IntroductionUnderstanding how to use this course| 00:00 | Hi, my name is Nigel French, a
graphic designer and instructor living in
| | 00:04 | Brighton, England and I am here to
teach InDesign CS3 Professional Typography
| | 00:10 | where we will be looking at the finer
points of working with type in Adobe
| | 00:13 | InDesign as well as digging deep into
many timeless typographic concepts and
| | 00:18 | principles.
| | 00:20 | We will be looking at the type
related features and preferences within the
| | 00:23 | application. To effectively use this
title it is advisable that you have some
| | 00:28 | prior knowledge of InDesign. If you
are new user, lynda.com has the InDesign
| | 00:34 | Essentials Training title, which
I advise you to check out first.
| | 00:38 | Feel free to jump around from chapter
to chapter but these lessons are intended
| | 00:43 | to built upon each other, enjoy.
| | Collapse this transcript |
| Using the exercise files| 00:00 | If you are a Premium Member of the
lynda.com Training Library or if are
| | 00:04 | watching this tutorial on a disk you
have access to the Exercise Files used
| | 00:09 | throughout this title.
| | 00:09 | The exercise files are arranged by
chapter and there is also a separate folder
| | 00:15 | called Text from which I will be
accessing certain text files. I have tried to
| | 00:20 | limit my use of fonts to those fonts
that come with InDesign, so you should
| | 00:24 | have all the fonts that I am using, if
you don't feel free to substitute your
| | 00:28 | own. Let's get started.
| | Collapse this transcript |
|
|
1. Getting StartedWorking with essential preferences and setup| 00:00 | Welcome. In this movie we can get
acquainted with some of the terminology I
| | 00:04 | will be using throughout this
title. I am in a document called
| | 00:08 | type_anatomy.indd, which is in the
Getting Started folder. I am going to
| | 00:11 | zoom-in on the top portion of the page
by pressing down my Command+Spacebar and
| | 00:16 | dragging out a Zoom marquee over that area.
| | 00:19 | So throughout these exercises I will
be making frequent reference to things
| | 00:24 | like baseline, the invisible line on
which the type sits, X-Height, which is
| | 00:30 | the height of the lowercase characters.
Ascender the portion of the letters
| | 00:35 | that goes above the X-Height and
Descenders the portion of the letters in this
| | 00:41 | case the Y, the P, the G and the
second P that goes beneath the baseline.
| | 00:46 | Let's now zoom-out and back in again
to this portion of my page. I am also
| | 00:54 | going to frequently mention Serif and
Sans Serif, the broadest distinction one
| | 00:59 | can make between typefaces. On the left
we have an example of a Serif typeface
| | 01:05 | Adobe Garamond Pro with the Serifs
themselves circled and a Sans Serif type
| | 01:11 | face Myriad Pro.
| | 01:13 | Now I am going to zoom in on this
bottom portion of my screen, just to let you
| | 01:18 | know that for the most part I prefer
to work in picas or points. These are a
| | 01:24 | typographic unit of measurements 6 picas
= 72 points = 1 inch = 2.54 cm or 25.4 mm.
| | 01:36 | Now picas are little bit tricky at
first because they are non-decimal, they are
| | 01:40 | in units of 12. 1.5 picas is actually
expressed as 1 pica and 6 points, which
| | 01:48 | is 18 points, or 0.25 of an inch
etcetera. They take a little bit of getting
| | 01:53 | used to, but once you are used to them
I think you will find they make the most
| | 01:57 | sense when working with type and
they make the most sense because type is
| | 02:01 | always expressed in points and so are
things relating to type like Leading the
| | 02:06 | space between the lines.
| | 02:08 | Another unit of measurement I refer
to is the Em Space. This is a relative
| | 02:13 | unit, which is the size of your type.
For example if you are using 12 point
| | 02:17 | type and Em Space is 12 points, an Em
Space is half that width. When working
| | 02:25 | with measurements in InDesign you
can change your unit of measurement by
| | 02:29 | right-clicking in the ruler. If you
are a Mac user with a single-button mouse
| | 02:35 | you can hold down the Control key and
click in the ruler to quickly change your
| | 02:39 | measurements. You could also come to
your Preferences and change them here in
| | 02:44 | units and increments and you have both
a horizontal and vertical measurement.
| | 02:50 | If you are like me certain things make
more sense in points and other things
| | 02:55 | like most sense in inches or if you are
from Europe in mm or cm. The good news
| | 03:01 | is that we can input our measurements
in any of InDesign supported measurement systems.
| | 03:08 | So for example even though I am in
Points, if I want to make this black
| | 03:13 | rectangle 1 inch wide, I can come up
to my Control palette and type in 1 in
| | 03:21 | just so long as I identify the
measurement as being inches then press Tab,
| | 03:26 | InDesign will convert that to the equivalent
in Points, my default unit of measurement.
| | 03:31 | I should also make reference to my
Workspace, which is the arrangement of my
| | 03:36 | palates. Here on the Window menu, I
am using the Default Workspace but I am
| | 03:43 | doing one thing extra with my Default
Workspace. So if you use the Default
| | 03:49 | Workspace, your interface will look
like mine with the one exception that I am
| | 03:54 | about to address now and that is that I
would like to contract my panels on the
| | 03:59 | right hand side to maximize my working
area. The only downside of that is that
| | 04:04 | your panels are not identified by the
name but only by their icon, but you very
| | 04:09 | quickly become used to them. And to
contract I just pull that in like so
| | 04:14 | allowing me to expand my working area.
| | 04:18 | I should also disclaim that
technically in CS3 all of these things are called
| | 04:25 | panels however while I sometimes refer
to them as panels through force of habit
| | 04:30 | I often refer to them as palettes
and that's because in InDesign CS2, in
| | 04:36 | earlier versions that's what they were
called. So if you hear me using those
| | 04:41 | two terms interchangeably that's just
because it's a habit I am finding hard to
| | 04:45 | break. One other thing I would like to
make reference to is that InDesign like
| | 04:50 | all major applications allows you many
different ways of doing the same thing.
| | 04:55 | For example when setting your type
there are numerous ways you can do this and
| | 04:59 | I just want to point out my personal
preference and some of the other ways
| | 05:03 | which I am not using. If I double-
click in that piece of type down there, for
| | 05:09 | the most part I am setting my type
options using the Control palette which is
| | 05:15 | this horizontal palette that sits at
the top of my screen. The Control palette
| | 05:20 | is divided into two parts when
working with type, the Character Formats as
| | 05:25 | identified by the A and the Paragraph
Format as identified by the Paragraph symbol.
| | 05:30 | The Control palette comprises the
options in the Character palette, which I
| | 05:36 | will tear off right there, and the
Paragraph palette. So there is a duplication
| | 05:44 | of functionality here because the
character formatting level of the Control
| | 05:49 | palette is the same as the Character
palette and the paragraph level is the
| | 05:55 | same as the Paragraph palette. I
prefer to not use my Character palette or my
| | 06:00 | Paragraph palette simply because not
having to have them open allows me to
| | 06:06 | maximize my working area.
| | 06:08 | Okay, let's get on and explore the movies.
| | Collapse this transcript |
| Dealing with missing fonts| 00:00 | Before we get into the meat of this
title, let's deal with how to handle
| | 00:04 | missing fonts, should you encounter
them. This document called fonts.indd in
| | 00:09 | the Getting Started folder is simply
a list of the fonts that I am using
| | 00:13 | throughout these movies. I have
restricted my usage of fonts to this list
| | 00:17 | because these fonts come bundled
with InDesign. So if you have installed
| | 00:22 | InDesign you will have these fonts.
| | 00:25 | If for whatever reason you don't or
you run across a missing font in another
| | 00:29 | file, here is how to handle it. I am
going to go to my File menu and choose
| | 00:34 | Open and I am going to choose this
document missingfonts.indd from the Getting
| | 00:39 | Started folder and I see there, my
alert that I am missing a font and I can now
| | 00:46 | click on Find Font to give me a list
of the fonts in my document and the
| | 00:51 | opportunity to change them.
| | 00:53 | I am actually going to click OK before
I do that, just so that we can see what
| | 00:59 | the missing font will look like within
InDesign. Now in my Preview View mode,
| | 01:04 | which is the one that I am in currently
the View mode, that doesn't show me any
| | 01:09 | of my guides or non-printing characters.
I will not see my missing fonts. So I
| | 01:15 | need to go to my Normal View mode and
when I do any fonts that are highlighted
| | 01:22 | with this pink highlighting such as
down here are missing and I am not going to
| | 01:28 | print correctly. I will just point out
that this a composition preference, the
| | 01:35 | highlighting of missing fonts and if
you are a Windows user your Preferences
| | 01:41 | are under the Edit menu.
| | 01:43 | Okay having identified that we have
missing fonts, to change them I am going to
| | 01:48 | go to my Type menu and pull down to
Find Font. This is going to take me to the
| | 01:54 | same place that I would have got to had
I clicked on Find Font when I first saw
| | 02:00 | that alert after opening the document.
Here I see a list of the fonts in my
| | 02:05 | document with a warning triangle next
to the one that is missing and I now need
| | 02:09 | to decide what I want to replace it
with. Since this is Myriad Pro Black
| | 02:15 | Condensed, I am going to change this
to its closest match, which in this case
| | 02:23 | is Myriad Pro Bold Condensed, not so different.
| | 02:28 | There is one another thing that I can
do and this is new in InDesign CS3, if
| | 02:34 | you are using paragraph styles and
the paragraph style definition calls for
| | 02:38 | this missing font, we can redefine
that style definition so that it now uses
| | 02:44 | this new font that you have
substituted for it, and that's probably a good
| | 02:49 | idea. So I am now going to click
Change All, then click Done and we see that
| | 02:54 | the pink highlighting has disappeared
and I no longer have missing fonts in my document.
| | Collapse this transcript |
|
|
2. Placing and Flowing TextWorking with text frames| 00:00 | In this chapter we are going to
look at text flow methods Manual, Semi
| | 00:04 | automatic, Auto flow, Auto flow
without adding pages. Before we do that I am
| | 00:09 | going to have quick refresher on
working with Text Frames, the anatomy of a
| | 00:14 | text frame how we create text frames
and how we make simple text selection.
| | 00:20 | So here I am in InDesign and when I
click on this text with my Selection tool
| | 00:26 | we see that the text frame, the
handles, the In-port and the Out-port both
| | 00:33 | currently empty indicating that we are
seeing the beginning and the end of the
| | 00:38 | story. If I resize this text frame
like so if I pull it up from the bottom so
| | 00:45 | that not all the text fits, I now have
overset text or over matter as indicated
| | 00:51 | by this red plus symbol here. To
continue this text flow let's say I want to
| | 00:57 | continue it in the second column here.
