside of the cell and I am dragging over like so,
| | 02:54 | in order to select the entirety of those three columns.
| | 02:57 | Then I will click inside this value and change
it to 13, you can enter 13p0 if you want to,
| | 03:01 | but 13 by itself is enough like so, takes care of it.
| | 03:05 | Then I will click above the word Track right there in order
to select that column, and I will change it from 3p6 to 3p0
| | 03:12 | and I'll click above Year and I will
change it from 4p0 to 3p0 as well.
| | 03:17 | Now at this point you may think, "Okay Deke!
| | 03:20 | You hotshot, you big complainer, you baby you-" I am going
to go ahead and hide the Table palette by the way so
| | 03:25 | we can see what we were doing. "So you big baby, you went
through all this winning about having to format the table properly
| | 03:32 | and it wasn't really that hard, but once you finished,
it's still not formatted properly, check it out.
| | 03:36 | I mean, disk one is nicely centered on the
page and disk two is leaning over to the left.
| | 03:43 | So how do we solve that problem, Mr. Whiner?"
| | 03:47 | Well, I'll show you.
| | 03:48 | I am going to go ahead and grab the Type tool, now you
may know if you have worked with tables in the past,
| | 03:53 | you may know that they are really big characters,
so that's the way that InDesign treats them.
| | 03:58 | So for example, if I were to click after the 'o' in disk two,
| | 04:02 | you can see that I get this fairly
short blinking insertion marker, right?
| | 04:06 | It's not all that tall, but if I press the right
arrow key to advance down to the next line,
| | 04:09 | look how tall the blinking insertion marker is.
| | 04:12 | If I entered some text, you can see that it would
try to appear in front of that table if it fit,
| | 04:18 | but I entered too much text and it is not going to fit there.
| | 04:20 | Let's write the thinnest character, an I; that still doesn't fit.
| | 04:24 | Alright, anyway, it would if there was room for it over there,
it would try to fit in that space, but for some reason it's not.
| | 04:29 | It actually has room to work, so I am not sure what it is up
to, but this is a single big character inside of a paragraph
| | 04:36 | that is currently, if I go up to my paragraph
specs here inside the Control palette,
| | 04:40 | so I click on that backward P, you
can see that my text is aligned left.
| | 04:45 | That's my problem. All I need to do is align it center and it
goes ahead, InDesign goes ahead and center aligns that table
| | 04:51 | and now, I press Ctrl+Shift+A or Command+Shift+A on a Mac
in order to deselect everything on a page and you can see
| | 04:56 | that the bottom table now aligns
properly with the top table here.
| | 05:02 | Alright, so just one other thing to do here. If you take
a look at the 55-word review, you can see that it says,
| | 05:08 | "Highlights highlighted below," and
yet I haven't highlighted a darn thing.
| | 05:12 | We will be creating the highlights to indicate what I consider
to be the best songs on the CD, using a few spot applications of
| | 05:19 | yet another custom Cell Style beginning in the next exercise.
| | Collapse this transcript |
| An argument for independent cell styles| 00:00 | Alright gang, let's put an end to this document once and for all.
| | 00:03 | In these next couple of exercises we're
going to be highlighting the highlights.
| | 00:07 | That is to say, we're going to be using yet
another Cell Style to highlight what I consider
| | 00:12 | to be the best songs on this two CD collection.
| | 00:14 | The idea is that not only can you employ
Cell Styles inside of a Table Style,
| | 00:20 | but you can also apply them independently
to individual cells if you like.
| | 00:26 | So I have gone ahead and created a Paragraph Style in advance.
| | 00:29 | Actually I have created a couple of
things that we'll need in advance.
| | 00:31 | One of them is a group of swatches,
so if you go to the Swatches palette,
| | 00:36 | which you can get as you may recall by pressing the F5 key.
| | 00:39 | You'll see that I have got this swatch called Radio 1 red and
if you hover over it you'll see the CMYK ingredients.
| | 00:45 | And then I have got Radio 1 pink and I have got 55-word review
green- that's the green that appears in the headline here
| | 00:53 | in the star rating. And Title beige that's the header
for the table right there, and then Highlights.
| | 00:58 | Highlights is the red that will
actually be using to highlight the songs.
| | 01:01 | Actually we'll be using in combination of that
Highlights color right there and the Radio 1 red color.
| | 01:07 | We'll be using Radio 1 red to highlight
the strokes around the cells.
| | 01:12 | Then we've also got here, if you go to the Paragraph Style
palette, which you can bring up by pressing the F11 key,
| | 01:18 | you'll see that I have got this style
right here called Highlight color.
| | 01:22 | The Highlight color by the way just
goes and changes the color of the text
| | 01:25 | to that Highlight red that we just saw just a moment ago.
| | 01:28 | Now, it could grab my Type tool.
| | 01:30 | Oops, actually look the Paragraph
Styles palette is active for me here,
| | 01:33 | so as soon as I press T it went ahead
and selected the Table title style.
| | 01:37 | If I go ahead and click off of the palette and
then press the T I'll switch to the Type tool.
| | 01:41 | Just in the case you are wondering what's going on
when you are trying to select tools inside of InDesign.
| | 01:46 | Now I could grab Betcha by Golly Wow!,
| | 01:49 | which my producer Max was telling me was the dumbest name for
a song he's ever heard. That is if you have not heard the song.
| | 01:56 | That's an awesome song, it's by the
Stylistics remember it? Betcha by Golly Wow!
| | 02:00 | Blah, blah, blah, I can't remember the
lyrics but anyways it's a really great song.
| | 02:03 | I am going to go ahead and highlight it by clicking on
Highlight color. That goes ahead and highlights the text.
| | 02:10 | Notice that I'll go ahead and now press
Ctrl+Shift+A or Command+Shift+A on the Mac
| | 02:13 | to deselect the text, but it doesn't highlight the cell.
| | 02:16 | I want the cell to have a red stroke around it.
| | 02:19 | I also want the cell to have something of a
translucent white background associated with it as well.
| | 02:26 | So what we need to do is set up a Cell Style, and we're going
to set up that Cell Style, but of course in the next exercise.
| | Collapse this transcript |
| Making a dependent cell style| 00:00 | In this exercise we're going to create
the Cell Style that will then turn around
| | 00:04 | and apply to the highlighted songs,
the best songs on this 2-CD collection.
| | 00:09 | And so the first thing I want you to do is, select nothing,
we're going to be approaching this Cell Style little differently.
| | 00:14 | We're not going to be selecting some text that represents
the cell in advance or anything along those lines.
| | 00:19 | We're going to be selecting nothing.
| | 00:20 | So press Ctrl+Shift+A or Command+Shift+A on the Mac.
| | 00:23 | Then I want you to switch to the Cells Styles palette,
in any way, shape or form that you think best.
| | 00:28 | I am going to go ahead and click on this
little mostly unidentifiable icon down here,
| | 00:33 | but I can't see that's in the middle of this
table group and that's where Cell Styles start
| | 00:37 | by default, is in the middle of this cluster anyway.
| | 00:39 | Then make sure that the Songs & Artists Cell Style is
active, so just click on it to make sure it's active.
| | 00:45 | Then ALT+Click or Option+Click on this little page icon,
in order to bring up the new Cell Style dialog box
| | 00:52 | and notice that it's based on Songs & Artists because
Songs & Artists was active, that Cell Style was active,
| | 00:58 | when I Alt-clicked or Option-clicked on the little page icon,
this new style will be based upon it, which is really important,
| | 01:03 | because this highlight Cell Style that we are about to create,
is going to be appearing inside the Songs & Artists cells.
| | 01:10 | So it needs to go ahead and convey that information as well.
| | 01:14 | So let's go ahead and change this Paragraph Style to
highlight color, because highlight color as you may recall
| | 01:19 | from the previous exercise, conveys the highlight Red
Swatch and the preview isn't going to work for us,
| | 01:26 | because we haven't applied the style to anything, so having the
preview checkbox on, serves no purpose whatsoever of course,
| | 01:32 | and I say of course, because it hasn't served us any
purpose so far, when creating cell in Table Styles.
| | 01:37 | I should go ahead and change the
name of this style, so I'll call it,
| | 01:40 | best songs and then I am going to
go down here to Strokes & Fills.
| | 01:44 | Make sure that you are seeing a solid blue outline around the
entire rectangle there, because we're going to change everything,
| | 01:49 | all four strokes around each of the style cells.
| | 01:52 | I am going to change the weight to one, one point right
there and I am going change the color to Radio One Red,
| | 01:58 | remember that swatch that we saw in the
previous exercise, go ahead and select that.
| | 02:01 | Now I was telling you, again, in the previous exercise,
that I want the background to each cell to be a kind
| | 02:07 | of translucent white, so, kind of a milky
white that we can see through a little bit,
| | 02:12 | but you can't convey translucency inside of a Cell Style.
| | 02:16 | So it could set the color to white, if I
wanted to, which would be paper, of course,
| | 02:20 | and you can change the tint, but
that's not the same as the Opacity.
| | 02:24 | We won't be able to see through it, it will be an opaque color.
| | 02:26 | So leave it set to nothing.
| | 02:28 | Just don't change it, don't change it to anything at all.
| | 02:30 | One more thing I want you to do, I want you
to go back to general, here's the thing,
| | 02:34 | if we're going to be spot applying the style, meaning that
we're just going to select a cell here and apply the style
| | 02:40 | on another cell there, and apply the style
and so on, over and over again we're going
| | 02:43 | to be applying the style, then we need a shortcut.
| | 02:46 | I think a short cut is the best way to handle it.
| | 02:48 | I'll show you another way to work for those of you who
don't have keypads on your keyboards if you are working
| | 02:53 | on Mac Book Pro or something along those lines.
| | 02:56 | But go ahead and press, for now, for
those of you who do have keypads.
| | 02:59 | Let's use Ctrl+1 or Command+1 on the Mac.
| | 03:02 | You can try on your own keyboard shortcut if you want to, but
I just want something very simple, and I am going to go ahead
| | 03:06 | and click OK, in order to create this new style and there
it is, Best Songs has a keyboard shortcut of Ctrl+1.
| | 03:14 | In the next exercise, we're going to apply the style to
the best songs, what I consider to be the best songs.
| | 03:20 | And then we're going to see how to create
the translucent fills in the background.
| | 03:24 | Join me.
| | Collapse this transcript |
| Selectively applying a cell style| 00:00 | In this final exercise of the chapter, we are going to
highlight the best songs on this 2-CD collection what I consider
| | 00:08 | to be the best songs, by applying the Best songs
Cell Style that we created in the previous exercise.
| | 00:13 | Now, if you're just joining me, I don't know
why you would join me at this point in time,
| | 00:17 | but if you are, I like to keep it convenient.
| | 00:20 | I have got this catch up document called Highlights to
highlight.indd, found inside the 06 Table Styles folder,
| | 00:26 | so called, because we are about to highlight the
highlights and the highlights are ready to highlight.
| | 00:30 | That's really the reason.
| | 00:31 | Alright, so let's go ahead and grab the Type tool.
| | 00:34 | I'm going to caution you upfront.
| | 00:36 | You are going to have to slavishly,
if you're going to work along with me,
| | 00:38 | you're going to have to slavishly follow my
instructions and highlight exactly the same songs I do,
| | 00:43 | if you want things to match up in the end;
otherwise things are going to go haywire.
| | 00:47 | So just go your own way at your
own peril, is basically the idea.
| | 00:51 | I want you to go ahead and select
from Lola to Sugababes right there.
| | 00:55 | Sugababes, an incredibly popular girl group in
England that nobody has ever heard of over here.
| | 01:00 | But anyway, go ahead and grab that group of six cells as you
can see right there, so, three deep and two wide, and I want you
| | 01:08 | to go ahead and click on Best songs, here
inside the Cell Styles palette to apply it.
| | 01:13 | Then press Ctrl+Shift+A, or Command+Shift+A
on the Mac and you can see what we've got.
| | 01:16 | I'm going to go ahead and zoom in here and scroll the table up
a little bit and you can see that we've got some dark red text
| | 01:23 | that is framed by some bright red strokes, and
that's all being conveyed by the Cell Style.
| | 01:29 | What isn't being conveyed, is the
milky-white interiors that we need to apply.
| | 01:33 | We do need some sort of fill to set these things up.
| | 01:36 | As I said, I wanted to be translucent and you can only create
translucency in a table by manually creating a few rectangles
| | 01:45 | as we're going to do in just a moment,
but you can't do with Cell Styles.
| | 01:48 | So anyway, I'm going to go ahead and
move down just a little bit here.
| | 01:51 | We also want to grab these songs right there.
| | 01:54 | I'm going to drag from The Raconteurs to Can't Stand
Losing You, which is this great Police cover, by the way.