Just so that I can see my column I am
| | 01:01 | going to come to my viewing modes and
switch to Normal. Click on the red plus
| | 01:05 | symbol to load my cursor and then click
in column 2 to flow the text into column 2.
| | 01:11 | I now see a blue triangle in the In-
port of column 2 and in the Out-port of
| | 01:19 | column 1 indicating the continuation of
the text. I am going to undo that. So I
| | 01:24 | am going to press Command+Z or Ctrl+Z
three times to go back to this point
| | 01:31 | where we see that the whole story.
| | 01:33 | And now I just want to move on and
talk about some text selection methods.
| | 01:38 | Selecting the text frame with my
Selection tool gets me the handles enabling me
| | 01:43 | to move or resize the text frame. But
if I want to select the content of the
| | 01:48 | text frame I need to be in my Type
tool. Rather than select the Type tool
| | 01:51 | quicker than that is to just double-
click on the text frame and your typed
| | 01:57 | cursor is inserted at that point into
the text frame. To select a particular
| | 02:02 | word double-click it, a line three
clicks, a paragraph four clicks and the
| | 02:11 | whole story five clicks or easier
than that and it will save you getting
| | 02:15 | repetitive stress, Command+A or Ctrl+A.
| | 02:20 | Now if I wanted to create a text frame
in my document, I could use my Rectangle
| | 02:26 | Frame tool, click in it with my Type
tool or easier than that just use my Type
| | 02:30 | tool, click and drag and notice I am
dragging from guide to guide, so that I
| | 02:36 | make sure I create a text frame that
is an exact column width. And now I am
| | 02:42 | free to just type my content into that
text frame, when you do that you will
| | 02:50 | almost certainly end up with a text
frame, a bit bigger then you need it to be,
| | 02:55 | so to tidy thing up, as a house keeping
measure, you probably will want to come
| | 03:01 | to the Object menu, Fitting, Fit Frame
to Content or quicker than that use the
| | 03:09 | shortcut Command+Option+C or Ctrl+Alt+
C and that's going to shrink the text
| | 03:17 | frame so that it's just big
enough to contain the content.
| | 03:20 | Okay let's now move on and take a look
at our text flow methods working with
| | 03:26 | text that has been prepared and word
processing programs like Word or TextEdit.
| | Collapse this transcript |
| Working with manual text flow| 00:00 | Let's look at Manual Text Flow, which is
most appropriate when you have a short
| | 00:04 | burst of text and you are not really
sure exactly where you are going to go
| | 00:08 | with it. You want to want to flow it,
maybe get a sense of how long it is but you
| | 00:12 | don't to flow multiple pages of this
text but just rather get a single column or page.
| | 00:19 | In InDesign I am going to begin with a
new document that's File > New Document
| | 00:25 | or Command+N or Ctrl+N and I am
going to work with a Half Letter size. My
| | 00:31 | current unit of measurement is Picas
and I have a 3 pica margin which is half
| | 00:39 | an inch or 12.7 mm and that's fine. One
page, Facing Pages, 1 column. There is
| | 00:48 | my blank page.
| | 00:49 | Now on my blank page I am going to
place my text. Notice I am not going to draw
| | 00:54 | a text frame first because InDesign is
going to create the text frames for me.
| | 00:58 | So File > Place or very useful
keyboard shortcut is Apple+D or Ctrl+D and the
| | 01:07 | text I am going to use is from the
Text folder which is the Exercise Files
| | 01:11 | folder and it's this document here text.
rtf, it's actually an excerpt of Crime
| | 01:20 | and Punishment. There is my loaded
text cursor and we see a little excerpt at
| | 01:28 | the beginning of the text on that
cursor and this is new in CS3, gives you
| | 01:33 | better sense of exactly what
text you are about to flow.
| | 01:37 | In terms of my accuracy of placement
the width of this text frame is going to
| | 01:41 | be determined by the column that I
set up when I created the document. So I
| | 01:46 | don't need to worry about where I place
my cursor horizontally but vertically I
| | 01:51 | need to be on that top margin assuming that
I want my text flow to begin on the top margin.
| | 01:56 | Notice that when I move my cursor with
a certain proximity of that guide, the
| | 02:02 | black arrow turns white and that's
with the Snap to Guides feature turned on
| | 02:08 | which it is at the moment, the Snap
to Guides feature, by the way is right
| | 02:14 | there and we see that it is On.
| | 02:16 | So then when I click that's where my
text begins and my text now stops. It
| | 02:23 | flows a single column or a single page
and then we see the Overset Text icon.
| | 02:29 | Now to continue that text flow I
would need to use my Selection tool. If I
| | 02:35 | wanted to just place the overset text
on the pasteboard, click in the red plus,
| | 02:40 | click on the pasteboard. The text
frame that is created on the pasteboard is
| | 02:46 | exactly the same column width as the
text on my page and we can see I have got
| | 02:52 | more of a matter than that.
Maybe I want to create extra pages to add
| | 02:56 | the additional text to or maybe I just
want to leave it here for now and work
| | 03:01 | with other elements of my layout.
| | 03:03 | I could if I wanted to get a sense of
how much text there is in the story, use
| | 03:09 | my Info palette and when I double-
click inside my text frame I should get a
| | 03:16 | character, word, line and paragraph
count and you will see there are two
| | 03:20 | numbers there and the plus symbol
indicates how much of that is overset. So I
| | 03:26 | got 3145 words overset in this case.
Let's now take a look at working with
| | 03:33 | Autoflow, which for a long continuous flow
of text like this may be more appropriate.
| | Collapse this transcript |
| Working with Autoflow| 00:00 | Auto Flow is suited to long
continuous flowing text. InDesign automatically
| | 00:05 | adds as many pages as necessary to
accommodate the text in your text file. It's
| | 00:10 | most applicable when working with
single column documents. As in the previous
| | 00:15 | movie I am going to begin with a new
document Command+N or Ctrl+N and I am
| | 00:21 | going use a Half Letter size with 3
pica margins, one column and Portrait
| | 00:28 | orientation. Now I am going to place
my text file and that's the keyboard
| | 00:33 | shortcut Command+D or Ctrl+D, File >
Place. I am going to use the text file
| | 00:41 | that's called text.rtf, which is in
the Text folder in the Exercises Folder.
| | 00:48 | Once again there is my loaded type
cursor. All I am going to do differently
| | 00:52 | this time to what I did before is
hold down my Shift key, when I hold down
| | 00:57 | Shift key the appearance of my cursor
changes, I want to make sure that it
| | 01:01 | begins flowing from the top margin, so
I am going to close to the top margin,
| | 01:06 | the black arrow becomes a white arrow,
then when I click we can see I got my
| | 01:11 | pages handle open. It's added as many
pages as it needed to accommodate all of
| | 01:17 | that text and if I go to page 10, click
on that text frame. The Out-port of that
| | 01:23 | text frame is empty indicating the end of story.
| | Collapse this transcript |
| Working with semi-automatic text flow| 00:00 | Semi-automatic text flow is preferable
when you have a non-contiguous flow of
| | 00:04 | text. For example in a more magazine or
a newspaper style of layout, where you
| | 00:09 | want to control exactly where the text
goes. I am working with the file called
| | 00:14 | semi_auto.indd and this is in the
Placing and Flowing Text folder in the
| | 00:19 | Exercises File folder and what I have
here is a three page layout of dummy text
| | 00:25 | and if we just take a quick look at
what we have going on, there are pages two
| | 00:30 | and three and I have this gray
box just as a picture placeholder.
| | 00:33 | Now what I want to do is I want to
place another text file in this document,
| | 00:39 | which is a supporting or a side by
article and I want that text flow to begin
| | 00:43 | here where I have drawn this guide and
then continue on page two and then on
| | 00:50 | page three, in the outside columns.
Now because I need to be more targeted
| | 00:56 | about exactly where my text goes, Auto-
Flow is not going to work for me here. I
| | 00:59 | am going to place my text file in the
same way that's Command+D or Ctrl+D and I
| | 01:04 | am going to use as before the file that
is called text.rtf in the Text folder,
| | 01:12 | in the Exercises File
folder and I will click Open.
| | 01:16 | There is my loaded type cursor. Now let
me just show you what would happen if I
| | 01:21 | Auto-Flow this. So I am going to Auto-
Flow and it is going to create quite a
| | 01:25 | mess because you will see that the Auto
-Flow knows no discretion, it is just
| | 01:32 | going to trample over all of the text
that's already there, creating rather a
| | 01:37 | challenge for our readers.
| | 01:38 | So I am going to undo that. Returns of
my first page and now for Auto-Flow we
| | 01:47 | hold down the Alt key or the Option
key and it's very much like Manual text
| | 01:52 | flow except that rather than us having
to click in the red plus symbol, it will
| | 01:58 | load the cursor for us. So let's us
save this as a step, there we go. So
| | 02:08 | Semi-Automatic flow, hold
down Option or the Alt key.
| | Collapse this transcript |
| Using Autoflow without adding pages| 00:00 | Our fourth text method is Autoflow
without Adding Pages, which kind of does
| | 00:06 | what it says on the tin and it's
useful when you have a specific number of
| | 00:12 | pages in your document and there is no
point in adding more pages because you
| | 00:17 | don't have that luxury. So you need to
work with the number of pages that you
| | 00:20 | have. In InDesign I am going to create
a new document Command+N or Ctrl+N and I
| | 00:26 | am going to use the same
specifications as before, it's going to be a Half
| | 00:31 | Letter page, one column, 3 pica margins,
this time however I am going to say
| | 00:39 | number of pages 8 because our
publication is going to be 8 pages long.
| | 00:44 | Click OK; place my text file, Command+D
or Ctrl +D. I am going to be using the
| | 00:51 | text.rtf document from the Text folder
in the Exercise Files folder. Now if you
| | 00:58 | watch the Autoflow movie you will
remember that this document ran to 10 pages
| | 01:02 | long we only have 8 and that's why we
need Autoflow without Adding Pages just
| | 01:08 | as before but this time the key
combination is Option+Shift or Alt+Shift and we
| | 01:15 | get another type of cursor. Again I
want to make sure that my black arrow
| | 01:21 | becomes a white arrow indicating that
I am going to snap to that top margin,
| | 01:25 | Option+Shift or Alt+Shift down, click.
| | 01:28 | Now if I go to my Pages panel I see
that we have still got 8 pages and on page
| | 01:35 | 8 I see my Overset Text icon. How I
handle things from now on depends on number
| | 01:44 | of factors but I can make the text
smaller, I can perhaps edit the text. If I
| | 01:49 | want to see the text and get an idea of
by how much we are running over, I can
| | 01:53 | click on the red plus symbol and that
flow that on the pasteboard and that will
| | 01:59 | create another text frame that is
exactly the same column width and perhaps I
| | 02:06 | will double-click to insert my
Type cursor into that text frame.
| | 02:10 | Go take a look on my Info palette
just to get a sense of by how much we are
| | 02:15 | running over. So I am not including
this because this is not included in the
| | 02:20 | over flow or in addition to that I am
running over by another 338 words. So
| | 02:27 | that is Autoflow without Adding
Pages, Option+Shift or Alt+Shift.
| | Collapse this transcript |
| Placing multiple text files| 00:00 | A great new feature in CS3 is the
ability to place multiple text files in one
| | 00:05 | go. I am in a document called
multipleplace.indd. This is a four page document
| | 00:09 | in which I have three stories. I have
drawn placeholder text frames and I have
| | 00:14 | threaded those text frames together.
For demonstration purposes I have put the
| | 00:19 | individual stories on separate layers
so that their frame edges show up as
| | 00:23 | different colors. I have one story
beginning on page one threaded to page two
| | 00:30 | and three and then through to page
four. I have a second story on bottom of
| | 00:36 | page one and a third that begins on
page two goes to page three and continues
| | 00:42 | to page four.
| | 00:42 | Now I just need to quickly get some
text into these text frames. So I am going
| | 00:49 | to use my Place command, File > Place,
or the keyboard shortcut Command+D or
| | 00:57 | Ctrl+D and from the Text folder in the
Exercise Files folder, I am just going
| | 01:01 | to grab these three stories right here,
holding down the Shift key to make a
| | 01:06 | multiple selection, click Open and
now we see our loaded text cursor. Two
| | 01:10 | things to note here one is if I
hover that loaded text cursor over a text
| | 01:18 | frame, we see parenthesis around it
rather than like that, it kind of bulges
| | 01:25 | indicating that you are about to
place the text into a text frame.
| | 01:29 | But the second and the most important
thing that I want to point out, that's
| | 01:31 | relevant to this particular exercise
is that we see after the loaded text
| | 01:36 | cursor a number in parenthesis telling
me how many stories my cursor is loaded
| | 01:42 | with. Now if the first story that
comes up is the not the one I want to place
| | 01:47 | first of all, I can press my down
arrow to cycle through those stories and I
| | 01:52 | see the first few lines of text
indicated and I am going to place my
| | 01:59 | declaration of independence right there,
my Gettysburg address I am not going
| | 02:04 | to deal with that yet, so I am going to
go to this one, the Churchill document
| | 02:07 | that's going to go right there and
then my Gettysburg address will go right there.
| | 02:14 | So you see how very quickly and easily
we can get the text into our document
| | 02:19 | and I could now go on and create my
styles and format this text. Now I am going
| | 02:24 | to back up and show you a slightly
different approach. So I will Command+Z or
| | 02:29 | Ctrl+Z several times until I have no
text in my document. If I still have a
| | 02:41 | loaded type cursor I can keep
pressing Command+Z or Ctrl+Z or to unload my
| | 02:45 | cursor just click on my Selection tool.
| | 02:49 | I am now going to do a multiple drag
and drop from Bridge and I could access
| | 02:55 | Bridge from up here on the Control panel.
If you are not familiar with Bridge,
| | 03:00 | it's a fantastic standalone application
that comes with the Creative suite and
| | 03:05 | this is just one of the many, many
things that we can do with it. You might
| | 03:09 | want to check out the lynda.com title
on Bridge. So in my main content area I
| | 03:14 | now need to navigate to the place where
my Text folder is, right there and then
| | 03:20 | I am going to grab the files that I want.
| | 03:23 | I am going to switch to something
called Compact mode, which is going to reduce
| | 03:29 | the size of my Bridge window. The thing
about Compact mode is that Bridge will
| | 03:34 | stay at front of whatever is your
active application, so even though I am back
| | 03:38 | in InDesign now, I can see my files in
Bridge and now I can just drag them from
| | 03:45 | Bridge over into my document when I
click on the InDesign window, we see once
| | 03:52 | again I have my loaded type cursor and
just as I did before I can cycle through
| | 03:57 | those and click to insert them
into the text frames. So two different
| | 04:07 | approaches to doing a
multiple place of text files.
| | Collapse this transcript |
| Mocking up pages with placeholder text| 00:00 | We have seen the different text flow
methods, but there is a fifth method that
| | 00:03 | a lot of people prefer to adopt and
that's working with Placeholder Text.
| | 00:08 | Placeholder Text is invaluable when you
want to quickly mockup a layout. It is
| | 00:12 | common that you won't have to
finish text to work with until lay in the
| | 00:16 | production cycle. So, you are going to
want to get in and start working on the
| | 00:21 | layout before you have the finish
materials and Placeholder Text is one way
| | 00:26 | that you could do this.
| | 00:27 | I am using a document called
Placeholder.indd and that is in the Placing and
| | 00:32 | Flowing Text folder in the Exercises
Files folder. And here I have a two page
| | 00:38 | spread and these gray boxes that I
have are to indicate the placement of the
| | 00:43 | position that the pictures are going to
go in when I get the pictures and also
| | 00:46 | I now want to put some dummy
text on my page. Perhaps I will use my
| | 00:52 | Frame tool for this. So I am going to
draw myself a frame there that is going
| | 00:57 | to span two columns.
| | 00:58 | I am working with a five column grid
here and this is a fairly commonly used
| | 01:02 | approach where just for more visual
interest and visual relief I am leaving
| | 01:10 | these outside columns empty, so that
maybe I can put my picture captions in
| | 01:16 | them or perhaps I can have portions of
my images break out into these outside
| | 01:21 | columns but the text itself is going
to be confined to columns two and three,
| | 01:26 | it's going to be a single text column
and then four and five will be a single
| | 01:30 | text column. So I am going to draw
another text frame there and because I am
| | 01:34 | working with my Frame tool,
I get these Xs in the frame.
| | 01:38 | These are as yet unassigned frames or
then technically at the moment they are
| | 01:44 | picture frames. But what I am going to
do next is I am going to convert these
| | 01:48 | to text frames and to do that I just
switch to my Type tool. Perhaps I will
| | 01:53 | just press my T key to do that. And
then when I click in the first of them, you
| | 01:58 | will see that the X disappears,
this is now officially a Text Frame.
| | 02:05 | I next want to thread this first Text
Frame with the second Text Frame, the
| | 02:10 | second with the third, the third with
the fourth and this is called Threading
| | 02:14 | or continuing the text flow. I will
switch to my Selection tool and I will
| | 02:19 | click in the out-port of the Text
Frame; I get my loaded text cursor. Now,
| | 02:24 | notice that it had text on a slightly
appearance when I am outside the Text
| | 02:29 | Frame to when I am inside the Text
Frame. I get the parenthesis around that
| | 02:33 | when I am inside the Text Frame.
That's what I want to see and then I click
| | 02:38 | anywhere inside that Text Frame and I
have now created a thread from Text Frame
| | 02:43 | 1 to Text Frame 2.
| | 02:46 | I will do the same from 2 to 3 and
from 3 to 4. Now, to place text in those
| | 02:52 | Text Frames I can have anyone of them
selected, it doesn't matter which one,
| | 02:57 | come to the Type menu and choose Fill
with Placeholder Text and as much text as
| | 03:04 | it will fit, will fill those Text
Frames. So I can now carry on styling up my
| | 03:10 | text, figuring out what fun treatments
I want to work with and I will have some
| | 03:16 | text to work with until such time
as I am provided with the real text.
| | Collapse this transcript |
| Working with text threads| 00:00 | I would like us to take a quick look
at Text Threads which is a preference
| | 00:05 | which will indicate to you the flow of
your text and I also just want to talk
| | 00:09 | about how InDesign threads text and
just what that means. I am working in a
| | 00:15 | document called textthreads.indd. It is
in the Placing and Flowing Text folder,
| | 00:19 | which is in the Exercise Files folder,
and I have a three page Mock up here,
| | 00:26 | just using the same text file that we
have been using all along the text.rtf
| | 00:32 | and some gray boxes to
indicate my picture placement.
| | 00:35 | Now when I click on any of these text
frames with my Selection tool I see these
| | 00:42 | blue arrows indicating the flow of my
text. So, we see it goes from Column 1,
| | 00:48 | to Column 2 etcetera. This option is
right there under the View menu. Now with
| | 00:56 | the continuous text flow such as I
have right here that's arguably not
| | 01:00 | particularly useful. But, when you
have noncontinuous text flow, one that may
| | 01:04 | begin on the first page, say for a
newspaper and then continuous on an interior
| | 01:09 | page on page 17 for example.
| | 01:13 | And you would have your text thread
arrows just indicating the jump from page 1
| | 01:18 | to page 17. The other point I want to
make about threaded text is that if I
| | 01:23 | select any one of these text frames
and I delete it, before I do that I am
| | 01:29 | going to zoom in up here. I am holding
Command+Spacebar or Ctrl+Spacebar and
| | 01:35 | clicking and dragging over that. Just
want to take a look, make a mental note
| | 01:39 | of the text that we have in column 1.
| | 01:42 | So, the first line are particularly
numerous in that part. Okay, so I want to
| | 01:46 | delete this text frame. I have it
selected with my Selection tool, press the
| | 01:51 | Delete key. Now I am going to hold
down my Spacebar and just move over to
| | 01:59 | Column 2 on my second page and we see
that text has not been deleted, it has
| | 02:04 | just moved to the next frame in the
thread. So, when you delete a text frame
| | 02:09 | you are not deleting the text content
you are just deleting the container.
| | Collapse this transcript |
| Stretching a headline across columns| 00:00 | Something that commonly comes up when
you are working with multiple column
| | 00:03 | layouts is you are going to want to
stretch certain Text Frames across more
| | 00:08 | than one column. A common scenario is
when you are working with a headline as
| | 00:12 | we have here and the problem here is
that our headline is being confined to one
| | 00:18 | of that two columns. And we want it to
stretch across those two columns like
| | 00:24 | the version that we have here.