| | 01:59 | Let's try applying the Cell Styles using
the keyboard shortcut, so I'll press Ctrl+1;
| | 02:04 | that would be Command+1 on the keypad of course on the Mac.
| | 02:08 | Now I'll Ctrl+Shift+A or Command+Shift+A,
in order to deselect that text.
| | 02:12 | Next, let's go down here to Careless Whisper through The
Pigeon Detectives and let's go ahead and apply the Cell Style,
| | 02:18 | in this case using the Quick Apply function, so I'll go ahead
and hide the Cell Styles palette and I'll press Ctrl+Enter,
| | 02:24 | that would be Command+Return on the
Mac and initially you're going to look
| | 02:27 | at this potentially, and then you're going to go, "Hey!
| | 02:29 | I can't find anything. It's just Last Page Number, in
my case and no styles are showing up whatsoever."
| | 02:36 | We'll go ahead and back step away any text that you've
entered into this Quick Apply field right there and then notice
| | 02:42 | at the very first item at the top right there, it's called
Best songs but just to make sure that it's selected,
| | 02:47 | go ahead and press B, for Best songs and then press the Enter
key or the Return key on the Mac in order to apply that style.
| | 02:54 | I'm going to press the Enter key on the keypad or the
Escape key if you did not load Deke keys and let's scroll
| | 02:59 | down a little bit to this track three right here in disc two.
| | 03:01 | I'm going to press the T key to get the Type tool and drag
across Lullaby and the Editors. If you're familiar with Lullaby
| | 03:08 | by the Cure then you know what it's just a
wonderfully happy song about getting eaten by a spider.
| | 03:13 | Then I'm going to press Ctrl+Enter+Enter;
that would be Command+Return+Return.
| | 03:17 | So you can see how just fantastically easy Quick Apply
is, for applying the same style over and over again.
| | 03:24 | I'm going to select those two guys right there, that is these
two songs and both the name of the song and the artist of course.
| | 03:30 | Then I'll press Ctrl+Enter+Enter, Command+Return+Return on
the Mac and I'm going to Alt+Spacebar, drag the page up,
| | 03:36 | that would Option+Spacebar, dragging the page on the Mac.
| | 03:39 | I'm going to select Drinking in LA, very interesting song by the
way, and then I'm going to go ahead and apply the style to it.
| | 03:44 | Of course, Drinking in LA is an anti-drinking song that became
a huge hit in England, like number three or something like that,
| | 03:52 | because of it's inclusion in a beer commercial.
| | 03:54 | Who would have thought such things possible?
| | 03:56 | Alright, then I'm going to select Teenage Dirtbag through
Maximo Park, Ctrl+Enter+Enter, Command+Return+Return on the Mac
| | 04:02 | and then Toxic through The Enemy, Ctrl+Enter+Enter,
Command+Return+Return on the Mac. The beautiful,
| | 04:09 | wonderful thing about this is, this version of Toxic, Britney
Spears meets the Clash, how's that for an unlikely meeting?
| | 04:15 | Almost as unlikely as Yusuf Islam, who of course is Cat
Stevens, meeting Chaka Khan, in this version of Father
| | 04:22 | and Son; so some interesting stuff on this album.
| | 04:25 | Anyway, Ctrl+Shift+A, Command+Shift+A on the Mac, in order
to deselect everything on a page, and now, let's go ahead
| | 04:31 | and fill the cells with that translucent
what I was telling you about.
| | 04:35 | I've done that in advance for you, go ahead and bring up the
Layers Palette, which you can do by pressing F7 if you like,
| | 04:39 | and there is that Highlights layer right there. I want
you to show it, by clicking in its eyeball column,
| | 04:44 | and if you did everything slavishly the way that
I did it, the way that I told you to do it anyway,
| | 04:49 | then your cells will exactly line up with their backgrounds
there, with their milky-white backgrounds. And what I did was
| | 04:56 | I basically drew these backgrounds in as rectangles, but I
also spent some time making sure that they were the right width,
| | 05:03 | because I know the column width, for example, is exactly 13
picas and I know the cell height is exactly 1 pica, 4.7 point,
| | 05:10 | so I was able to just click with the Rectangle Tool and enter
that information into the Rectangle Options dialog box here.
| | 05:17 | So I would just enter, 13p0 for the Width and the
Height would be 1p4.7 and then you get a rectangle
| | 05:23 | with right size and then you put it where it needs to be.
| | 05:25 | You go ahead and drag it in the position of course, and then
you go ahead and fill it with white, lower the opacity value,
| | 05:31 | so you have some translucency built-in and you're good to go.
| | 05:35 | Anyway, that's what's happening inside of this table.
| | 05:37 | This is a completed version of this table, probably,
| | 05:40 | a more complicated intricate table
than anything you're going to run into.
| | 05:44 | But it is worth noting, that first things first, you've got to
set up your Color Swatches and establish your Paragraph Styles,
| | 05:50 | then you set up your Cell Styles, then you put the Cell Styles
into a big Table Style and then of course you bear in mind
| | 05:55 | that Table Styles cannot affect row height or column width.
| | 05:59 | If you do all that, you're going to be in great
shape where mass table production is concerned.
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|
|
7. Creating and Employing Object StylesThe convergence of very nearly everything| 00:00 | Our fifth variety of Style Sheet, Object Styles,
| | 00:03 | allow you to save any combination of effects and graphic
attributes that you can apply to an object or frame.
| | 00:10 | An Object Style may include a Paragraph Style definition,
| | 00:13 | which in turn may contain a nested character style or two,
as well as frame level attributes such as Fill, Stroke,
| | 00:21 | Transparency, Frame Margin,
Text Wrap, and Anchored Object settings.
| | 00:26 | And it can be applied just as easily to a text block,
an imported graphic or a drawing created inside InDesign.
| | 00:33 | Object Styles may not include cell or Table Styles,
but otherwise they represent the culmination
| | 00:39 | of everything we've learned so far.
| | 00:41 | In this exercise, you'll learn how to create Object Styles
that include embedded Paragraph Styles so you can create
| | 00:48 | precise text frame effects, and format
the text inside the frames in one fell swoop.
| | 00:53 | We'll also get a sense for how to automate the layout of
| | 00:56 | really an entire document with the
help of Anchored Objects, once again,
| | 01:01 | saved as Object Styles.
| | 01:03 | Download these exercises to your brain and you
are officially a lean, mean page layout machine.
| | 01:10 | Get yourself rechargeable battery and a
solar panel and you'll be a green, lean....
| | 01:15 | Let me show you what I mean.
| | Collapse this transcript |
| Updating a style from the Find Font command| 00:00 | We are now looking at the primary project file for this chapter.
| | 00:05 | It's a little thing I call Advertisement.indd
found inside of the 07 Object Style folder
| | 00:13 | and this is what we are going to be making actually.
| | 00:15 | This is the final version of this document.
| | 00:18 | You can see that it is topped by
these sort of quasi- Scrabble tiles.
| | 00:22 | They are spelling out rent obviously.
| | 00:24 | Alright, I am going to switch back to
the document that we're working on here.
| | 00:27 | When you first open this document, Advertisement.indd
found inside the 07 Object Styles folder,
| | 00:33 | already told you that, but there it is again.
| | 00:35 | When you open it, you may get a font
warning, depending on which version
| | 00:39 | of InDesign you have installed, you may get a font warning.
| | 00:41 | For all I know, you have got font warnings on other
stuff, if you bought an educational version in InDesign
| | 00:45 | or something along those lines, but we have to
assume you have some fonts available to you.
| | 00:50 | But the fonts that are assigned over here, if I were
to double click inside of this type and look up here
| | 00:57 | at the Character Information inside of the Control
palette, you would see that I have set this font
| | 01:02 | to Garamond Premier Pro Semibold, and else where I am
using a Adobe Garamond Pro, which is a different font,
| | 01:10 | but it doesn't have Semibold. It doesn't ship along with Semibold.
| | 01:13 | It does have a Semibold style, but
it doesn't ship with InDesign.
| | 01:16 | So that's why I used Garamond Premier
over here, because I wanted that Semibold.
| | 01:20 | But if you don't have it, let me just show you something.
| | 01:22 | I am going to go ahead and escape
out there by pressing the Escape key,
| | 01:26 | and I am going to bring up my Paragraph Styles palette.
| | 01:29 | You can see that I have got a Paragraph Style
that's assigned to some of the text here.
| | 01:33 | In fact, this text right here is subject to the Form text style.
| | 01:38 | It has some modifications made; you can see
there's a little bit of local override going on.
| | 01:42 | It's force justified just to keep all the
type on a single line there, but otherwise,
| | 01:46 | that is the style, which is of course set to Garamond Premium Pro.
| | 01:51 | Alright, so once again I am going to Escape out,
press Ctrl+Shift+A Command+Shift+A on the Mac,
| | 01:55 | in order to deselect every thing and just
to confirm, I just want you to see this,
| | 01:59 | because we are going to do a little bit of a magic trick here.
| | 02:02 | I went ahead and double clicked on Form text
there inside the Paragraph Styles palette
| | 02:05 | to bring up the Paragraph Style Options dialog box.
| | 02:08 | I am now going to switch over to Basic Character Formats and you
can see that the font finally is set to Garamond Premier Pro.
| | 02:13 | Alright, so and there is Semibold right there. Fine.
| | 02:15 | That's the font style. I am going to go ahead and cancel out.
| | 02:18 | Now watch this.
| | 02:19 | Let's say you do get that warning, the warning
comes up when you first open the document
| | 02:23 | and that warning is basically the
same as this command right here.
| | 02:26 | If you go to the Type Menu and choose Find Font,
you'll bring up this Find Font dialog box
| | 02:31 | and it will show you Garamond Premier Pro will
at the top your list, if you are missing it.
| | 02:35 | It will have a little cautionary icon next to it, and then
you can select it and change it to some other font family
| | 02:42 | like I am going to go ahead and click inside Times New
Roman and I am just going to type Adobe G like that
| | 02:49 | and that will switch the font to Adobe Garamond Pro and
the font style should not be Regular it should be Bold.
| | 02:55 | Notice that for some reason I have got Semibold
Italic on this machine, but I don't have Semibold.
| | 03:00 | But I do have Bold, you should too, assuming of course you
bought one of the commercial versions, the full commercial versions
| | 03:05 | of InDesign, and you do want to turn
on Redefine Style When Changing All.
| | 03:11 | Go ahead and turn on that checkbox and what that
will do is, in addition to changing your fonts,
| | 03:16 | so they no longer appear in that Pepto-Bismol
pink I was telling you about, a while back.
| | 03:21 | We'll update the fonts so that they appear normally on
screen, but also it will change your style definitions.
| | 03:27 | It will change that Paragraph Style definition.
| | 03:29 | I have actually got to perform the modification
here, otherwise I won't have done anything.
| | 03:33 | So I would click on Change All and
notice then, what was formally called,
| | 03:37 | Garamond Premier Semibold, now appears
as Adobe Garamond Pro Bold.
| | 03:42 | So you have switched out the font, now you can click on Done.
| | 03:45 | Having done that your Pepto-Bismol pink should go away if
you were indeed seeing it, and if you now go over to Form text
| | 03:52 | and then you switch to Basic Character Formats here, you will see
that the font family has now been updated to Adobe Garamond Pro.
| | 03:58 | So that's very important, by the way, when you go ahead
and use the Find Font command in order to change our fonts,
| | 04:03 | make sure that you change out the style definitions as well.
| | 04:05 | I mean it's just a good tidy thing to do under most circumstances.
| | 04:10 | Alright, so there's our document, we are now ready to add some
objects to the document in order to serve as our Scrabble tiles
| | 04:19 | and we will be adding those objects in the next exercise.
| | Collapse this transcript |
| Step, Repeat, and Distribute| 00:00 | In this exercise, we are going to lay down a sequence of
squares that will ultimately serve as our Scrabble tiles.
| | 00:07 | By the way I am working in that same Advertisement.indd
document that I opened in the previous exercise.
| | 00:13 | I have gone ahead and undone the change to the font,
| | 00:15 | because I like that Garamond Premier Pro
semi bold better than the alternative.
| | 00:23 | Anyway, I am going to lay down a sequence
of squares and I invite you to do the same,
| | 00:26 | using this guy right here, the Rectangle Frame Tool.
| | 00:29 | You could also use a rectangle tool if you wanted
to, really for our purposes the only difference is
| | 00:34 | that will get invisible squares by default using
a Rectangle Frame Tool and that's what I want.
| | 00:39 | So I am going to go ahead and grab this tool and it has
a keyboard shortcut of F for frame because it's designed
| | 00:45 | to create frames that all accommodate text and place graphics.