| | 00:25 | Now, when you do this, I think it is
preferable to retain your headline as part
| | 00:30 | of the text thread. If we look at
this finished version here, if I click on
| | 00:36 | that Text Frame, we can see by
looking at the blue arrow that this text is
| | 00:41 | continued here. It's not a separate
independent story. Now, visually this is
| | 00:46 | not going to make a difference, but
it's just somehow more elegant and it can
| | 00:53 | be useful if you are going to re-
purpose your content later on. Let's say, you
| | 00:59 | need to export this content. Perhaps
there is an XML document or maybe you just
| | 01:05 | want to export the story.
| | 01:08 | That way you are going to get as one
entity rather than having to piece back
| | 01:12 | together various different bits and
pieces. So, here is how we do this. I need
| | 01:18 | to see my guides first of all. I am
currently in Preview View mode, so I am not
| | 01:22 | seeing them. So I am going to come down
to the bottom of my toolbar and choose
| | 01:27 | Normal View mode. The next thing I am
going to do is draw a guide, not strictly
| | 01:31 | necessary, but it is going to help
me in the placement of the Text Frame.
| | 01:36 | This is going to be a one-line
headline and I am going to draw it just below
| | 01:40 | the descender of that first line. Now,
I am going to select Column 1 and bring
| | 01:46 | it down to that guide. I am going to
do the same for Column 2. So the purpose
| | 01:50 | of the guide is just to make sure that
the text is going to begin in exactly at
| | 01:54 | the same distance from top of
the page or have the same Y value.
| | 01:59 | So, I will come in and select Column 1
again and this time I want to load the
| | 02:04 | story from the in-port. I will click on
that, I see my loaded type cursor. I am
| | 02:09 | not going to click, but rather I am
going to click and drag and drag across
| | 02:14 | those two columns making sure I go the
full two column width as indicated by
| | 02:20 | the guides. And there we
have a threaded headline.
| | Collapse this transcript |
|
|
3. Character FormattingChoosing fonts| 00:00 | In this chapter we are going to talk
about character formatting and we are
| | 00:03 | going to begin with the most basic part
of character formatting, choosing your
| | 00:07 | fonts. And at the moment I am not
talking about the aesthetics of choosing your
| | 00:11 | fonts, simply the mechanics. How to
choose your font most efficiently? I am in
| | 00:16 | a document called choosing.indd and
that is in the Character Formatting folder,
| | 00:20 | which is in the Exercise Files folder.
| | 00:23 | And I want to change the font of the
text that I have on my page. So, I am
| | 00:27 | going to double-click with my
Selection tool to insert my type cursor,
| | 00:32 | Command+A or Ctrl+A to select all.
Incidentally if I had overset text, that
| | 00:40 | would also be selected. Here is the
punch line, the keyboard shortcut,
| | 00:44 | Command+6 Ctrl+6 to jump to the Font
menu. Now, rather than trying to sift
| | 00:50 | through however many fonts I have
installed, I am just going to start typing in
| | 00:54 | the first few characters of the font I
am after, which is Adobe Caslon Pro. So
| | 01:00 | it finds it almost
immediately and now my font is changed.
| | 01:05 | The other point I want to make here is
that you can only choose Italic or Bold
| | 01:11 | if you have the Italic or Bold weight
of the font installed, but the important
| | 01:16 | thing to get from this movie is that
Command+6 or Ctrl+6, jumps you to your
| | 01:22 | Font menu, start typing in,
InDesign finds the closest match for you.
| | Collapse this transcript |
| Sizing type| 00:00 | Okay let's talk about sizing out type,
specifically let's look at some useful
| | 00:04 | keyboard shortcuts for sizing out type.
So I am going to begin with a blank
| | 00:08 | document for this one. Command+N or
Ctrl+N to create a new document. Letter
| | 00:13 | size, Page, that's fine. Let us have 6
pica margins. Now if you are in inches
| | 00:21 | that's 1 inch, if you are in
millimeters that's 25 millimeters and if you are
| | 00:27 | in points that's 72 points.
| | 00:30 | Okay there is our page. I am going to
press T to go to my Type tool and rather
| | 00:34 | than place a text document, I am going
to just create a text frame by clicking
| | 00:39 | and dragging with my Type tool. Because
my imagination fails me at the moment I
| | 00:48 | am going to type in the world's most
famous pangram, The quick brown fox jumps
| | 00:56 | over the lazy dog. Command+A or Ctrl+
A to select all, I could use my Type
| | 01:02 | Scale. I could nudge up or down using
these arrows to go one point at a time or
| | 01:10 | I could just type in the size that I
want, but rather than use any of those
| | 01:15 | let's use this keyboard shortcut,
Command+Shift+> or Ctrl+Shift+>, that's the
| | 01:22 | period to go bigger.
| | 01:26 | If we want to go smaller; Command+Shift
+< or Ctrl+Shift+<. So, nice and fluid.
| | 01:34 | Now, when I do that if you take a look
at my Control palette you will see that
| | 01:42 | I am going two points bigger with
each click or two points smaller if I am
| | 01:49 | doing Command+Shift+< or Ctrl+Shift+<.
If I want to go in a different increment
| | 01:53 | than two points, then I need to
change a preference. Let's come up to my
| | 01:57 | InDesign menu. Now if you are a
Windows user, your Preferences will be under
| | 02:01 | the Edit menu, the last item under
the Edit menu. Preferences and Units and
| | 02:07 | Increments is the one I am after
and it's this one, Size/Leading.
| | 02:11 | So I am going to change that to 1
point, to give myself a little bit more
| | 02:16 | control. And now, the same keyboard
shortcut is going to take you one point at
| | 02:22 | a time bigger or smaller. Okay, that's
one method, now another method. Let's
| | 02:27 | say this time I am just going to type
a single word and let's imagine I am
| | 02:31 | doing some kind of display type. So,
here I am recording at the fine facility
| | 02:40 | of Lynda.com in Ventura. So, I am
going to type that word. Firstly I am going
| | 02:47 | to change the font of that so
Command+6 or Ctrl+6 and I am going to use
| | 02:52 | Chaparral Pro, Regular.
| | 02:55 | Now I want to make that type nice
and big. I think I will just press
| | 03:01 | Command+Shift+> or Ctrl+Shift+> a
couple of times to make it slightly bigger
| | 03:05 | than that, but then I am going to do
this. I am going to fit my frame to my
| | 03:10 | content. You may remember from an
earlier movie, the shortcut for that is
| | 03:14 | Command+Option+C or Ctrl+Alt+C and
then holding down my Command and my Shift
| | 03:21 | keys or my Ctrl and Shift keys I am
going to pull from the bottom right hand
| | 03:26 | handle and just stretch that across and
I could size it and I want to go as far
| | 03:33 | as that guide, there we go, just like that.
| | 03:36 | So that's a nice way of being able
to scale type in a very kind of fluid
| | 03:40 | interactive way when working
with a short burst of display text.
| | Collapse this transcript |
| Using italics| 00:00 | Italics, what are they? And why should
you use them? That's what this movie is
| | 00:05 | all about. In this movie I am
going to use two files. The first is
| | 00:10 | italics.indd; it is in the Character
Formatting folder in the Exercise files
| | 00:14 | folder. As I mentioned in an earlier
movie you can only choose the italic
| | 00:19 | weight of the font if you have the
italic weight of the font installed. There
| | 00:22 | is no I icon that you click on to make
something italic and here I have got an
| | 00:28 | example of the real italic font and
below it we have the fake italic font.
| | 00:35 | Now the fake is achieved by literally
just putting a 12 degree slant on the
| | 00:41 | regular type which is something you
could do when in a pinch if you don't have
| | 00:47 | an italic weight of a particular font
and you need to make something slanted,
| | 00:51 | but it's not the same thing. And we can
see how it's not the same thing. If you
| | 00:55 | look carefully at the characters you
can see that the Italics are a distinct
| | 01:00 | separate font in their own right. You
can most clearly see it with the A's. For
| | 01:05 | the italic A we have a single story A,
where as for the regular A, it is a two-story A.
| | 01:11 | Look at the X's for example, the Q's.
Some character is noticeable than others,
| | 01:17 | but every character is different. So
the moral of the story here is always use
| | 01:22 | a real italic. The next thing I want
to mention here is what's the purpose of
| | 01:28 | italics? Italics are not really
intended for continuous reading, but rather to
| | 01:33 | give emphasis. When you want to make an
exception within a paragraph, commonly
| | 01:39 | book titles, film titles etceteras,
and that is what we have in this first
| | 01:43 | paragraph here. But there are
other ways of giving emphasis.
| | 01:46 | We could use Bold or we could use
color or we could make even ourselves a
| | 01:51 | character style and I will be going
into how we do this in the movies on
| | 01:56 | character styles that gives us the
effect of using a yellow highlighter for
| | 02:00 | example. These all are just
different ways of giving emphasis within a
| | 02:04 | paragraph, making an exception of
certain words within the context of the whole
| | 02:09 | paragraph and that's what Italics
are mainly intended to be used for.
| | Collapse this transcript |
| Using condensed type| 00:00 | This movie is about Condensed type,
what it is and perhaps more importantly
| | 00:05 | what it's not. I am using the file
condensed.indd and it's in the Character
| | 00:11 | Formatting folder in the Exercise
files folder and again we have as we did in
| | 00:15 | the previous movie a right way and a
not so good way of making your type
| | 00:20 | condensed. The top example here is
type that has been squeezed. It has been
| | 00:25 | squeezed, I am using the Regular
weight of Myriad Pro and to get a condensed
| | 00:31 | effect I have made the horizontal
scale less than 100%, in this case 72%.
| | 00:38 | Better than that, if you have the
option available to you use the real
| | 00:42 | Condensed font. It is always
preferable to have your vertical and horizontal
| | 00:47 | scales at 100% that's what the type
designer intended the font to look like.
| | 00:52 | And it is a bit difficult to see on
screen, but if you look carefully you can
| | 00:55 | discern a difference between them. With
the type that has been squeezed because
| | 01:00 | the horizontal scale has been reduced
to 72% the width of the characters just
| | 01:07 | loses the impact that the real
condensed font has, where the horizontal scale
| | 01:12 | is at 100%.
| | 01:14 | So, the moral of the story is use
condensed type when available and for that
| | 01:21 | reason Myriad Pro is a particular
favorite of mine because it comes in many
| | 01:25 | different weights and widths. So, it
is very flexible for that reason. Use
| | 01:31 | condensed type rather than squeezing your type.