| | 00:48 | Now, I am going to go ahead and click right at this point there,
right at the intersection of the margin guides essentially
| | 00:56 | in the upper left corner of the document and notice that
we are seeing the last Width and Height values that we used
| | 01:03 | for a rectangle that was in a previous chapter.
| | 01:06 | I was creating those little slim sort of milky white rectangles
to appear behind the cells and that's how big they were.
| | 01:13 | I am going to change these values to 10 and 10.
| | 01:15 | So both Width and Height should be 10 and then
I click OK in order to generate that square.
| | 01:21 | Now, I want to create four other versions of the square and I
could do it just by clicking again and adding another square
| | 01:28 | and so on, you know that kind of number there if I wanted to
or I can take advantage of this pretty nifty function inside
| | 01:35 | of InDesign, I don't use it a ton
but when I needed it comes in handy.
| | 01:38 | Under the Edit menu, you choose the Step and Repeat command
and what you want to do is you want to enter the Repeat Count
| | 01:46 | that the number of items you want to add to the page.
| | 01:49 | In all we want four Scrabble tiles that means we want
to add three, so I will go ahead and press type 3.
| | 01:55 | Now if you type 3 and you get a warning for example,
if this value set to something extraordinary.
| | 02:00 | Let's say I had it say because I ran into this earlier.
| | 02:03 | Let's say I had these values set to something along these lines
where I had this whopping big Vertical Offset value and nothing
| | 02:09 | for Horizontal Offset at this point
and I say gosh, I want three copies.
| | 02:12 | As soon as I enter 3 and press a Tab Key, InDesign
gets mad at me and says, hey you can't do that man,
| | 02:18 | that would make your objects go outside of the
pasteboard and a pasteboard is really wide.
| | 02:26 | It's insanely wide.
| | 02:27 | It goes off to the left and right, these insane amounts,
but up and down you barely have any room at all.
| | 02:32 | So when you have a Vertical Offset Value, you can't do this man
| | 02:35 | and not that only might get whine
at you this is InDesign talking.
| | 02:39 | Not only am I going whine at you, but I am also going to
as soon as you click OK reset your Repeat Count Value.
| | 02:45 | Not even to you let you entertain the
notion of doing what you are just doing.
| | 02:50 | The Preview is off so it's like I am
not really violating any real rules.
| | 02:54 | It is all theoretical at this point but going to slap my hand.
| | 02:57 | It's going to require me to change
this value before I do anything.
| | 03:01 | Got to change Vertical Offset and I have to
be smart enough to know that's the problem.
| | 03:04 | Then press the Tab Key and go back to our Repeat Count here
and change it to 3 and press Tab and this time it's happy.
| | 03:11 | This time it won't whine at me.
| | 03:13 | Alright. So I am going to change the Horizontal Offset Value
to 11 because I really don't know how much of a value I want.
| | 03:19 | I wanted to fill the entire width of the page and I could
have measured it and gotten out a calculator and figured
| | 03:24 | out exactly what the gaps needed to
be, but even I am not that fastidious.
| | 03:28 | It's insane.
| | 03:29 | So I am going to go ahead and enter that value.
| | 03:31 | Just press the Tab Key and turn on
Preview so I can see what I am doing
| | 03:33 | and you know that's not exactly right,
but I can fix it in a moment.
| | 03:37 | Now, one way to fix it is with preview on.
| | 03:39 | I could then click inside Horizontal Offset and I could press the
Up Arrow Key and just kind of nudging that right hand rectangle.
| | 03:46 | I can keep nudging it over to the
right and 11p8 so 11 picas, 8 points.
| | 03:51 | It looks like I got a match.
| | 03:54 | It looks like I have done a pretty good job.
| | 03:55 | So that's one way to work, but I am going to show you a different
way to work because we don't know that that's exactly right.
| | 04:00 | I do tend to be that fastidious, so I'll just enter
11 and also I want to show you another feature here.
| | 04:05 | I will click OK and then what I am going
to do is I am going to grab this guy.
| | 04:09 | I am going to get my black arrow tool there.
| | 04:10 | I am going to grab this guy and I am going to scud him over
manually, drag him over to the right so that he snaps into place
| | 04:16 | and then I will grab all these of fellows by marqueeing
them and I am going to go the Window menu and I am going
| | 04:22 | to choose Object & Layout and then choose
Align to bring up the Align Palette
| | 04:26 | and that Shift+F7 of course, as you can see on screen.
| | 04:29 | The option that I am interested in is this guy right there.
| | 04:32 | Change it to align to selection then click on this Alignment
Option right there that Distribution Option that is
| | 04:38 | and you get an even headed distribution of
these objects across the width of the page.
| | 04:42 | So a couple of different ways to work, it's up to you.
| | 04:43 | I am going to grab this guy and actually move him
over here because those palettes are useful to have
| | 04:47 | up on screen and that's it for this exercise.
| | 04:50 | In the next exercise we will add
some text to each one of these tiles.
| | 04:55 | Stay tuned.
| | Collapse this transcript |
| Adding text; removing style| 00:00 | Okay, so here we are, we've got our four little squares ready to
go and they of course are going to represent our Scrabble tiles.
| | 00:09 | We are ultimately going for this right here.
| | 00:11 | We're going to have four big Scrabble tiles at the top of the
page with big letters and small score numbers right next to them.
| | 00:18 | Anyway, I am going to switch back to the document in progress
| | 00:20 | which is called Four cute containers.indd
that's found inside the 07 Object Styles folder.
| | 00:27 | We're going to add some text to each one of these
containers and then we're going to de-style that text.
| | 00:31 | So pretty quick little exercise here.
| | 00:33 | Go grab the Type tool.
| | 00:35 | Move your cursor, notice that the cursor is always talking
to you, right, because we are inside of an Adobe Application;
| | 00:40 | and Adobe Applications do a great job of
communicating with you via the cursor.
| | 00:45 | So right now it's showing me that I can create a new
Text Block and that Text Block would be rectangular.
| | 00:50 | If I move my cursor into one of the existing frames,
it becomes elliptical just to show me that I am going
| | 00:55 | to create some area text that's what that
means, but it's going to appear inside,
| | 01:00 | this area text it's going to appear inside of this square.
| | 01:04 | Alright, so go ahead and click inside of that
square and enter R then hit the Enter key,
| | 01:09 | the Standard Enter key on the PC keyboard, that's a Return key
on the Mac, and then enter 3 is the score that I want to assign.
| | 01:16 | Then I am going to click in here and enter E,
capital E of course, and enter 1 on the next line.
| | 01:21 | Don't worry about the fact that we have
these underscores going right here.
| | 01:24 | Those are paragraph rules that will eliminate in just a moment.
| | 01:27 | It's because InDesign is automatically assigning
the- I can't remember the name of the style.
| | 01:32 | Let's check it out here.
| | 01:33 | It's the Form text Style and that Form text Style includes
an underscore over on the right-hand side of the text.
| | 01:42 | So we don't want that, but we will take care
of that in a moment when we de-style the text.
| | 01:45 | N next line 5 and then T right here in next line 2, like so.
| | 01:52 | Then I'll press the Enter Key on the Keypad.
| | 01:54 | That would of course be the Escape key if you did not
load Deke keys. And I am going to go ahead and select all
| | 02:00 | of those text blocks, what are now text blocks here using
my black arrow tool and I did that by marqueeing this area
| | 02:06 | at the top of the screen and then I am going to go over
to the Paragraph palette in order to de-stylize my text.
| | 02:12 | I am going to just click on Basic Paragraph like so and that gets
rid of any of the special Paragraph Styles that had been applied,
| | 02:20 | which is pretty- it's not essential, but it's
a good idea moving forward here as you'll see
| | 02:26 | because Object Styles can include their own Paragraph Styles.
| | 02:29 | I'll show you soon.
| | 02:29 | Alright, so I am going to go ahead and
hide that Paragraph Styles palette.
| | 02:32 | Click Off for the text.
| | 02:34 | All of the text has that Pepto-Bismol pink, in my case I think
that you'll find that to be true if you are using Windows
| | 02:39 | as well, because it can't find the font that it's trying
to apply which is Times which is available on the Mac.
| | 02:46 | On a PC they have this thing called Times New Roman.
| | 02:49 | So anyway you may or may not see the pink that doesn't matter.
| | 02:52 | We are now ready to style the tiles with some Object
Level Formatting Attributes such as Fill and Stroke
| | 02:58 | and we will be doing just that in the next exercise.
| | Collapse this transcript |
| Object-level formatting attributes| 00:00 | In this exercise, we are going to apply some
Object Level Formatting Attributes to one
| | 00:05 | of the tiles, doesn't matter which tile you select.
| | 00:07 | Just go ahead and select one of them, and by
Object Level Attributes I mean things like Fill
| | 00:12 | and Stroke and Drop Shadow and so on, you will see.
| | 00:15 | So, I am going to click on one of these guys with
the black arrow tool then I am going to zoom-in,
| | 00:19 | and by the way if you are just joining us for whatever
reason, I've got a catch-up document here called Tiles
| | 00:24 | with text.indd found inside of the 07 Object Styles folder.
| | 00:31 | So I want you to click on one of the tiles then, bring up the
Swatches palette either by clicking on this little icon here
| | 00:36 | if you can find it or by pressing the F5 key that works too.
| | 00:41 | Notice this tiny little icon up here in the
upper left corner of the Swatches palette.
| | 00:44 | That tells you whether the Fill or the Stroke is active.
| | 00:47 | Most likely it's the Fill that's active right now.
| | 00:50 | I am going to assume, if not, just go ahead
and click on this little dinky Fill icon there,
| | 00:53 | and then I want you to change the Fill to Tile Beige,
the Fill being the interior of the selected object.
| | 00:59 | Now, I want you to switch to the
Stroke, which you can do by clicking
| | 01:02 | on this other little icon there or you can press the X key.
| | 01:04 | The X Key flits you back and forth.
| | 01:07 | Then, I want you to click on Tile Brown to make
that Stroke Tile Brown as you see it there.
| | 01:14 | Then, go out to the Control palette.
| | 01:16 | Notice it says that the Stroke Weight is 1 point (1 pt).
| | 01:18 | I want you to change that weight to 2 points
(2 pt), weight being the thickness of the line.
| | 01:23 | Now, I am going to zoom way in on
this square here so that you can see.
| | 01:27 | Notice how the stroke is centered
on the square outline right there.
| | 01:33 | So, it centered both this direction like
so, and it's centered this way as well.
| | 01:38 | Do you see what I mean?
| | 01:38 | So, it's sort of striding the outline.
| | 01:41 | I want to shift the stroke to the interior all the way in.
| | 01:44 | So I am going to do that by going over to the Stroke palette
that this guy right there or you can go to the Window menu
| | 01:50 | and you can choose the Stroke command or you
can press the F10 key, all of those work.
| | 01:55 | Then, I am going to click this guy.
| | 01:57 | Notice, there is the line Weight, it's now 2 points (2
pt) we just change that up here in the Control palette.
| | 02:01 | It's available in both locations.
| | 02:02 | Then, I will change Align Stroke from
this guy which is Align Stroke to Center.
| | 02:07 | I am going to change it to Align Stroke to Inside.
| | 02:09 | We could also shift it Outside with this guy if
we wanted to, but Inside is what I want like so.
| | 02:13 | Did you see how that moved in.
| | 02:15 | It also moved the letters.
| | 02:16 | So it looks like the entire square just shrink on this,
| | 02:19 | and InDesign is shoving the letters
inward to account for the thicker stroke.
| | 02:25 | It's pretty smart that way.
| | 02:26 | We are having type inside of path outlines as concerned.
| | 02:29 | Alright, now, this is really going to mess things up.
| | 02:32 | I want to round the tile, round that corner
a little bit because it's a Scrabble tile.
| | 02:36 | Scrabble tiles are a little rounded on their corners.
| | 02:40 | I am going to do that by going up to the Object menu
| | 02:43 | and choosing this command right there Corner
Options which I have given the keyboard shortcut.
| | 02:46 | If you loaded my Deke keys, it's Ctrl+Shift+Alt+R
or Command+Shift+Option+R on the Mac,
| | 02:52 | and R for Rounded Corners is the idea because that's
usually how you can use the Corner Options dialog box.
| | 02:58 | I am going to change the Effect from None not to Fancy
or any of these other wacky ones, but to Rounded,
| | 03:05 | and you can preview what that's going to look like.
| | 03:07 | Notice that rounding it's going ahead and shoving the R
over, check that out because once again InDesign is trying
| | 03:13 | to compensate for what you are doing to this path outline.
| | 03:16 | It can align the letter as far left as
possible before it starts hitting the arc.
| | 03:22 | Once it passed to its arcing, it can't get into that
space anymore, so that's why the R is so far over.
| | 03:27 | I don't want it to be that much rounded,
so I will change this to 6 points, 0p6.
| | 03:32 | Then, once I press the Tab key, it will update on screen.
| | 03:35 | I will click OK, looks great.
| | 03:37 | Alright, so that's the formatting thus far.
| | 03:40 | In the next exercise, we are going to apply a Drop Shadow
and then we are going to save this out as an Object Style.
| | 03:47 | Stick with me.
| | Collapse this transcript |
| Creating an object style| 00:00 | In this exercise, we are going to assign a Drop Shadow
to this tile in progress here and then we are going
| | 00:06 | to save off all the attributes that we have created thus far.
| | 00:09 | We are going to save them off as an Object Style.
| | 00:12 | So I am working on this R3 tile and I am still inside the Tiles
with text.indd file that I have opened in the previous exercise.
| | 00:19 | So I've done a little work to this file obviously.
| | 00:21 | Now, I am going to go up to the Object Menu and I am going
to choose Effects and I am going to choose Drop Shadow
| | 00:26 | and you also have a keyboard shortcut for that
which is Ctrl+Alt+M, Command+Option+M on the Mac.
| | 00:32 | The letter M never appears in the word
Drop Shadow that's just a way it is.
| | 00:36 | So go ahead and choose that command and brings up
the Drop Shadow panel of this big Effects dialog box.
| | 00:42 | So there is all kinds of effects that you can apply
and I am going to leave the Mode set to Multiply.
| | 00:48 | I am going to raise the Opacity value to a
100% and let's turn on the Preview Checkbox.
| | 00:53 | So I can see what in a world I am doing and it looks okay.
| | 00:56 | It doesn't really look the way I want it to look.
| | 00:58 | Let's go ahead and give it some color by clicking on Black.
| | 01:02 | Let's give it some little more interesting color the Shadow
brown right here will do me and by the way you can either select
| | 01:08 | from Swatches or you can dial in a color, if you like.
| | 01:11 | If you had a very specific shade you
wanted it to dial in, you could do that,
| | 01:14 | but I am going to stick with the
Swatches I've created in advance.
| | 01:17 | I want Shadow brown right there, then click OK and you can
see how that looks a little better, drops off more nicely.
| | 01:24 | We don't have that sharp edge around the Black.
| | 01:27 | Next I am going to change the X and Y Offset Values
and the values I am going to use are 3 point,
| | 01:34 | which is 0p3 and 2 point and then let's take the size value down.
| | 01:39 | I am going to take the size down to 0p2, which
not only reduces the size of the Drop Shadow,
| | 01:45 | but also reduces the blurriness of that shadow and that's it.
| | 01:49 | Now, I am going to click OK in order to accept that effect.
| | 01:52 | We have now styled this tile.
| | 01:55 | Well, let's go and save this off as an Object Style.
| | 01:58 | I want you to go up to the Window menu and choose
the Object Styles Command or you could press Ctrl+F7,
| | 02:03 | Command+F7 on the Mac and that brings up Object Styles.
| | 02:07 | I could also click on this little icon right there and then I
wants you to Alt+Click or Option+Click on that little Page Icon
| | 02:13 | and I am going to call this guy Tile
style, which I think going to make sense.
| | 02:17 | Not only clever, but sensible as well and then click inside
the shortcut area and press Shift+Alt+1 on the keypad
| | 02:24 | that Shift+Option on the Mac 1 on the
keypad or go your own way if you want to,
| | 02:28 | but that's a keyboard shortcut I am going to assign.
| | 02:31 | Otherwise just leave these guys the way they are.
| | 02:33 | You can turn these checkboxes on and
off if you want to control exactly
| | 02:37 | which attribute you are saving and which one you are not saving.
| | 02:39 | For this particular effect, it's okay to have just everything
turned on or basically set the way they are by default here.
| | 02:46 | If you want to checkout what you have applied then you can
twirl one of these guys open by clicking on one of the triangle.
| | 02:52 | So I am twirling open Stroke and then I see there is a
stroke inside of there, fine and then twirl it open as well.
| | 02:58 | If you wanted to twirl those both open at the
same time in one operation, check this out.
| | 03:02 | You would Alt+Click or Option+Click on that little
triangle and that will twirl the whole thing open,
| | 03:07 | so that you can reveal all of the attributes.
| | 03:10 | It's just for the sake of confirmation.
| | 03:12 | You do want to turn on apply style to selection.
| | 03:15 | So you do have the option of applying the style as you
create it, just as you do for Paragraph and Character Styles
| | 03:21 | and as you don't, as you cannot do for Cell and Table Styles,
and then go ahead and click on OK in order to create the style.
| | 03:29 | So we have now styled the tile and then we around and
saved the Formatting Attributes out as an Object Style.
| | 03:35 | In the next exercise, we will take care of the text.
| | 03:38 | Notice that the text looks pretty bad- we will fix it.
| | Collapse this transcript |
| Creating paired paragraph styles| 00:00 | In this exercise we're going to establish a couple of
Paragraph Styles that are going to determine the formatting
| | 00:06 | of our big letters and our tiny scores because we want
our Scrabble tiles to actually look like this, don't we?
| | 00:12 | so that they look like real Scrabble
tiles or reasonable facsimiles thereof.
| | 00:18 | Alright, so let's go back to the text as
it exists now, totally wrong of course.
| | 00:21 | We're going to create a couple of Paragraph Styles as I say we're
going to do this in a different way than we've done it before.
| | 00:25 | Not only so I can show you yet another approach
to styling text, but also because this happens
| | 00:32 | to be the most expedient approach where
this specific document is concerned.
| | 00:36 | And speaking a specific document, I have this
document opened, it's called Object Style defined.indd
| | 00:42 | because indeed we have now defined the Object Style.
| | 00:45 | It's found inside of the 07 Object Styles folder.
| | 00:49 | I want you to bring out the Paragraph Styles palette.
| | 00:52 | By the way make sure that nothing is selected, press Ctrl+Shift+A
or Command+Shift+A on the Mac to deselect the entire page.
| | 00:59 | Then go over to the Paragraph Styles palette
which you can get by pressing the F11 key
| | 01:02 | or choosing Paragraph Styles from
the Type menu as you may recall it.
| | 01:07 | And then I want you to click on Basic
Paragraph to reset the default styling.
| | 01:11 | Then go down to the bottom of the Paragraph Styles palette,
there's little Page icon there and I want you to click
| | 01:15 | on it twice in a row, don't Alt+Click or Option+Click.
| | 01:19 | We don't want to define the styles as we make them.
| | 01:22 | We just want to create a couple of placeholders so that
we can establish a relationship between these two styles
| | 01:28 | as we define them; it's essentially actually what I am doing.
| | 01:31 | Alright, so grab Paragraph Style 1 and move it to the bottom
because we want to organize these guys logically I figure
| | 01:37 | and I'll drag Paragraph Style 2 to the bottom as well.
| | 01:41 | Now, I want you to double-click on Paragraph Style
1 and now we're defining the Styles of course.
| | 01:47 | I want you to go ahead and call this Style Big letter, and
let's make sure that the next style is Paragraph Style 2,
| | 01:58 | so that Paragraph Style 2 will follow
Big letter and Paragraph Style 2
| | 02:02 | by the way will be the Paragraph Style
that we apply to the tiny scores.
| | 02:07 | So far it's undefined but it does exist
so I can set up the Next Style option.
| | 02:11 | See there is a method to my madness here, alright?
| | 02:14 | Now, let's go into the Basic Character Formats.
| | 02:17 | We don't need to assign the shortcut because
this will be part and parcel of the Object Style.
| | 02:21 | You can have Paragraph Styles built
into your Object Styles as you'll see.
| | 02:24 | So go over to Basic Character Formats,
and I am going to change the Font Family.
| | 02:28 | I'll just go ahead and select that item right there
and I'll type My which should give me Myriad Pro.
| | 02:34 | If it doesn't get you Myriad Pro, if it just get
you standard myriad then you want to press the
| | 02:39 | Down Arrow key to advance to the next version of myriad.
| | 02:42 | But anyway, we want Myriad Pro and then I'll Tab to the
Font Style guy right there and I'll change it to Condensed.
| | 02:49 | So just type a C and that will get you condensed, and
then we'll Tab to Size change that to 100, no, not 1000,
| | 02:56 | that's too whoppingly big, just 100 that's still very big,
and then Tab to Leading, and change it to 100 as well.
| | 03:01 | That's known as Solid Leading incidentally where you're
Leading and size values match each other and that's good.
| | 03:07 | I am happy with the rest of the options the way they are.
| | 03:09 | Then let's go to Advanced Character Formats
and change the Horizontal Scale value to 120%,
| | 03:16 | just to offset the fact that we're working
with the condensed version of Myriad.
| | 03:19 | We could work with the regular version of Myriad but then I
need to change the Horizontal Scale value to something lower
| | 03:26 | because basically I kind of want a hybrid of the two.
| | 03:29 | Anyway, 120% for Horizontal Scale and I am also going to
change the Baseline Shift and this allows me to scoot the text
| | 03:36 | up and down with respect to the Scrabble tile.
| | 03:39 | I normally do it using the Text Frame Options command
| | 03:42 | but where this specific effect is concerned this
technique is going to work out better for us.
| | 03:47 | So I am going to change the Baseline Skew
to -14, just trust me there and that's it.
| | 03:52 | That takes care.
| | 03:53 | Actually, I am sorry, there is one more change
I want to make, skip to Indents and Spacing
| | 03:57 | and I want you to change Alignment to Center.
| | 04:00 | So we center align this text inside
of the tile and then click OK.
| | 04:05 | Now, you may say, well, how in the
world do you know to use those settings?
| | 04:08 | How do you know that's going to give
you the best version of the letter?
| | 04:12 | Trial and error, I tested it out in
advance to see how it would look.
| | 04:16 | But, now then I know what the settings
are; this is the most expedient approach.
| | 04:20 | So just in case you ever run into that scenario.
| | 04:22 | Anyway, got Big letter, it's all in wonderful shape.
| | 04:25 | Now I'll double-click on Paragraph Style 2 and we'll
call this one Tiny score because that's what it is.
| | 04:32 | I don't need to set up the Next Style because
there is no text after the Tiny score.
| | 04:35 | So we don't need a Next Style setting.
| | 04:37 | Let's switch over to Basic Character Formats, you notice
it's telling me the Font Family's Times, the Times,
| | 04:42 | it's missing from my system and the Font Style is Regular
| | 04:46 | and the Size is 12 point (12 pt), the
Leading is 14 point (14 pt) and so on.
| | 04:49 | And also in Advanced Characters, Horizontal Scale
is 100%, Baseline Shift is 0, so on and so on.
| | 04:55 | I'll go back to General.
| | 04:56 | As soon as I change Based On to Big
letter, I lift all those attributes.
| | 05:02 | So now if I go to Basic Character Formats, I got Myriad
Pro and Condensed in 100 point (100 pt) and so on.
| | 05:07 | So that gets me closer to my goal just
going ahead and choosing that option.
| | 05:12 | Now, I want you to click on the Size option right there so that
we select the value and I am going to change it to 36 Tab 20.
| | 05:19 | We need Leading of 20 points, and the
rest of the stuff is just fine as is.
| | 05:24 | Let's go over to Advanced Character Formats, so Horizontal
Scale is fine, but the Baseline Shift, no, no, no.
| | 05:30 | Back to 0 with you my friend and then Indents and Spacing, I want
you to change the Alignment to Right, and then we're going to --
| | 05:38 | want to not right align the text all the way over to the right.
| | 05:41 | We're going to want to leave a little
bit of room over the right-hand side.
| | 05:44 | So I am going to change the Right Indent
value to 0p9 for 9 points right there.
| | 05:49 | And then I am going to go ahead and click OK
in order to accept this new Tiny score Style.
| | 05:55 | Now, all we've done is modified the original Paragraph Style
2, so if I go back into Big letter and double-click on it,
| | 06:01 | Next Style is automatically set to Tiny score
because it kept up with my tiny modifications.
| | 06:07 | Alright so Cancel out of that.
| | 06:08 | We now have Big letter and Tiny score setup.
| | 06:11 | Do not apply them to the R and the 3, we're going to apply
them to the R and the 3 automatically via the Object Style.
| | 06:19 | So I am going to go over to Object Style and I am going to
modify it, not now -- no, no, not now, in the next exercise.
| | Collapse this transcript |
| Nesting paired paragraph styles| 00:00 | In this exercise we're going to take those paired Paragraph
Styles that we've created in the previous exercise
| | 00:05 | and we are going to nest them into the Tile Style Object Style
and if you are just joining, I am working inside of a catch
| | 00:15 | up document called Paired P styles defined.indd, because we
do have the paired Paragraph Styles defined and ready to go.
| | 00:23 | This document is found inside the 07 Object Styles folder.
| | 00:26 | Alright, nothing selected please, Control+Shift+A,
Command+Shift+A on the Mac, bring up your Object Styles Palette
| | 00:32 | which you can do by pressing Control+F7 or Command+F7 on the Mac,
if you like, and then I want you to find that Tile Style style,
| | 00:40 | and I want you to double click on it, in order to bring
| | 00:43 | up the massive Object Style Options dialog
Box and everything is fine right here.
| | 00:49 | We don't need it based on any styles.
| | 00:50 | We do however need to integrate some Paragraph Styles.
| | 00:54 | So I want you to click on Paragraph Styles, which
changes the setting of the checkbox from blue,
| | 01:01 | meaning it's kind of half selected, to a check mark,
which means it's totally selected and ready to go.
| | 01:06 | And then we're going to change the Paragraph
Style from Basic Paragraph to Big Letter.
| | 01:12 | Now, at this point you might say,
well, where do you assign Tiny Score?
| | 01:16 | Because we need Tiny Score to be a part of this as well, right?
| | 01:19 | We've got big letter for the big letter
and we got tiny score for the tiny score.
| | 01:22 | Those are the two Paragraph Styles,
in fact, you can see them right there.
| | 01:25 | There is Big Letter, there is Tiny Score.
| | 01:27 | I am saying just select the Big Letter, because
it's the first one, and then say, apply Next Style.
| | 01:33 | Now this only works if you'd set up Big Letter to
have a Next Style of Tiny Score, which is what we did.
| | 01:40 | So we're good to go.
| | 01:41 | You can turn on the Preview checkbox and watch what
happens. Bang, just like that, the styles are applied.
| | 01:46 | Is that not cool?
| | 01:48 | Then click OK in order to accept your modification.