Otherwise the type police will come get you.
| | Collapse this transcript |
| Using the ALL CAPS feature| 00:00 | What are the pros and cons of setting
your type in All Caps? I am in a file
| | 00:04 | called allcaps1.indd, which is in
Character Formatting folder in the Exercise
| | 00:08 | Files folder, and we have some text
that we have seen before in earlier movies.
| | 00:12 | In the right hand column I have exactly
the same text in All Caps and how I got
| | 00:17 | to that was, selecting the text and
choosing the two Ts here or the keyboard
| | 00:21 | shortcut Command+Shift+K or Ctrl+Shift+K.
You can also come to the Type menu
| | 00:26 | and choose Change Case > Uppercase.
| | 00:30 | But the point I want to make here
is that the text on the right is less
| | 00:34 | readable than the text on left
because all of the letters form block like
| | 00:38 | shapes rather than the distinct and
interesting shapes that are formed by the
| | 00:43 | upper and lower text in the left hand
column and that has the effect of making
| | 00:48 | the text less readable.
| | 00:50 | Let's just pop over to another file
from the same folder. This one called
| | 00:55 | charactershapes.indd. And here we can
see we have got the same line in upper
| | 01:00 | and lower case and again in upper case.
And I have drawn these red shapes to
| | 01:05 | indicate the interesting shapes that
the text in upper and lower case makes and
| | 01:10 | we recognize well it's just shapes.
That's what helps us to read more quickly and fluidly.
| | 01:15 | Now If I were to go to my Layout
palette and turn off Layer1, which contains
| | 01:20 | the type, what we are left with is the
shapes. The text that is in All Caps is
| | 01:26 | just blocks, everything looks the same,
admittedly of different widths, but
| | 01:30 | other than just it's just a
rectangular block whereas the text in upper and
| | 01:33 | lower case forms interesting and
recognizable character shapes. Now, am I
| | 01:39 | saying don't use All Caps? Not at all.
All Caps are very appropriate and very
| | 01:43 | useful and very impactful.
| | 01:45 | I am going to switch now to another
file from the same folder, which is called
| | 01:50 | allcaps.indd and the point I want to
make here is that your choice of font can
| | 01:54 | really influence how your message is
received. I think we are more likely to
| | 02:00 | respond to the text Breaking News in a
bold and impactful Sans Serif font, this
| | 02:04 | example here and more likely to
respond to the text Fine Jewelry in a more
| | 02:10 | classical Serif font. So when working
with All Caps and probably true of all
| | 02:15 | different font styling, context is everything.
| | Collapse this transcript |
| Using small caps| 00:00 | This movie is about Small-caps, what
they are, what is the difference between
| | 00:05 | real Small-caps and fake Small-caps
and some of their uses. I am in the
| | 00:10 | document smallcaps_realvsfake.indd,
which is in the Character Formatting folder
| | 00:15 | and in the top example we have Small-
caps that have been faked and below that
| | 00:20 | real Small-caps.
| | 00:21 | If you look carefully you will be
able to notice that especially on the
| | 00:24 | vertical stress of the characters,
the bottom example is more solid, that's
| | 00:30 | because these are distinct characters
in their own right, much like the movie
| | 00:36 | about Condensed type where the type
was at 100% horizontal width, the same is
| | 00:42 | true here for the real Small-caps
whereas here the horizontal width as well as
| | 00:47 | the vertical scale has been reduced.
| | 00:50 | Now let's go and take a look at a
preference to determine how that happens. I
| | 00:55 | am going to go to my Preferences
folder under the InDesign menu. If you are a
| | 00:58 | Windows user that will be under the
Edit menu and I am going to go to my
| | 01:02 | Advanced Type Preferences where we see
this option Small Cap. This is where you
| | 01:08 | set the relative size of the small cap
to full cap size and currently it's set
| | 01:14 | to 70% meaning that these characters
are 70% of the full caps size but so too
| | 01:22 | is their horizontal width.
| | 01:24 | Now in this example here, I have
achieved the small caps in the same way just
| | 01:29 | by clicking on the Tt icon or using
the keyboard shortcut Command+Shift+H or
| | 01:35 | Ctrl+Shift+H. The difference is that I
am using an OpenType font and with an
| | 01:42 | OpenType font you have more
characters available and some of those extra
| | 01:46 | characters and distinctly drawn
separate characters for the small caps. So
| | 01:52 | wherever possible I would suggest
using an OpenType font, those that have the
| | 01:56 | word Pro after their names.
| | 01:58 | There are a number that come with
InDesign, Minion Pro, Chaparral Pro, Adobe
| | 02:02 | Caslon Pro and I am going to be
talking in detail OpenType in the OpenType
| | 02:07 | chapter, but for now just want to
point out the distinction between the real
| | 02:11 | Small caps and the fake Small caps.
The next thing I want to mention about
| | 02:15 | Small caps and I have this file already
open, it is called smallcaps.indd, it's
| | 02:18 | in the same folder is when do we use
them? They are very useful when you have
| | 02:24 | abbreviations, acronyms etceteras as
opposed to using All Caps, which can tend
| | 02:30 | to overwhelm the surrounding text a bit.
It's preferable arguably to use Small caps.
| | 02:36 | Now the Small caps are designed to be
at the X-Height of the characters and in
| | 02:42 | Chapter 1 I went into the anatomy of
type and explained what the X-Height was.
| | 02:47 | That is the height of the lower case
letters. Now if I draw myself a guide and
| | 02:51 | then in order to be able to see my
guide I am going to need to come down here
| | 02:54 | to my Normal View mode, we will see in
this example down here. I draw myself a
| | 03:01 | guide corresponding to the X-Height,
that's the height of the Small-caps.
| | 03:05 | And the Small-caps just blend in a
lot better with the upper and lower case
| | 03:10 | text. So I would suggest that for your
acronyms, abbreviations, etcetera, go
| | 03:14 | with real small-caps, if you have
that option. And I have that option here
| | 03:18 | because again I am using an OpenType font.
| | Collapse this transcript |
| Underlining type| 00:00 | It is conventional wisdom that
underlining type is a bad idea and I will
| | 00:04 | explain why. But InDesign gives you a
number of creative options with your
| | 00:08 | underline. So it is not always a bad
idea. I am working with a file called
| | 00:13 | underlining.indd, which is in the
Character Formatting folder, and in the first
| | 00:16 | example I am going to zoom in on this
holding down my Command+Spacebar keys and
| | 00:22 | dragging a marquee over that. We can
see that just a standard underline is
| | 00:27 | going to slice through the descenders
of your type, which is rather unsightly
| | 00:31 | really. So that's why underlining has
traditionally been avoided as a way of
| | 00:36 | giving emphasis.
| | 00:37 | Preferable ways of giving emphasis
are using Bold type, Italic type, Color
| | 00:41 | type, a different type size, numerous
different options. So, you don't need to
| | 00:45 | rely on underlining the way people
had to when working with a typewriter.
| | 00:49 | Remember those, typewriters? In the
second option everything is exactly the
| | 00:53 | same, but I have done one thing
different and that is I have put a white stroke
| | 00:57 | on the outline of the type so that it
outlines the shape of the descenders and
| | 01:02 | by white stroke what I mean is if I
come over to my Swatches palette we can see
| | 01:07 | here I have clicked on the Stroke
Property and chosen Paper, that's what
| | 01:10 | InDesign refers to as white,
literally an absence of ink.
| | 01:13 | And the third option I have gone a bit
further and I have changed my Underline
| | 01:18 | options. There are numerous things that
you can do with underlining and we will
| | 01:21 | see later on in the chapter on
character styles how we can use underlining to
| | 01:26 | actually make a highlight style, but
for now let's just look at how we can
| | 01:30 | offset the underline and change its
color. So, I am going to come up to the top
| | 01:34 | right of my Character Format. Let's
click on the A and come over to my
| | 01:39 | Underline Options. And I have changed
the color; we started out as Text Color.
| | 01:47 | I have also changed the weight of the
line and most importantly the Offset;
| | 01:52 | it's the Offset that is moving the underline
down away from the descenders of the type.
| | 01:59 | So important to remember that you are
not stuck with just a generic underline
| | 02:03 | that you get from clicking on this
icon here on the Character Formats options
| | 02:08 | of the Control palette, but you can
really finesse your underlines in InDesign
| | 02:13 | using the Underline Options.
| | Collapse this transcript |
| Using superscript and subscript| 00:00 | Superscript and subscript have very
specific uses. They are used to indicate a
| | 00:04 | footnote number in the flow of text and
they are also used for atonal and if a
| | 00:08 | chemical formula and we are going to
look at the last two examples. I am in the
| | 00:12 | document superscript_subscript, which
is in the character formatting folder,
| | 00:15 | and over on the left here I have type
that has been expected to be Superscript
| | 00:22 | in the case of the atonal and
Subscript in the case of the H2O down here.
| | 00:29 | As the caption says the position of
this subscript has been changed to 20%, but
| | 00:34 | the default position for your
superscript and subscript is 33.3%. I don't think
| | 00:40 | that works too well for the subscript
and let's just take a look, at how that
| | 00:45 | would look if I set the Subscript
position, i.e. position relative to the
| | 00:51 | baseline of the type at 33.3% and if
you watch carefully you will see that
| | 00:58 | character moved down. Now I think
that's too far below the baseline, so for
| | 01:02 | that reason I changed it to and I
just undid that there to put it back to a
| | 01:07 | position of 20%.
| | 01:08 | Now on the right hand side we got
the same thing but instead of using
| | 01:12 | Superscript and Subscript by
choosing these icons here on the character
| | 01:16 | formatting options of the control panel,
I have made these into superior and
| | 01:22 | inferior character and these are
options I have available to me because I am
| | 01:26 | using OpenType, and now I know I am
using OpenType, because the font name has
| | 01:30 | the word Pro after it and just like
with the small caps, just like with the
| | 01:34 | condensed form, these are different
characters, they are distinct characters in
| | 01:38 | their on right and if you compare them
to the superscript and the subscript,
| | 01:42 | you can see that they have same
widths as the regular upper and lower case
| | 01:48 | characters, so they don't look spindly
when placed next to the regular upper
| | 01:53 | and lower case characters.
| | 01:54 | I am going to be talking more about
OpenType fonts, I am a big fan of them, I
| | 01:58 | couldn't resist mentioning this
right now, but there is going to be whole
| | 02:01 | chapter on OpenType fonts coming up.
So if you have the option available to
| | 02:06 | you, use open type. If not then just
may be experiment with the baseline
| | 02:12 | position of the superscript and
subscript in your Preferences > Advanced Type.
| | Collapse this transcript |
| Doing a baseline shift| 00:00 | Baseline shift is often misused and
misunderstood feature,. It's intended to move
| | 00:05 | the baseline of a selected piece of
text up or down relative to the other text
| | 00:10 | on the line. It's absolutely not
intended to adjust the paragraph spacing
| | 00:15 | between paragraphs and in my training
I sometimes see people trying to do that
| | 00:19 | with baseline shift. Let's begin by having
a look at why of that is not going to work.
| | 00:26 | I am in document called baseline_
shift which is in the character formatting
| | 00:29 | folder and firstly what baseline shift
is not. I am going to zoom in on this
| | 00:34 | top section here where I have some
dummy text and I have a Subhead. Now if I
| | 00:38 | wanted this Subhead to move up a bit,
so that I had a little bit of space
| | 00:44 | beneath it as well as space before it,
then the way I would absolutely not do
| | 00:49 | this is by going to my character formats
using my baseline shift and doing this.
| | 00:56 | Would it work? Well, kind of but the
problem then is, I mean that doesn't look
| | 01:02 | very good, but that's one problem, but
the other problem is that if I come to
| | 01:05 | try and select this Subhead, I am
going to have a rather confusing and
| | 01:10 | difficult time doing that because the
text is no longer where it appears to be.
| | 01:15 | Technically the text is still here.
That's the slug of the text. The bit that
| | 01:20 | represents its selection, but it appears
to be shifted up and has been shifted up.
| | 01:25 | This is much better done using
paragraph space before and paragraph space after
| | 01:30 | and there is a whole chapter coming
up about paragraph spacing, so I will
| | 01:35 | address that then but don't try and
use the baseline shift for this purpose.
| | 01:40 | Here is a legitimate use of
baseline shift and that is where you have a
| | 01:44 | decorative drop caps that needs some
adjusting because the character collides
| | 01:49 | with the upper and lower
case text that follows it.
| | 01:51 | So what I am going to do here is place
my cursor in that text, select that drop
| | 01:57 | cap and then shift the baseline off
just this drop cap, and I just doing it by
| | 02:03 | I am making sure that I avoid
character collisions here and there too.
| | 02:12 | Now there is something else I want to do
here. Baseline shift alone is not going to
| | 02:16 | handle this.
| | 02:17 | So this is a little teaser for the
Kerning and Tracking chapter that's coming
| | 02:22 | up very soon and I want to kern some
space between the drop cap and the o and
| | 02:28 | to that I am going to hold down my
Option or Alt key and press the right arrow
| | 02:32 | and that's just going to move that
text away from the drop cap. Okay a third
| | 02:37 | use of baseline shift, perhaps you
want to create an effect where you make a
| | 02:41 | word, piece of display type look like
what it is, here is a case in point.
| | 02:46 | I will select the character, use my
baseline shift and just pump it up. So a
| | 02:53 | couple of legitimate uses of baseline
shift and one not so good use of baseline shift.
| | Collapse this transcript |
| Combining fonts in the same document| 00:00 | Here we have some practical approaches
to combining fonts in the same document.
| | 00:05 | This movie uses four files combining
fonts one to four, which are in the
| | 00:09 | Characters formats folder.
| | 00:11 | The most important piece of advice
here is keep it simple. To add the clarity
| | 00:15 | of my message I am using no more
than two font families in each example.
| | 00:19 | I am going to zoom in and take a look
at the top of the page, and here in this
| | 00:25 | first example, I am employing the
commonly used formula of sans-serif typefaces
| | 00:30 | for headings and subheads, and serif
typefaces for body text. Myriad Pro is my
| | 00:37 | sans-serif typeface;
Minion Pro is my serif typeface.
| | 00:41 | It's a general rule of thumb and is a
very broad generalization that serif
| | 00:46 | typefaces are more readable for
continuous text; the sans-serif typefaces give
| | 00:51 | us the contrast we need for
our heading and sub-heads.
| | 00:55 | Taking a look at my second example, I
am staying with one font family but I am
| | 01:02 | choosing one font family that offers me
a wide range of weights. In this case,
| | 01:07 | I am using Chaparral Pro which comes
in a light weight, a regular weight,
| | 01:11 | semibold and bold weight, and I
have a happy medium of consistency and
| | 01:16 | repetition that comes from using a
single font family while at the same time,
| | 01:21 | I also have enough contrast with my
headings and subheads that aid readability
| | 01:26 | and establish the hierarchy of the piece.
| | 01:30 | In my third example, I am going
against conventional wisdom, and rather than
| | 01:35 | using a serif typeface for the body
text, I am using a sans-serif typeface.
| | 01:40 | Like the previous example, I am
sticking within one font family, so I have the
| | 01:45 | repetition carrying through, and like
the previous example again, I am using a
| | 01:50 | font family with a wide variety of
weights, and in this case differing widths
| | 01:55 | also. I had a condensed width as well
as the regular width and this typeface is
| | 02:00 | Myriad Pro.
| | 02:04 | For my fourth and final example, I am
going for a very sober look by sticking
| | 02:08 | with one font family only and further
more sticking with one size only. With
| | 02:13 | the exception of the head,
everything is in the same point size, and I am
| | 02:19 | differentiating my subheads
only by making them in all caps.
| | 02:23 | So we see, we have quite a different
look and feel to this example and the
| | 02:28 | previous three examples where I was
stressing contrast as a way of establishing
| | 02:33 | the hierarchy of the piece, and yet,
I think it still works in its own way.
| | 02:38 | So there we have four practical
approaches to combining fonts within the same document.
| | Collapse this transcript |
|
|
4. LeadingSetting leading| 00:00 | Okay, welcome to the chapter on Leading,
and in this chapter, we are going to
| | 00:03 | look at the very important subject
of setting your leading, and that's
| | 00:08 | sometimes also referred to as inter-
line spacing. It's pronounced led-ing not
| | 00:12 | leading. That's not just my funny accent.
It's so called because in the days of
| | 00:17 | metal type, spacing between the lines
was achieved by adding in strips of lead.
| | 00:21 | So, let's begin with a document in
InDesign that is called Leading; it's in the
| | 00:28 | Leading folder which is in the
Exercise files folder. And the first thing I
| | 00:32 | want to talk about is how is leading measured?
| | 00:35 | Well I think even before we talked
about that. Let's talk about where it is on
| | 00:40 | the Control palette, it's this option
here, the one that is beneath the Type size.
| | 00:44 | Leading is measured from the base line
of one line to the base line of the line
| | 00:49 | beneath it. So from there to there
that's the leading measurement, and just to
| | 00:55 | prove that point, we see that the
Leading value is 32pts. Leading is always
| | 01:01 | expressed in points regardless of what
ever unit of measurement you have chosen
| | 01:05 | as your default unit measurement.
| | 01:08 | And if I now select this little double-
sided arrow here, we see that the length
| | 01:13 | of that arrow is also 32pts, so from
base line to base line is your leading
| | 01:19 | measurement. So I am going to now zoom
in on these different paragraphs, the
| | 01:25 | same text with different leading
amounts applied, the same font, the same font
| | 01:30 | size, just different leading amounts.
| | 01:32 | Beginning out on the left, we have
Leading, that is the same value as the Type
| | 01:37 | Size itself, this is sometimes refer to
as set solid, i.e. without any leading.
| | 01:42 | So 10pt Type on 10pt Leading.
| | 01:45 | Next we have 10pt Type on 12pt Leading,
arguably more readable, and typically
| | 01:52 | if one can speak of things as being
typical, you will want +1 or +2 pts for you
| | 01:58 | body text leading. By body text, I
mean any text that is intended for
| | 02:03 | continuous reading. So here we have
type size +2, and then for a more luxurious
| | 02:11 | feel arguably leading of 18, so quite a
lot space between the lines. Obviously
| | 02:18 | using out a lot more space then
either of the other two examples.
| | 02:23 | Let's take a look at how to change the
leading value. I will select this one in
| | 02:27 | the middle here to change my leading
amount obviously I can come to my Control
| | 02:31 | panel and nudge it up or choose any of
these options for my leading scale, but
| | 02:36 | I can also use the keyboard shortcut
and that keyboard shortcut is Option or
| | 02:40 | Alt and the Down-arrow to go looser
or the Up-arrow, I am talking about my
| | 02:47 | cursor arrows, to go tighter.
| | 02:50 | Now as I do that, if you are looking at
the Control panel, you will see that I
| | 02:54 | am going in increments of 2pts. We
looked at the change in the increment in an
| | 02:59 | earlier movie, but if we want to
change the increment, it's here in our
| | 03:03 | Preferences > Units & Increments. If
you are a Windows user that's under the
| | 03:07 | Edit menu, last option under the Edit
menu. Keyboard shortcut Command+K will
| | 03:11 | take you to your General Preferences,
and then you can just choose Units &
| | 03:17 | Increments right there.
| | 03:20 | Now the one that I am referring to is
this one. We changed it before when we
| | 03:23 | were resizing our type. It's the same
preference that applies to your leading.
| | 03:27 | I prefer to have mine set at 1pt, so
that I move up or down in small increments.
| | 03:32 | I feel it gives me a bit more control.
Incidentally, if you want to make a
| | 03:36 | Preference change, and have it be an
application Preference then do exactly the
| | 03:40 | same thing, but make sure that you have
no InDesign document opened. That way,
| | 03:46 | that will set the preferences for
every document that you create from that
| | 03:50 | point onwards.
| | 03:50 | I have just changed the preference for
this specific document, so now I can do
| | 03:57 | Option+Up-arrow to go tighter, Option+
Down-arrow to go looser. Okay, next movie
| | 04:03 | we are going to talk about Auto Leading.
| | Collapse this transcript |
| Understanding autoleading and why to avoid it| 00:00 | Now maybe it's because I am a glass
half empty, kind of, guy but there are lot
| | 00:05 | of movies that are all about things
that you shouldn't do and here is one of
| | 00:08 | them, Auto Leading.
| | 00:09 | I don't think it's such a good idea,
and I think by avoiding auto leading, you
| | 00:13 | will make your type look a lot better.