Bang, all the work is done for us.
| | 01:54 | Not only that, is all the work really done for us?
| | 01:57 | Yes. Check it out; just grab those three tiles, like so.
| | 02:00 | Click on Tile Style or press the keyboard shortcut or whatever
it is you want to do and if you get that little + sign,
| | 02:07 | notice right here this little + sign
after the Tile Style, style name.
| | 02:11 | If you hover over it, it's going to tell you that you've got
Mixed Overrides and you could try to Alt+Click or Option+Click
| | 02:17 | on that style or you could click on this little icon down here,
which says, Clear Overrides, so that you clear out the Overrides.
| | 02:23 | None of that works, in so far as
getting rid of the + sign is concerned.
| | 02:27 | So what you could do is, check out your independent tiles.
| | 02:31 | If you want to, you can click off the tiles in order
to deselect them all and then try the E1 tile, nothing,
| | 02:37 | try the N5 tile, nothing, try the T2 tile, nothing, alright?
| | 02:42 | So it's just one of those things, just an
arbitrary little nothing of a problem there.
| | 02:47 | So there weren't really any overrides and we do
have some fantastic looking styled Scrabble tiles.
| | 02:55 | We're done with this document.
| | 02:57 | In the next exercise, we're going to shift to a different project
file and I am going to demonstrate how you can use Object Styles
| | 03:04 | to automate anchored objects inside of InDesign.
| | Collapse this transcript |
| Inline and above line graphics| 00:00 | In the remaining exercises, we are going to see one of
the best uses for Object Styles and that's the automation
| | 00:05 | of Anchored Objects inside of InDesign and just in case
you don't know what an Anchored Object is check it out,
| | 00:11 | I am about to show you.
| | 00:12 | We are looking at a document called Glossary.indd that's found
inside of the 07 Objects Styles folder and it is a type glossary.
| | 00:20 | A glossary of type terminology put together by a type expert
| | 00:24 | that I know named Jim Felici and
notice the way that this is formatted.
| | 00:30 | It's formatted in a very bad way, this document is, I have got
this big green S which is dividing the Rs from the Ss inside
| | 00:38 | of my glossary that's just fine, but notice that that
S is setup as an independent graphic, which is nuts,
| | 00:45 | because if I make any sort of change to my text that
independent graphic is not going to float along with the text.
| | 00:51 | Also, I have a lot of paragraph returns in a
row, which is just bad form have to tell you.
| | 00:56 | Anyway, I will then do the movement of that
S so I can show you what I am talking about.
| | 01:00 | If I make some change to my text, like I will go ahead and
double-click inside of my text to switch to the Type tool there
| | 01:07 | and then I will triple-click and drag across a few
lines of text in order to select them up there in the Rs
| | 01:11 | and I will press the Backspace key or Delete key on the Mac.
| | 01:14 | Look, the S just sits there, doesn't move with the text.
| | 01:18 | So this is like a document that I just can't
edit with any degree of flexibility, very bad.
| | 01:25 | So I am going to go ahead and undo that modification, and what we
are going to do is we are going to set the S up as a special kind
| | 01:32 | of Anchored Object known as an inline graphic.
| | 01:36 | So I am going to switch to my black arrow tool
here, and I am going to click on the S to select it,
| | 01:41 | and then I am going to press Ctrl+X or
Command+X on the Mac to cut it to the clipboard.
| | 01:45 | Now, let's zoom in a little bit and switch to the Type tool
and I will click right there before the S and the word Sans
| | 01:52 | and I will press Ctrl+V or Command+V on the Mac in
order to paste that S. That is an inline graphic folks,
| | 02:00 | meaning that it's inline with the
other text inside of this paragraph.
| | 02:06 | Now, I have Hidden Characters turned on, if you can't
see the Hidden Characters go up to the Type menu
| | 02:11 | and choose Show Hidden Characters, but
they are already shown for me of course,
| | 02:15 | and notice that I can see those paragraph
breaks AKA carriage returns right there.
| | 02:19 | But I can't see any other special
symbol indicating the inline graphic.
| | 02:23 | When you are working with an online graphic that specific
style of Anchored Object, you just see the graphics in there,
| | 02:29 | you don't see some special doohickey in addition to the graphic,
and you will see how that's going to change in just a moment.
| | 02:35 | Alright, I want you to get the black arrow tool
and I want you to click on that S once again.
| | 02:39 | Let's go ahead and edit its style of Anchored Object.
| | 02:43 | I am going to go up to the Object menu, I am going to
choose Anchored Object, and I am going to choose Options.
| | 02:49 | That's going to bring up the Anchored
Object Options dialog box.
| | 02:52 | Notice, it's currently telling me it's an Inline
graphic or an Above Line graphic one of those.
| | 02:56 | Currently it's set to Inline.
| | 02:57 | I am going to change it to Above Line, make sure the Preview
checkbox is on, so you can see the change happening on screen,
| | 03:04 | and notice that it pops up above the point at which it's
anchored, and that little yen symbol indicates the anchor point,
| | 03:11 | the point to which the graphic is anchored inside the text.
| | 03:16 | Now, I also want to add a little bit of space after this S
currently the text following the S is tight to the S. So I want
| | 03:23 | to increase the space after it and I
am just going to press the up arrow key
| | 03:26 | to increase it one point at a time until I get to 0p3.
| | 03:30 | So three points of space looks pretty good
to me, leave the alignment set to left
| | 03:34 | or if you prefer you could change it to Text Alignment.
| | 03:37 | So it matches the alignment of the text
around it, which is probably a good idea.
| | 03:41 | Space Before, we don't need to adjust, we have
too much space before right now, and then go ahead
| | 03:45 | and click on OK in order to accept that modification.
| | 03:49 | Now, we don't want those darn extra paragraph
returns they are making mess of everything.
| | 03:53 | And by the way this orange line right
there used to mark the location of the top
| | 03:59 | of the text Sans Serif, I will go ahead and show you what I mean.
| | 04:02 | I will press Ctrl+Z once is all I need to Command+Z
on the Mac and you can see that the orange line,
| | 04:07 | the orange guideline mark the top of the Sans Serif text,
| | 04:10 | which aligns with that H right there,
because the H goes along the Sans Serif.
| | 04:14 | It's an illustration of Sans Serif,
illustration of the concept don't you know?
| | 04:18 | So when I press Ctrl+Shift+C or Command+Shift+C on the
Mac in order to redo the change, everything gets messed up.
| | 04:23 | Alright, let's go ahead and grab the Text tool once again by
pressing the T key, I will click right there in front of that 3rd
| | 04:32 | in a row carriage return and then I will press
Backspace twice or Delete twice on the Mac in order
| | 04:38 | to delete those first two instances
and we get this effect right here.
| | 04:42 | I will go ahead and press the Enter key in the keypad
that would he Escape key if did not load Deke keys.
| | 04:47 | Notice, things stills aren't totally in alignment, but the S
now moves that's the good news, the S will move with the text.
| | 04:54 | So if I go ahead and select that text again
here and Delete it, the S moves along with very,
| | 04:59 | very important in order to assemble
a flexible document inside InDesign.
| | 05:04 | Alright, I am going to undo that
modification because I want to keep that text.
| | 05:07 | In the next exercise I am going to show you another variety of
Anchored Object that will allow this H to match up with its text
| | 05:15 | so the things are lined up exactly as they should be.
| | Collapse this transcript |
| Creating an anchored object| 00:00 | In this exercise, we are going to go ahead and align this
H over here in the margin with the text that references it.
| | 00:06 | So the two are aligned properly, currently they aren't.
| | 00:09 | The H used to line with the top of these letters,
with the top of their cap heights as it's known,
| | 00:16 | but because we made some modifications to the headline here, this
S that serves as the headline for the S entries in the Glossary,
| | 00:25 | everything's gotten a little bit out of kilter.
| | 00:27 | By the way I am working inside of a document called Misaligned
margin graphics.indd if you want to catch up with me,
| | 00:34 | it's found inside the 07 Object Styles folder.
| | 00:37 | Now, one way to take care of our problem would
be to go ahead and marquee these two guidelines
| | 00:41 | with the black arrow tool, so I am doing here.
| | 00:43 | And then I could nudge them upward from the keyboard
by pressing the Up Arrow key a few times in a row,
| | 00:48 | and then once I got the guidelines in place, I
could grab the H and the Scotch rule right there
| | 00:54 | and I could drag them up so that they snap into place.
| | 00:58 | And that's great where this page is concerned,
it's not that much work, but we are in the Ss.
| | 01:03 | Imagine that we have the full document and the Ss appeared some
place like on page 20 of the Glossary and we go back to page 2
| | 01:12 | where the Bs are and we make a few modifications.
| | 01:15 | That has a ripple effect throughout the entire document.
| | 01:18 | Now we need to be prepared for that
domino effect and the best way to prepare
| | 01:22 | for the domino effect is to setup an Anchored Object.
| | 01:25 | Alright, so here's what we are going to do,
I am going to Undo the movement of that H,
| | 01:30 | but I am going to leave the guidelines in place.
| | 01:32 | So I just press Ctrl+Z or Command+Z once.
| | 01:34 | Now, I want you to click Off the graphics to deselect them,
then click on the H in order to select it and press Ctrl+X
| | 01:41 | or Command+X on the Mac in order to cut it to the clipboard.
| | 01:44 | Then press the T key in order to get to the Type tool
and click in front of the S in sans serif in order
| | 01:51 | to position the blinking insertion marker
right there at the beginning of that paragraph.
| | 01:56 | Now, I am going to go on to the Object menu, I am going
to choose Anchored Object and I am going to choose Insert,
| | 02:02 | this guy right there, and this is a very complicated
semi-mind numbing dialog box that you are about to discover
| | 02:10 | and it takes a lot of work in order to go through
it manually, but the great news is once you do it
| | 02:17 | and then you setup an Object Style as we will
later you never have to visit this dialog box again
| | 02:22 | where this specific kind of margin graphic is concerned.
| | 02:27 | Alright, so I am going to go ahead and set the Height value to 1
pica tall (1p0), let's see, just so you can see what that means.
| | 02:35 | What I really wish we had here was a control to just say, don't
worry about Height and Width, just let the graphic be in charge,
| | 02:42 | but at this point it's asking us for
specific Height and Width values.
| | 02:46 | Actually the width of this column over on the right side
of the page or it would appear on the outside of the page,
| | 02:53 | so it would appear on the left side of the left-hand page.
| | 02:56 | It's exactly 6 pica 6 points wide (6p6).
| | 02:59 | So you could change Width value to the
exact width of the column if you want to,
| | 03:03 | it doesn't really do us any good, but you could if you want.
| | 03:06 | Now, I do want my graphics to go back and forth depending on
whether they are on the left-hand page or the right-hand page.
| | 03:13 | So I am going to turn on Relative to Spine.
| | 03:16 | So we are not absolutely going right or absolutely going left.
| | 03:19 | And now we are asked, this is the point at
which things get pretty complicated here,
| | 03:23 | we are asked for the Reference Point inside the Anchored Object
| | 03:27 | that is the H. What's the Reference
Point inside the H going to be?
| | 03:30 | And I am going to keep it toward the inside top edge of that
H. So this inside point is going to be the Reference Point
| | 03:38 | for the H. For the Anchored Position that is this guy,
the sans serif is where the anchoring is emanating from.
| | 03:45 | It's Anchoring Point, it's Reference Point
is going to be the outside of the text frame.
| | 03:52 | So in other words, we've got the outside of this text
frame right there and then the inside of the H right there
| | 03:56 | and then we are going to have some space between them.
| | 03:59 | So now, it's asking us Horizontal Relative To,
so X Relative To what, well the Text Frame.
| | 04:04 | We'll keep it relative to this big text frame right there.
| | 04:07 | And then what's the Offset going to be?
| | 04:09 | This offset right there, the gutter width which happens to be by
the way 0.25 inches, which is the same as 1 pica 6 points (1p6)
| | 04:18 | as soon as I press the Tab key you can see it updates for me.
| | 04:21 | Y Relative To; so where is the height
of the H, where is it going to align?
| | 04:27 | X Relative To; which is asking how is the H going
to align vertically, and I was telling you it needs
| | 04:32 | to align to the top of the cap heights, right?
| | 04:36 | So I'll change Line for the line of text, the line of text where
the anchor point is, Cap Height is what I want and Y Offset is 0,
| | 04:44 | we want it to align exactly to that Cap Height.
| | 04:47 | Then it's asking should it keep the object within the Top/Bottom
Column Boundaries, preventing it from going into the page margin?
| | 04:54 | And I say, Yes, we don't want it to go into the page
margin and that would look bad, and then it's saying,
| | 04:57 | should I Prevent Manual Positioning of this object?
| | 05:00 | So other people working inside the document can't mess it
up, which sounds good, but if you are the only one working
| | 05:05 | in a document or you have a few other trusted designers,
| | 05:08 | you are going to give yourself more wiggle
room if you leave this checkbox Off.
| | 05:11 | So that's what I am going to do.
| | 05:12 | I am going to click OK and it creates this little guy,
this little rectangle over here in the right-hand side.
| | 05:17 | Now, currently the rectangle has a
black stroke that's not what we want.
| | 05:21 | So I am going to press the Slash key, it's the same key that
contains the Question Mark and that's going to set the stroke
| | 05:27 | to None, and the stroke was Active
by the way, so I set it to None.
| | 05:30 | So we have no stroke, which is really important because
otherwise, we are going to have stroke around our H
| | 05:34 | which I don't want, we are going to
stroke the frame, which would look bad.
| | 05:37 | Now, go up to the Edit menu and I want you to choose Paste Into
or press Ctrl+Alt+V or Command+Option+V on the Mac in order
| | 05:46 | to paste the H into this tiny little frame so it doesn't
look right at all and actually the H is too far down as well
| | 05:52 | as you can see, because it's trying to keep
the H in the same position where it was,
| | 05:55 | kind of defeats the whole purpose,
but this is the way it works at first.
| | 05:59 | Then I want you to go to this little icon up here in
the Control palette that says Fit Frame to Content.
| | 06:04 | You can either click on it or you can press the keyboard
shortcut Ctrl+Alt+C, Command+Option+C on the Mac.
| | 06:09 | Either one is going to go ahead and fix that frame tight to the
H and the H is going to be in the proper location and everything,
| | 06:17 | that's it, that's how you create an Anchored Object that
takes care of the problem that we were having with the H. Now,
| | 06:22 | I am going to show you some little sort of Anchored Object
tidbits that you should be aware of in the next exercise.
| | Collapse this transcript |
| Viewing frames and threads| 00:00 | Alright, as promised, a couple of
anchored object tid bits coming your way.
| | 00:04 | These are a couple of tricks that are designed to help
eliminate some of the pain and tears that you might run into.
| | 00:10 | I am going to go ahead and notice I have this H that
I went ahead and anchored in the previous exercise.
| | 00:16 | I have got it selected here with the black arrow tool
and there is a little Yen symbol that we can see.
| | 00:22 | A little hidden character that indicates
the spot to which the H is anchored.
| | 00:27 | So I am going to press the Backspace key or the Delete key
| | 00:31 | and notice not only does the H go away
but my little Yen sign goes away as well.
| | 00:36 | So the entire anchor has been eliminated.
| | 00:38 | Now don't worry, I did just delete it,
but I still have the H in the keyboard.
| | 00:42 | If I press Ctrl+V or Command+V on the
Mac you can see there it is still.
| | 00:45 | Alright, so we are going to redo the anchor actually.
| | 00:48 | I am going to go ahead and select the Text tool and click
in front of sans and I will go up to the Object menu,
| | 00:54 | choose Anchored Object and choose Insert and
replay the modifications I applied before.
| | 01:00 | So I have got a Width of 6p6 there.
| | 01:03 | I don't care about the Height value.
| | 01:05 | I am going to save Relative to Spine.
| | 01:06 | This guy is the point I want to select.
| | 01:08 | This reference point is fine, Relative To Text Frame.
| | 01:11 | We need 1p6 for the X Offset value.
| | 01:14 | I am going to change Y-Relative to Line Cap
Height and the rest of the options are fine
| | 01:19 | as is, click OK. Comes in with the stroke, darn it.
| | 01:22 | Press the Slash key to get rid of that stroke.
| | 01:25 | Then, let's say for some reason I switch to my Black
Arrow tool and I accidentally click off the frame.
| | 01:33 | How in a heck, do I now paste the H in that
frame when I can't even see where it is?
| | 01:37 | I can sit there and click all over the place, but I
can't find it unless I just accidentally stumble on it.
| | 01:43 | Or the other option is do a Marquee and you might find it that way.
| | 01:47 | It is there in other words.
| | 01:48 | An even better way to work, I will click off it again
so we can see it's totally transparent at this point.
| | 01:54 | What you want to do is go up to the View menu and choose
this command, Show Frame Edges, or you can press Control+H,
| | 02:00 | Command+H on the Mac and that will show you your frame
edges and also because I have hidden characters turned on,
| | 02:07 | I can see that little anchor right there and that shows me
that this is the spot where the Anchored Object is going.
| | 02:14 | It's anchored to the Yen symbol, but this is the anchor itself.
| | 02:17 | Now if I click on this frame outline, you have to click on
the outline because there is No Fill then press Ctrl+Alt+V
| | 02:24 | or Command+Option+V to access that Paste Into command,
| | 02:28 | you can see that it goes right there
into the frame just as it is supposed to.
| | 02:32 | Then I go ahead and Fit Frame to Content like
so and everything is hunky dory once again.
| | 02:36 | Now, the other little trick I wanted to show
you is in addition to viewing the frame,
| | 02:40 | which is really great idea when you
are working with Anchored Objects.
| | 02:44 | Another good idea is to go up to the View menu and
choose this command Show Text Threads, which you can get
| | 02:50 | by pressing Ctrl+Alt+Y or Command+Option+Y on a Mac.
| | 02:53 | That will show you a little dotted line between the
Anchored Object and the Anchor point inside of your text.
| | 02:59 | So just an easy way to track what's going on.
| | 03:01 | Now, I typically leave Frame Edges turned on like I have
them here and then I just Show Threads every once in a while.
| | 03:08 | So I am going to press Ctrl+Alt+Y or
Command+Option+Y again to turn that thread off.
| | 03:12 | It's just a little thick and it covers up so much stuff.
| | 03:15 | I don't like to have it on, on a regular basis.
| | 03:17 | I will turn it back on again.
| | 03:18 | All that stuff goes away when you press
the W key to switch into the Preview mode.
| | 03:24 | When you are in a Preview mode, you
are not going to see the frame edges
| | 03:27 | or that dotted thread line or any of the guides either.
| | 03:30 | You are just going to see a clean page.
| | 03:33 | You are only going to see something
when you have it selected like so.
| | 03:36 | Alright, just something to bear in mind.
| | 03:37 | I am going to press the W key to bring everything
back and then I am going to press Ctrl+Alt+Y
| | 03:41 | or Command+Option+Y on the Mac to hide that dotted thread.
| | 03:45 | In the next exercise, we are going to generate an Object Style
that is going to automate the creation of these Anchored Objects.
| | Collapse this transcript |
| Creating an anchored object style| 00:00 | Woo-hoo! In this exercise we are
going to be creating an Object Style,
| | 00:04 | to automate the creation of future
anchored object here inside InDesign.
| | 00:08 | I happened to be working inside of a catch-up
document, if you are just joining us.
| | 00:11 | It's called the anchored H.indd, found
inside the O7 Objectstyles folder.
| | 00:17 | There is the anchored H right there, check it out.
| | 00:19 | If you click on its outline, on the outline for the anchored
frame with the black arrow tool, you will select that entire frame
| | 00:27 | and it contains many of the attributes
that we need to create an anchored object.
| | 00:32 | Almost all the attributes that we will need actually.
| | 00:36 | So let's go ahead and save off a new
Object Style based on that selected object.
| | 00:40 | Then I am going to bring up the Object Styles
dialog box, either by clicking on this little icon
| | 00:44 | or pressing Ctrl+F7 on the PC or Command+F7 on the Mac.
| | 00:48 | I am going to Alt+Click or Option+Click on the little page icon.
| | 00:52 | There is the new Object Style dialog box.
| | 00:54 | Let's go ahead and name this guy Margin objects and I
am going to go ahead and give it a keyboard shortcut,
| | 01:00 | what the heck, of Shift+Alt+ numeric keypad 5 and that would
be Shift+Option+Num 5 on the numeric keypad on the Mac.
| | 01:07 | Now, I am not sure that I want to save every single attribute
here and the reason is if anything Object Styles tend
| | 01:15 | to save too many attributes then you can end
up overriding other Object Styles later,
| | 01:22 | because it can be useful to combine
multiple Object Styles in a single object.
| | 01:25 | I will show you that later in this chapter.
| | 01:28 | So you don't want to save too many attributes because you can end
up wiping out attributes that were assigned by a different style.
| | 01:35 | In other words, you just want to save what you have got to save.
| | 01:37 | Now in our case if I go ahead and twirl open the Fill
all the way up in by Alt+Clicking or Option+Clicking
| | 01:43 | that little twirl triangle there then I will
note that I have got a Color of None applied
| | 01:48 | and I do want No Fill assigned to these anchored objects, right?
| | 01:52 | So that's good.
| | 01:53 | Same with the stroke, I have got No
Stroke assigned too. Very important.
| | 01:57 | We will see how that's not going to exactly do what we wanted
to do later, but anyway we do want to save it off and so on.
| | 02:03 | So we want to save the Fill and Strokes attributes and
probably the Stroke and Corner Options, what the heck?
| | 02:08 | But I didn't do anything to the text frame.
| | 02:10 | So I am going to turn off the Text Frame Options
| | 02:13 | and you will notice they don't totally
dormant on you, they just slightly sleep.
| | 02:17 | It's impossible to turn them all the way off, to get
completely blank checkboxes like we are seeing down here.
| | 02:23 | So don't even try because if you click again
you will just bring up the checkmark again.
| | 02:26 | So the blue is what we want in this case.
| | 02:28 | There are no Story Options.
| | 02:29 | Story Options are weird things like Optical Margin
Alignment, don't worry about that, just turn it off.
| | 02:34 | Then Text Wrap. Well actually if I click on Text Wrap
here, this is also a way of seeing what's been assigned,
| | 02:40 | you can see I have got no Text Wrap assigned and I don't
want any Text Wrap for these particular anchored objects.
| | 02:46 | So actually that's probably a good thing.
| | 02:47 | I definitely want to save the Anchored Object Options.
| | 02:51 | So having turned on these five checkboxes and none
of the others and don't even worry about the Effects
| | 02:57 | because there is very little you can do to control them.
| | 02:59 | If you go back to General you will see that there are all
kinds of Object Effect settings and Stroke Effect settings
| | 03:05 | and Fill Effect settings and Text Effect
settings that are getting saved along
| | 03:09 | with your style even though you specifically
asked for them not to get saved.
| | 03:13 | So it's little bit of a kerfuffle actually.
| | 03:16 | Anyway notice we have got this checkbox, Apply
Style to Selection, go ahead and turn that on.
| | 03:20 | You could turn on Preview if you wanted
to as well, but we don't need to.
| | 03:22 | Go ahead and click OK in order to create this style and
apply it to the H. Let's go ahead and make it a little wider
| | 03:28 | so that we can see the entire name
along with the keyboard shortcut.
| | 03:30 | There it is.
| | 03:32 | We have successfully by the way created an Anchored Object Style.
| | 03:35 | In the next exercise we are going to use that Anchored
Object Style to automate the creation of this guy,
| | 03:41 | to automate anchoring this stroke
thing right there to Scotch rule.
| | 03:46 | Stay tuned.