Auto Leading is really the default
| | 00:19 | setting. It's what you get
unless you specify otherwise.
| | 00:23 | Now here, we have a document. It's
called autoleading, it's in the Leading
| | 00:26 | folder in the Exercise files folder.
Now this type is 11pts, and its leading
| | 00:32 | value is 13.2, since we have given odd
random number. That's actually 120% of
| | 00:37 | that type size; that's what auto
leading is, unless you change it. You can
| | 00:43 | change it if you want. I will just
point out quickly where you can change what
| | 00:47 | the Auto Leading value is.
| | 00:49 | It's right there in your Justification
settings but for the most part 120% is
| | 00:55 | what it is and if you are going to
use it, that works reasonably well.
| | 00:58 | What auto leading means is that if you
increase the size of your type so too
| | 01:03 | increases the size of your leading. It
works the other way too, decrease the
| | 01:07 | size of your type, your leading gets tighter.
| | 01:09 | Let's put that back to 11. So, what's
the problem? Sounds like a good idea,
| | 01:14 | right? Actually not, and here is why.
When you are working leading, consistency
| | 01:22 | is all important. Leading is all
about setting a rhythm for your document.
| | 01:25 | And we want that rhythm to be a
constant rhythm, and that rhythm is very easily
| | 01:29 | disrupted by just having a single space.
Nothing more than a single space, a
| | 01:35 | little bit larger than the rest of the
text. What happens there is that this
| | 01:39 | line is now on auto leading but it's a
120% of the largest character on that
| | 01:45 | line which is that space. Easy to miss,
but enough to throw off your leading.
| | 01:50 | That's one of the reasons. The other
reason is that when you are working with
| | 01:53 | lots of text, you are going to
need to adjust the spacing between the
| | 01:56 | paragraphs, and it helps to do that to
have an absolute leading number and a
| | 02:01 | number that's easy to juggle with,
like 10 or 12. You can easily figure out
| | 02:06 | multiples of 10 and 12, not a problem
but 13.2, gets a little bit unwieldy to
| | 02:11 | work with. So that's
another to avoid auto leading.
| | 02:14 | I recommend that you always work with a
fix domain of leading. That's going to
| | 02:17 | mean selecting your type, and actually
in this case, I am going to change it to
| | 02:22 | 13pts. The consequence of that is
that if I decrease my type, my leading is
| | 02:27 | going to stay at 13, if I increase my
type, my type leading is going to stay at
| | 02:30 | 13. Maybe a little bit more work for you,
but the end result will be a lot better.
| | 02:34 | There is a preference relating to
leading that we need to take a look at. It's
| | 02:40 | in our Type Preferences. Now if you are
a Windows user, your Preferences as you
| | 02:45 | know by now, are under the Edit menu or
below down at the bottom. Preferences >
| | 02:51 | Type, it's this one, Apply Leading to
Entire Paragraph. By default, this is not
| | 02:56 | checked, and this means that you can
select a line, a character, or range of
| | 03:05 | characters, and change the
leading value for just that line.
| | 03:10 | That may be the alt time, and then in
fact I have an example coming up. When
| | 03:14 | you want to do that, but for the
most part you want the leading to be
| | 03:17 | consistent through out your
paragraph. So I am now going to undo that,
| | 03:21 | returning my leading value to 13pts
that I set it too earlier. And if we come
| | 03:27 | over here and now check this,
Apply Leading to Entire Paragraph.
| | 03:32 | Now if I select just a word, increase
that to 14pts, we see that the leading
| | 03:42 | for this entire paragraph is now 14pts.
Now 15, okay. So that is the Apply
| | 03:49 | Leading to Entire Paragraph preference.
Typically I don't have it on but I also
| | 03:54 | keep a very watchful eye on the
Leading values that my paragraphs have.
| | 03:59 | The one time when I would use auto
leading is when I have an in-line graphic.
| | 04:04 | It's a rare thing to do but you might
have a picture frame that you have pasted
| | 04:08 | into a text frame, and you want that
picture frame to move with the flow of
| | 04:12 | text; in that case you would need auto
leading but for the most part I would
| | 04:16 | say, stay well clear.
| | Collapse this transcript |
| Leading headlines| 00:00 | Now just in case you weren't convinced
by the earlier movie about auto leading
| | 00:03 | and why to avoid it, here is
another good reason to avoid auto leading.
| | 00:08 | When you are working with headlines,
that ratio of 120% of your point size is
| | 00:12 | just too big, especially in this case
when you have a headline that is set in
| | 00:17 | all caps. Because it's in all caps,
there are no descenders. There are no parts
| | 00:21 | of the letter that go beneath the baseline
and connect or bring the two lines together.
| | 00:26 | That's why in this example on the left,
the headline and the strap-line just
| | 00:31 | look like they don't really belong
together as much as they should, as not as
| | 00:35 | much as they have visual relationship
between the two lines of the headline as
| | 00:39 | they should be.
| | 00:40 | Whereas in the example on the right,
rather than using auto leading, I have
| | 00:44 | decreased the amount of leading. I have
actually gone to negative leading, less
| | 00:48 | leading than the point size and it
may be, it probably will be that as your
| | 00:52 | type get bigger, the ratio of the
leading to the size your type is going to get
| | 00:57 | smaller such that you may find yourself
with your type set solid i.e. the same
| | 01:02 | as your point size, or
even less than point size.
| | 01:05 | Now done that with the headline and
also with the strap-line as well. I have a
| | 01:10 | mixed point sizes there for the reason
that I have decreased the size of the
| | 01:16 | quote marks there because optically
that tends to work a bit better I think.
| | 01:20 | But the point size here is 36 and I am
on 37pts leading, so it's just one point
| | 01:25 | extra, rather than over here where it
would be, it's 35 point here, 7 pts extra
| | 01:31 | if you are working with auto
leading which is just too much.
| | Collapse this transcript |
| Using Optical leading| 00:00 | InDesign is great for mathematical
spacing, but sometimes mathematical spacing
| | 00:05 | does not give us a good result.
Sometimes we want to space things by eye and
| | 00:10 | here is the case in the point. This is
a theme that is going to be recurring
| | 00:13 | through out several of these movies
how we need to adjust things according to
| | 00:18 | our eye rather than rely exclusively
upon InDesign's alignment or in this case,
| | 00:23 | upon InDesign leading values. I am
working with a file called leading_optical
| | 00:29 | in the Leading folder and while this is
a fairly rare example of something that
| | 00:35 | you might want to do it is good to kind
of bear this approach in mind, use your
| | 00:40 | eye rather than trusting
everything that InDesign gives you.
| | 00:43 | In the top example, I have my type at
48 points on 48 point leading and yet it
| | 00:49 | does not look right because this word
here Temptation has no descenders. There
| | 00:54 | are no path for the letters going
beneath the baseline to bring that line
| | 00:59 | visually closer to the line beneath
it and yet on the line above, we have a
| | 01:04 | descender on the G, so that lines two
and three look like they are very close
| | 01:07 | together whereas in the example down
here, I am using inconsistent leading and
| | 01:13 | yet, it looks more consistent and it
looks more consistent because what I have
| | 01:17 | done is I have selected the last line
and I have reduced the leading value to
| | 01:20 | bring line four closer to line three
and that is what I am going to do here on
| | 01:26 | this one and I am going to use the
keyboard shortcut for my leading which is
| | 01:29 | Option or Alt+Up arrow and I am just
going to do this by eye to about there.
| | 01:37 | So I actually have now 42 point leading on
that line and I think that looks a lot better.
| | Collapse this transcript |
| How leading affects readability| 00:00 | Leading can play a big part in making
your type readable or if thoughtlessly
| | 00:04 | applied, making your type unreadable.
Let us take a look at three examples of
| | 00:08 | when you may need to adjust the
Leading according to your type circumstance.
| | 00:13 | Now these are by no means the only
times when you may need to adjust your
| | 00:17 | Leading. These are just three common
scenarios. The first is when you are
| | 00:20 | working with a type phase that has a
high X height. The X height as you may
| | 00:25 | remember from our earlier movies is the
size of the lowercase letters relative
| | 00:31 | to the cap height.
| | 00:33 | Helvetica, which we have an example of
on the right hand side is a type phase
| | 00:36 | with a relatively high X height, if we
compare this to Adobe Caslon Pro, we can
| | 00:41 | see that even though these two pieces
of type are at exactly the same point
| | 00:46 | size, the X height comes up a lot
higher with the Helvetica. Now the
| | 00:50 | consequence of that is that when we
have a passage of text in Adobe Caslon Pro,
| | 00:55 | nine point on ten point Leading, it
looks that is sufficient space between the lines.
| | 01:01 | However, when we have the same passage
of text in Helvetica, nine on ten point
| | 01:05 | leading things look a little bit
cramped. So when you are working with a
| | 01:09 | passage of type that has a high X height,
you may want to increase your Leading
| | 01:13 | value and that is what I am going to
do here. I am going to select that type,
| | 01:16 | Option or Alt+Down arrow to
increase my type size. Now I have got my
| | 01:21 | Preferences set to go two point to the
time that is I think a bit too much so I
| | 01:25 | am going to knock that back down to
just a one point increase in the Leading.
| | 01:29 | And that looks more readable I think.
Now let us look at our second example and
| | 01:32 | this is no order of particular
preference, but I am going to look at what to do
| | 01:37 | when you are working with text where
the columns are really a bit wider than
| | 01:40 | they should be. What is a good column
width? Well, that is a whole big question
| | 01:44 | and we will be addressing that in
later movies, but the width of your column
| | 01:48 | should be relative to your point size.
In this case, this text is in columns
| | 01:53 | that are kind of a bit too wide really
for the point size being used and in the
| | 01:57 | upper example with the Leading being
the same as the point size, it is meaning
| | 02:01 | that the type is really, really too cramped.
| | 02:04 | So the arrival track alone, the line
track, line track alone and that will get
| | 02:08 | to about here and Return and start
leading the same line that it has just read.
| | 02:13 | We will have that experience usually,
it is when we will type, but having let
| | 02:17 | it tightly, let in on a wide column is
really going to make that more likely to
| | 02:21 | happen. So just to compensate for that
in the example below, same type, I have
| | 02:25 | just increased the Leading by three
points making the text a whole lot more readable.
| | 02:30 | And our third example, and this using
a file code Leading reverseout, all of
| | 02:36 | these files come from the Leading
folder, which is in the Exercise Files
| | 02:39 | Folder. I am using reversedout text.