| | Collapse this transcript |
| Establishing anchored object defaults| 00:00 | If you are joining us, I am working inside of a catch-up
| | 00:02 | document called Anchored Object Style.indd
found inside the 07 Object Styles folder.
| | 00:08 | In this exercise, we are going to take this Scotch rule,
that's what it's called, that thing right there, and attach it
| | 00:14 | to this text, which of course is
the glossary entry for Scotch rule.
| | 00:18 | Alright, so here is what I want you to do. I want you to go ahead
and select this Scotch rule thing with your black arrow tool
| | 00:24 | and then press Ctrl+X or Command+X on
the Mac to cut it to the clipboard.
| | 00:28 | Then with nothing selected by the way, we are
going to setup a default Anchored Object Style.
| | 00:35 | Go up to the Object menu, make sure nothing is selected.
| | 00:37 | If necessary, press Ctrl+Shift+A or Command+Shift+A on the
Mac, then go to the Object menu, choose Anchored Object
| | 00:43 | and you should see this command right there, Insert (Defaults).
| | 00:46 | This will be with the default insert
options that we are going to be applying.
| | 00:51 | So go ahead and choose that command, and
then it's going to ask you some stuff.
| | 00:56 | For example, what is the Object Style? Well go
ahead and change the Object Style to Margin objects
| | 00:59 | and that's going to fill out this entire area right here.
| | 01:02 | The only thing it doesn't fill out is Height
and Width, which you have to specify manually.
| | 01:07 | So I would go ahead and just change the Width value to 6p6 like
that. Otherwise leave it alone, and then go ahead and click OK.
| | 01:14 | Notice you didn't do anything, you just specified
the insertion defaults for an Anchored Object.
| | 01:19 | Alright, now go ahead and grab your Type tool, click in
front of the S in Scotch rule, then go up to the Object menu,
| | 01:25 | choose the Anchored Object command, choose Insert,
everything will be as you just saw just a moment ago.
| | 01:30 | So all you got to do, don't even look, close your
eyes, or just kind of squint down here at the OK button,
| | 01:35 | because you got to be able to see that, and click on OK.
| | 01:37 | In other words, all you got to do is click on the OK button.
| | 01:40 | Now notice despite our very, very
specific instructions to InDesign,
| | 01:46 | I am going to press Ctrl+Shift+A or Command+Shift+A on the Mac.
| | 01:48 | For a second, I will switch to the Preview mode too by
pressing the W key- that is a stroked frame right there.
| | 01:54 | I specifically ask not to see stroked frames, InDesign.
| | 01:59 | Remember, when we saved margin objects, we saved the
fact that there was no stroke? And yet it ignored us.
| | 02:04 | Check this out. I am going to switch to
the black arrow tool by pressing the V key
| | 02:07 | and I am going to click on that object to select it.
| | 02:10 | It does have a stroke by the way, a nice,
big, thick black stroke it's a full 1pt stroke,
| | 02:15 | darn it, and then you go over here, Margin objects+.
| | 02:19 | Oh, I see so you just decide to add your own override,
InDesign. Thank you very much for that, darn you.
| | 02:25 | So what you've got to do is you've got to Alt+Click or
Option+Click on that little guy in order to clear the Overrides.
| | 02:31 | So now we are in business and then you press Ctrl+Alt+V or
Command+Option+V on the Mac in order to paste that sucker in.
| | 02:38 | Here's another way to work. I will go ahead
and back step a couple of operations there.
| | 02:43 | So I press Ctrl+Z several times in row or Command+Z on the Mac.
| | 02:47 | Then I will press the W key to bring back all my onscreen
falderal. I will have to switch off the Preview mode.
| | 02:52 | I will grab the Type tool- oh actually before I do this, here
is what I want you to change. Before you click on anything
,
| | 02:58 | so press Ctrl+Shift+A or Command+Shift+A on the Mac to make sure
nothing is selected. Then notice that you do have a black stroke
| | 03:04 | for some reason going so I would make sure the stroke is active
| | 03:08 | and then press the Slash key in order
to make it transparent like so.
| | 03:13 | Now go ahead and click in front of the S in
Scotch rule, then go up to the Object menu,
| | 03:18 | then choose Anchored Object then
choose Insert then ignore everything.
| | 03:22 | Close your eyes and click on the OK button and then
you have got a nice frame that doesn't have a stroke.
| | 03:27 | God bless America. That's awesome.
| | 03:29 | Then press Ctrl+Alt+V or Command+Option+V
on the Mac to paste that sucker in.
| | 03:35 | Isn't that nice?
| | 03:36 | Yes, OK. More things that can go wrong.
That's what's coming up in the next exercise,
| | 03:41 | a little more troubleshooting coming at you soon.
| | Collapse this transcript |
| Problems? Fit the frame to the contents| 00:00 | As promised, I am going to show you a couple of things that can
go wrong with the application of this Anchored Object Style.
| | 00:06 | Check this out.
| | 00:07 | I am going to go ahead and I am still working inside by the
way the same Anchored Object Style.indd file that I opened
| | 00:12 | in the previous exercise, found inside
of course the 07 Object Styles folder.
| | 00:18 | But I have made a couple of changes. I have gone
ahead and setup the Default Margin Object Style
| | 00:23 | and then I pasted the Scotch rule into this anchored frame.
| | 00:27 | Okay, let's say now that I decide that
I want this S that's serving as the head
| | 00:31 | for the alphabetical entries here inside this glossary.
| | 00:35 | I want it to be much, much bigger.
| | 00:37 | So I am going to click on it with my black arrow tool,
and then I am going to change the Scale options up here.
| | 00:41 | I am going to make sure by the way that the Link is turned on.
| | 00:44 | So I am constraining the proportions of the S. Then I am going
to change that first value to 250% and then hit the Return key
| | 00:52 | or the Enter key here on the PC and that goes
ahead and shifts Scotch rule way the heck down,
| | 00:57 | but notice this Scotch rule is not in alignment.
| | 01:00 | It's way off of alignment.
| | 01:02 | I will go ahead and move this guideline down to the top of
the Cap Height and this Scotch rule is sitting way up there.
| | 01:08 | Why? Because it's frame is so enormous and you may recall I
had specified where this Margin Object Style is concerned,
| | 01:16 | I specifically asked that the frame not dip below into the margin
region. And you can see that if you go up to the Object menu,
| | 01:23 | choose Anchored Object and choose Options, you can see
that I say, Keep within Top/Bottom Column Boundaries.
| | 01:31 | Now if I turn that option off, and I
have the Preview checkbox turned on.
| | 01:35 | So I will turn this guy off.
| | 01:36 | You can see that then InDesign allows it to drop down.
| | 01:39 | But were it filled with all kinds of information there,
were there are some more graphical stuff going on,
| | 01:44 | down in this region it would look ridiculous.
| | 01:46 | So really I don't want this to be able to
dip down, I don't want the frame to go down.
| | 01:51 | So I would leave that checkbox turned on.
| | 01:53 | In fact I will just go ahead and click on the Cancel button.
| | 01:55 | Instead what I want to do is I want to take advantage of our
old friend, and I say old friend, because we saw it at a couple
| | 02:01 | of exercises ago, this guy up here,
this frame fitting feature right there.
| | 02:05 | Fit frame to content. Go ahead and click
on it, up here in the Control palette
| | 02:10 | or you press Ctrl+Alt+C, Command+Option+C on the Mac.
| | 02:13 | Now it totally takes care of the problem.
| | 02:15 | Check this one out; actually, I am going to
sort of undo a series of operations here.
| | 02:20 | I am going to undo the pasting of the object into the frames.
| | 02:24 | So I have gone ahead and press Ctrl+Z or
Command+Z on the Mac, so many times that I got back
| | 02:28 | to the step before I ended the previous exercise.
| | 02:32 | So this frame is anchored, but it's empty.
| | 02:35 | Now, go grab that S, change its scaling value to 250%, once again
press the Enter key here on the PC or the Return key on the Mac.
| | 02:44 | Then check this out, I will go ahead and click on the
frames to select it, and I will go up to the Edit menu
| | 02:49 | and I will choose Paste Into and I am
choosing the command this time to as opposed
| | 02:53 | to pressing the keyboard shortcut just
so you can see I am really doing it.
| | 02:56 | Paste Into. There is this line that
appears right there, but that's it.
| | 03:01 | What in the world is going on?
| | 03:02 | Well, the Paste Into command is trying to put
the item in the same place and position it
| | 03:08 | at the same horizontal and vertical position from
which it was cut and that's above the frame,
| | 03:14 | so we are not actually seeing the Scotch rule at all.
| | 03:16 | If I press the W key to switch in the
preview mode, you can't see a darn thing.
| | 03:19 | Well, let's go ahead and select that frame.
| | 03:22 | If I go ahead and once again Fit the frame to the content by
clicking on this little button up here in the Control palette
| | 03:27 | or pressing Ctrl+Alt+C Command+Option+C
on the Mac, totally solves the problem.
| | 03:32 | So just bear that in mind, because it could be a real freak-out.
| | 03:35 | The tendency is to go up to the Edit menu and choose
Paste Into and then notice ah, it didn't work,
| | 03:41 | I guess InDesign wasn't quite paying attention to me, right?
| | 03:43 | So I will go up to the Edit menu and do it
again, Paste Into and then still not doing it.
| | 03:48 | So may be you press the keyboard shortcut about five
times in row, Ctrl+V, Ctrl+V, Ctrl+V, Ctrl+V, Ctrl+V,
| | 03:54 | whatever and then pretty soon you have got 15
of these items sitting inside of this text frame
| | 04:00 | and it can be a little bit of a mess to try to untangle that.
| | 04:03 | Well, in fact all you need to do, I will just go
ahead and undo the edition of those last several items.
| | 04:07 | All you really needed to do was paste in there once, have faith
that InDesign got it right because choosing the same command
| | 04:14 | over and over isn't going to do you any good.
| | 04:16 | Then go ahead and click on this Fit frame to
content button in order to solve your problem.
| | 04:20 | Alright. So far so good.
| | 04:22 | In the next exercise, I am going to show you how to create an
Anchored Object that's going to lock an object into alignment not
| | 04:30 | with other objects on the page, but rather with the page itself.
| | 04:33 | Stay tuned.
| | Collapse this transcript |
| Employing a highly selective object style| 00:01 | In this next exercise, I am going to show you how to
anchor a footnote on the same page as its reference,
| | 00:07 | as the item that's referencing the footnote,
and this technique involves a little bit
| | 00:11 | of Object Styles, a lot of anchored objects.
| | 00:14 | Now if you are working along with me, I am still inside
the same old document, that same Glossary document.
| | 00:18 | But if you are just joining me, I am working inside of a
catch-up document called First page anchored.indd because all
| | 00:24 | of the objects on the first page are indeed anchored and you
will find this document inside the 07 Object Styles folder.
| | 00:31 | I don't need these ruler guides anymore, so I am going to select
them and hit the Backspace or Delete key to get rid of them.
| | 00:37 | Then I am going to press Shift+PageDown, in order to advance
to the next page, and you will see this item right there.
| | 00:43 | Notice that it's a footnote for this page, but it's not anchored
| | 00:47 | to the thing that's casting the footnote that's referencing
the footnote, which is this entry right here- sentence style.
| | 00:52 | Notice it ends in an asterisk and
then asterisk references the footnote.
| | 00:57 | Okay. So we need to somehow anchor the two
together just in case they switch pages of course.
| | 01:02 | Now, right now you will notice if you go ahead and grab this guy
and then drag it off the page like so that the text goes ahead
| | 01:10 | and fills up the page, meaning that there must be
some sort of Text Wrap associated with this item.
| | 01:15 | New to InDesign CS3- I went ahead and undid the movement
there by pressing Ctrl+Z or Command+Z on the Mac-
| | 01:20 | new to InDesign CS3 is a bug that sometimes
prevents the Text Wrap from displaying
| | 01:26 | when you have it selected with the standard black arrow tool.
| | 01:29 | What you have to do is you need to switch to the white arrow
tool by pressing the A key and then you will see the Text Wrap
| | 01:37 | as you can see it right there in all of its glory.
| | 01:40 | So it's a big old Text Wrap that's
keeping the text way, way away from it.
| | 01:44 | Well, if I were to take this text frame and convert it into
an Anchored Object, I would lose the Text Wrap by default.
| | 01:49 | So I would like to have a mechanism to add the Text Wrap
back and that mechanism of course is an Object Style.
| | 01:56 | So I want you to go over to the Object Styles
palette and I want you to Alt+Click or Option+Click
| | 02:02 | on this little page icon at the bottom of the palette.
| | 02:04 | Let's go ahead and call this Footnote wrap or something
along those lines, and I spell it right? Yes I did, good.
| | 02:09 | Get rid of the shortcut if one is showing up and
then I only want this to affect the Text Wrap.
| | 02:14 | So I am going to turn everybody else off like so.
| | 02:18 | So everybody, but Text Wrap & Other goes to sleep
here, goes to these are sort of blue squares
| | 02:25 | and I can't do anything about the effect, so leave them alone.
| | 02:28 | Make sure you are applying the style to the selection, that's
fine, and then click OK in order to accept your modification.
| | 02:34 | Good. Now then I am going to switch to the black arrow tool.
| | 02:37 | Text Wrap goes away; it doesn't really,
it just doesn't display anymore.
| | 02:40 | Now I want you to note how big this item is, and you
can note that up here in the Control palette,
| | 02:45 | the Width and Height values right there.
It's about 20 picas wide, a little teeny more,
| | 02:50 | but not enough to really worry about,
and then the Height is essentially 4p3.
| | 02:55 | I don't know why it's telling its bigger values right here.
| | 02:57 | It's really 20x4p3.
| | 02:59 | Alright. So anyway now I am going to grab this, and I am
going to cut it by pressing Ctrl+X or Command+X on the Mac.
| | 03:05 | Of course that gets rid of the Text Wrap as well.
| | 03:07 | Now, let's go up to this little sentence style entry,
and I want you to do double-click between the period
| | 03:12 | and the asterisk to insert the anchor at that location.
| | 03:15 | Then go to Object and choose Anchored Object, Insert like so.
| | 03:19 | We don't need an Object Style this time
around, so go ahead and set it to None
| | 03:24 | and we want the Height and Width to be the values we just saw.
| | 03:26 | So the height I believe was 4p3 and the Width was 20
essentially, and we don't want it to be Inline or Above Line.
| | 03:33 | We want it to be Custom, and we want
it to Relative to Spine that's fine.
| | 03:38 | Now, this time I was X Relative To and Y
Relative To to both be set to the Text Frame,
| | 03:44 | because we want to align this new
frame to the existing Text Frame.
| | 03:49 | We want it to appear at the bottom
of the big Text Frame essentially.
| | 03:53 | We want an X Offset to 0, and a Y Offset to 0 because it is
going to be centered right there at the bottom of the page,
| | 03:58 | and now notice that we have full sort of little
matrices set up inside each of these pages.
| | 04:04 | You just want both set to the same thing,
which is the inside corner right there on both
| | 04:09 | of these matrices and that should take care of it.
| | 04:12 | Go ahead and click OK and you should see some form
of frame at the bottom of the page. There it is, good.
| | 04:18 | Now with that frame selected, go up to the
Edit menu and of course choose Paste Into
| | 04:24 | or you can press Ctrl+Alt+V or Command+Option+V on the Mac.
| | 04:26 | Of course the next step is to make
sure that the frame fits its content.
| | 04:31 | So you go ahead and click on that little icon like we
always have to do, in order to align things precisely
| | 04:36 | like so, and then notice our Text Wrap is gone.
| | 04:39 | So shoulder is encroaching on the
space occupied by the footnote.
| | 04:43 | We don't want that so we are going
to go ahead and apply Footnote wrap.
| | 04:47 | That's why it's so great to have that Object Style in place.
| | 04:49 | It did not mess up the Anchored Object settings at all, nor did
it change any of the other settings, because I told it not to.
| | 04:56 | This time InDesign paid attention to
my instructions. Yay, that's nice.
| | 05:00 | Alright, so there it is. I am going to
go ahead and zoom out just a little bit,
| | 05:03 | press the W key so we can see what this page looks like thus far.
| | 05:06 | In the next exercise, I am going to show you yet another way
to create some Anchored Objects, because we have all kinds
| | 05:12 | of problems with these guys not aligning to what they are
supposed to align to and we are going to take care of that
| | 05:16 | in an easier way, much easier way than we have seen
previously just cut, paste and apply an Object Style.
| | 05:22 | You'll see it works so beautifully in the next exercise.
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| The best way to anchor objects| 00:00 | Well, we've got lots more to anchor, folks.
| | 00:03 | That's why I've called this document Lots more to anchor.indd.
| | 00:07 | It's a catch-up document that's found
inside the 07 Object Styles folder.
| | 00:11 | Could have called it something clever like Anchors away.
| | 00:14 | Yes, you are thankful I didn't do that.
| | 00:16 | You are welcome!
| | 00:17 | So what should we be doing at this point?
| | 00:19 | Well, we've got this W right here that
actually goes with script typefaces
| | 00:23 | and we've got this guy right
there that actually goes with serif.
| | 00:27 | Check it out, we don't have to have these even
remotely in the right places if we take advantage
| | 00:32 | of a simpler technique that I haven't shown you so far.
| | 00:35 | I am going to go ahead and press the W key, so that I can see
all the guides and all the invisible characters and everything,
| | 00:42 | and I am going to grab W, click on it
that is, with the black arrow tool.
| | 00:46 | I am going to press Ctrl+X or Command+X on the Mac.
| | 00:49 | I am going to double-click in front
of the S in script typesfaces,
| | 00:52 | just make sure you have a blinking insertion marker in front
of script, and then I'll press Ctrl+V or Command+V on the Mac.
| | 00:58 | Now I am going to press the Enter key on the keypad or
you could press the Escape key if you did not load Deke keys,
| | 01:03 | and that switches me back to the black arrow tool.
| | 01:05 | I'll click on the T in order to select it,
press Ctrl+X and then double-click in front
| | 01:10 | of serif right there and press Ctrl+V in order to paste that guy.
| | 01:15 | So you may say, "Hey Deke,
| | 01:16 | it doesn't seem like we are getting very close
| | 01:17 | to making any Anchored Objects here, we
are just making a mess of everything".
| | 01:22 | That's okay. I am going to go grab my black arrow tool and I am
going to click on the W and I'll click on Margin Objects, bang!
| | 01:29 | Look at that.
| | 01:29 | That's all you've got to do.
| | 01:30 | You don't even have to fit the frame to the contents this way.
| | 01:33 | Isn't that easier?
| | 01:34 | Then grab the T and go ahead and
click on Margin Objects for it too.
| | 01:38 | It goes in and throws it out there,
just exactly where it needs to be.
| | 01:40 | It fits the frame and everything; you
don't have to worry about that at all.
| | 01:42 | Let's go over here and do the same thing for 11 PM.
| | 01:46 | Go ahead and grab that guy, Ctrl+X it, double-click in front
of small capitals, you probably know them as small-caps
| | 01:54 | and then press Ctrl+V, Command+V on
the Mac in order to Paste that text.
| | 01:58 | Get your black arrow tool.
| | 01:59 | Click on 11 PM, Margin Objects. Man oh man, is that easy?
| | 02:04 | Is that easier or what?
| | 02:06 | In the next and final exercise we'll take a look at something a
little bit special going on with the S down here and the X up here.
| | 02:14 | We need to do a little switcheroo associated with those two guys.
| | 02:17 | It's pretty amazing stuff.
| | 02:19 | I think you want to be part of it, so definitely, stick with me.
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| Moving and anchoring text and objects| 00:00 | Alright, welcome to the last exercise in this entire series
in which we will take the final two objects that have not
| | 00:08 | been anchored and we will anchor them, but they're both special
case objects and I'll show you why in just a moment. But first,
| | 00:14 | I'd like you to catch-up with me, if you are not already caught
up. You might already be working right along with me, but if not
| | 00:20 | I've got this document called 7 down 2 to go.indd,
found inside the 07 Object Styles folder.
| | 00:27 | Alright, so let's go ahead and scroll to the bottom of the
page here. Notice this S doesn't go with solidus fraction or
| | 00:33 | solidus or any of the solid stuff. In fact notice we've got some
overhanging text, as indicated by this little red plus sign (+)
| | 00:41 | right there. I'll go ahead and click on the text with the Black
Arrow tool to select the frame and then I'll drag it down,
| | 00:46 | and you can see that there is this item right here
spine, 'The central part of the main stroke of an S.'
| | 00:52 | That's what that is. You can see the circle around the
spine and everything. So go ahead and click on that S.
| | 00:57 | We'll go ahead and press Ctrl+X or Command+X on the Mac in
order to cut it. I'll double-click in front of the S in spine.
| | 01:03 | And by the way, if you accidentally double-click here or something,
just press the Left Arrow key a couple of times to get it over
| | 01:09 | to where it needs to be. So you just want the blinking insertion
marker to be in front of the S. Then you press Ctrl+V,
| | 01:14 | Command+V on the Mac in order to paste that S into place.
| | 01:17 | Now switch back to the Black Arrow tool; however you want to do it.
Click on the S in order to Select it and then click on Margin Objects
| | 01:25 | in order to apply that style and convert the S into
an anchored object. Now it's automatically aligned to
| | 01:33 | spine and it flows with spine as well. So if I say, okay,
go away you guys because we don't want you on this page,
| | 01:39 | notice that the anchored object goes away as well, and then
if I click in order to load my cursor with some text like so.
| | 01:46 | Let's go and Zoom Out a little bit. What I
need to do is go up to the Pages palette.
| | 01:50 | I need to add a new page. So I'll just click on this
little page icon down at the bottom of the Pages palette.
| | 01:54 | By the way, you can get to the Pages
palette by pressing the F12 key if you want to.
| | 01:58 | Adds a new page. I just go ahead and click at the top of the new page
and notice, of course I don't have a lot of text to work with here,
| | 02:04 | but notice that the anchored object flows
with its text. It's a wonderful, wonderful thing.
| | 02:11 | It's just amazing that it is able to do that.
This also is really great, check this out.
| | 02:16 | See the X right there? It goes with side bearing. So I'll go ahead
and grab the X by clicking on it with the Black Arrow tool.
| | 02:22 | Ctrl+X or Command+X on the Mac to cut it. Then I'm
going to double-click in front of the S in side bearing.
| | 02:28 | Press Ctrl+V, Command+V on the Mac to paste it.
| | 02:31 | Switch back to the Black Arrow tool. Click on the X in order
to select it. Now we want to hide the Pages palette and bring up
| | 02:38 | the Object Styles palette. Click on Margin Objects
and it goes and converts that X to an anchored object.
| | 02:43 | Now what's so special about that? Well, check it out friends.
| | 02:47 | Side bearing right here is not in alphabetical order.
I put it in the wrong spot. How'd I manage to do that?
| | 02:53 | Well, doesn't matter. I am just going to go ahead and select
this paragraph, cut it and paste it into the right spot.
| | 02:59 | So I am going to go ahead and switch to my Type tool
| | 03:03 | and then quadruple-click inside the paragraph
to select it. So one, two, three, four
| | 03:07 | in order to select the entire paragraph. Now let's cut it
by pressing Ctrl+X, Command+X on the Mac. I cut the anchored
| | 03:14 | object as well. Is that not the coolest thing ever?
| | 03:17 | Then I am going to go ahead and click in front of side-heads
in order to position the cursor in front of the word side there.
| | 03:23 | Because I think side bearing should go in front of side-heads because
of the B versus the H and the space versus the hyphen and everything.
| | 03:30 | Then I'll press Ctrl+V or Command+V on the Mac
in order to paste that text into place and
| | 03:35 | I not only paste the text, I also paste the Yen symbol,
which contains the information linking the anchored object.
| | 03:43 | So it all goes together, just amazing how well these guys work. So
we've seen inside of this chapter. We've not only seen Object Styles
| | 03:51 | and how miraculous they are, the many ways that they can
automate the production of pages here inside of InDesign,
| | 03:56 | but we've also seen Anchored Objects,
which are a minor miracle in and of themselves.
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ConclusionGoodbye| 00:00 | People say to me, "Deke, how do you talk for 5 1/2 hours
on style sheets, which is just one facet of InDesign?"
| | 00:07 | That's roughly the time it takes Jack Bauer,
| | 00:10 | the fictitious hero from TV show '24,' to lose a wife, save
a daughter, of get a girlfriend, develop a heroin addiction,
| | 00:17 | fake his own death and single-handedly stop three nuclear bombs.
| | 00:22 | We actually had all that stuff in here,
but it didn't quite make the cut.
| | 00:26 | What can I tell you? The style sheet stuff was better.
| | 00:29 | I hope you enjoyed this look at the amazing,
action-packed world of InDesign CS3 style sheets.
| | 00:35 | With any luck, you'll be creating better
looking documents more quickly in no time.
| | 00:40 | If you're looking for more where that came from, don't forget to check
out www.lynda.com/deke. Something like 30,000 videos at this site,
| | 00:50 | and only one in with Jack Bauer.
| | 00:53 | Don't believe me? Go back and watch them all again.
| | 00:56 | And again
| | 00:57 | and again.
| | 00:59 | At the end of many of them, you'll see me
saying, "This is Deke McClelland saying,
| | 01:04 | see ya!"
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