Great, it looks nice and impactful, it has
| | 02:45 | got plenty of contrast but whenever
you are using the reverseout text you are
| | 02:48 | compromising the readability of the text.
| | 02:51 | I am not saying, don't do it. It is a
very effective way of setting your type,
| | 02:54 | but when we do it we probably want to
increase the Leading to adjust for the
| | 02:59 | compromise readability and that is what
I have done in the example on the right
| | 03:03 | hand side where I have increased the
leading to ten point on 14 point Leading
| | 03:08 | from the original ten point on 12
point Leading that we have in the left hand
| | 03:12 | column making the type more readable.
| | Collapse this transcript |
|
|
5. Kerning and TrackingUnderstanding the difference between kerning and tracking| 00:00 | Kerning and Tracking are two very
related typographic concepts, but they have
| | 00:05 | an important distinction. Kerning is
the adjustment of the space between a pair
| | 00:10 | of characters. Tracking, is the
adjustment of the space across a range of
| | 00:15 | characters.
| | 00:16 | Let's take a look first of all at
different kerning options. I am in a document
| | 00:21 | called whykern, which is in the
Kerning and Tracking folder in the exercise
| | 00:25 | files folder. And for this document I
have got it set up using layers, so that
| | 00:29 | I can reveal the different amounts, or
different types of kerning as we go. So
| | 00:33 | I am going to open up my Layers palette
right there, and we are going to begin
| | 00:39 | with an example of a word, and I am
specifically using this word, because the
| | 00:43 | way the A, and the W, and the W and
the A in particular, and the A and the Y.
| | 00:49 | The way they sit together requires kerning,
because of the space of the characters.
| | 00:54 | The purpose of kerning is to create the
impression of even spacing between the
| | 01:00 | characters. It's an optical thing.
We are getting back to this concept of
| | 01:03 | optical spacing. Without kerning, it's
going to look like the spacing between
| | 01:08 | the characters is varying, and often
this is too much. In the example of this
| | 01:13 | word, I have actually turned the
kerning off, which is not what you would get
| | 01:17 | by default, by default you would get
Metrics kerning. InDesign has two methods
| | 01:22 | of automatically kerning your text, and
I have turned that off to show you what
| | 01:26 | the text would look like without any.
| | 01:28 | Let's go and see what the same word
would look like with Metrics kerning
| | 01:33 | applied. Now Metrics kerning uses the
kerning values that are power of the
| | 01:39 | font. These are the Metrics values that
the type designer included in the font.
| | 01:46 | So for example, in the case of this
font MinionPro, between a capital A and a
| | 01:51 | capital W, there is included an
instruction to adjust the space by -97, 1/1000
| | 01:57 | em. Kerning and tracking are both
measured in this relative unit of 1/1000 em.
| | 02:08 | Between the M and the A, there is
the instruction to reduce by -123, and
| | 02:14 | between the A and the Y, between -79.
Metrics kerning is as good as the Metrics
| | 02:22 | in your font. So if you are using a
good quality font from a reputable font
| | 02:26 | foundry, then Metrics kerning will
probably suit you fine. Just every once in a
| | 02:32 | while you may need to switch to
Optical kerning, or you may prefer the effect
| | 02:37 | that Optical kerning gives you.
Optical kerning completely disregards the
| | 02:42 | Metrics values, and looks only at the
character shapes to adjust the space
| | 02:47 | between. Typically, although not
always, it will give you a tighter kerned
| | 02:54 | result, and that is the case here,
where between the W and the A, I have this
| | 02:58 | time -128 units.
| | 03:02 | My fourth example is the same word,
but custom kerned. Using the automatic
| | 03:08 | Metrics kerning on top of which I
have added some custom kerning, and to do
| | 03:13 | that, I have literally placed my
cursor between the pair of characters and
| | 03:19 | pressed Option or Alt, left arrow to
kern tighter, or right arrow to kern
| | 03:25 | looser. Now had I selected a range of
characters, and used the same keyboard
| | 03:31 | shortcuts, I would have been tracking,
but in this case I am kerning, because I
| | 03:36 | am adjusting the space between
a specific pair of characters.
| | Collapse this transcript |
| Understanding Metrics kerning vs. Optical kerning| 00:00 | As I mentioned in the previous movie
there are two types of automatic kerning
| | 00:04 | in InDesign. Metrics kerning and
Optical kerning. For the most part, it's a
| | 00:09 | matter of personal preference which you
choose. But there are certain examples,
| | 00:14 | certain instances when one is better
than the other. Let's take a look at a
| | 00:18 | couple of those.
| | 00:18 | I am in a document in kern script,
which is in the Kerning and Tracking folder,
| | 00:23 | and this document uses a font called
Caflisch Script Pro. If you don't have
| | 00:30 | this font, you could use another
script font, and hopefully that will
| | 00:34 | illustrate the same point that I am
making. And that point is, that in the top
| | 00:38 | example I have Metrics Kerning applied,
and the result is much more pleasing,
| | 00:43 | because the characters actually join
together. Look carefully. And I am going
| | 00:48 | to just highlight the problem areas by
turning on an additional layer, and we
| | 00:52 | can see that with the Optical Kerning,
the letters do not join together,
| | 00:57 | undermining the reason for using a
script font in the first place, which is to
| | 01:02 | stimulate an informal handwritten look,
where the letters join together. So in
| | 01:07 | this instance, Metrics
Kerning is definitely preferable.
| | 01:11 | I am now going to switch to another
document called metricsvsoptical in the
| | 01:18 | same folder, and in this instance, I
would say that Optical is preferable. Here
| | 01:25 | is an example where I am mixing two
fonts within the same word. The first
| | 01:31 | character of the word is in a Swash
character. Minion Swash, and the rest is in
| | 01:36 | Minion Pro. Now it's not common that
you would do this, but in such instances
| | 01:42 | Optical Kerning gives a tighter kern,
and I think better result. The point here
| | 01:48 | is that sometimes one kerning
method will be preferable to the other.
| | Collapse this transcript |
| Using kerning to avoid character collisions| 00:01 | A common kerning scenario is to kern
to avoid character collisions that occur
| | 00:06 | when you have a drop cap
applied to an opening paragraph.
| | 00:09 | Let's take a look. I am in a document
called kern dropcap, which is in the
| | 00:14 | Kerning and Tracking folder. And here
we see that my decorative drop cap is
| | 00:19 | colliding with the H that follows, and
just to illustrate that I am going to
| | 00:23 | turn on the visibility of Layer 2, and
we can see the problem right there. Now
| | 00:29 | to fix that, I am just going to double
-click with my Type tool to insert my
| | 00:33 | Type cursor between the W and the H,
and then I am going to use the keyboard
| | 00:38 | shortcut that will kern looser. I
could also use these options here on the
| | 00:43 | Control panel, although I prefer to use
the keyboard shortcut, which is Option
| | 00:46 | or Alt. In this case right arrow,
because I want to go looser.
| | 00:50 | Now because there is such a
discrepancy in size between these two characters,
| | 00:54 | you might find that the first time
you do this, rather than go looser, it
| | 00:58 | actually springs back tighter. Don't
worry about that. Just keep pressing
| | 01:02 | Option or Alt+right arrow, to move the
text away from the drop cap. Now when
| | 01:09 | you do that, how far you move is
determined by the important kerning and
| | 01:13 | tracking preference, which is in your
units and increments preferences. And I
| | 01:18 | will be addressing that in a
later movie about kerning and tracking
| | 01:21 | preferences, but I just want to mention
that for now, I have mine set up to be
| | 01:25 | five, so that when every time I press
Option or Alt+right arrow, I move in the
| | 01:31 | increments of 5, 1/1000 em.
| | Collapse this transcript |
| Kerning a headline| 00:00 | For the vast majority of your text,
Automatic Kerning, Metrics, or Optical will
| | 00:06 | be all that you need. However, as your
type gets bigger, as you start working
| | 00:10 | with headlines, and display type,
manual kerning becomes more necessary. Let's
| | 00:16 | take a look at an example.
| | 00:17 | I am working in a document called kern
headline, and in the top example we have
| | 00:22 | Automatic Kerning applied. This is
Metrics Kerning, and I can tell that because
| | 00:28 | when I select the whole range of text,
it says Metrics, here on the Control
| | 00:32 | panel. In the example beneath, in
addition to the Metrics Kerning, I have also
| | 00:38 | applied some manual kerning to get a
tighter more impactful result, and let's
| | 00:44 | just turn on my annotation layer, and
we can see exactly how much kerning has
| | 00:50 | been applied between the pairs of
letters, including the letter and the
| | 00:55 | trailing space that follows it.
| | 00:57 | So we see that with the Automatic
Kerning actually very little is applied, only
| | 01:01 | between the cap W and the A. Is there
any reduction in the space? But with my
| | 01:07 | manual example I have applied kerning
to almost all of the pairs of characters.
| | 01:13 | To see how I did this, I am going to
redo it now by copying this Automatic
| | 01:19 | Kerning example. So I am selecting
with my Selection tool, holding down my
| | 01:23 | Option, or Alt key, and my Shift key
to constrain the movement, and making a
| | 01:28 | copy down there. And now to apply the
kerning, I am going to double-click to
| | 01:34 | switch to my Type tool and use the
kerning shortcut, that's Option or Alt+left
| | 01:39 | arrow. And my Preferences is setup,
so that every time I do this, I move in
| | 01:44 | increments of -5, 1/1000 em. You can
see that we have gone from -16 to -21
| | 01:52 | right there. So it's just a case of
doing this by I getting into this biggest
| | 01:58 | you possibly can really, and adjusting
the spacing to your liking, and there is
| | 02:07 | my result. May be differ slightly
from the example above, but the effect is
| | 02:11 | more or less the same. A much
tighter kerned result, than we would have
| | 02:18 | achieved with just the Automatic Kerning alone.
| | Collapse this transcript |
| Tracking to fix widows and orphans| 00:00 | In this movie we are going to look at
Tracking, the close cousin of Kerning.
| | 00:04 | Tracking also refers to the
adjustment of space between characters, but
| | 00:07 | specifically across a range of characters.
| | 00:10 | There are several instances when you
may want to track, and a common use of
| | 00:14 | tracking is to fix spacing and
composition problems, such as widows, and
| | 00:20 | orphans, and short lines. Let's take a
look at how we can solve these common
| | 00:25 | problems. I am in a document called
track_widowsandorphans, and here we see two
| | 00:31 | facing pages where we have at the top
of page 17 an orphan. A single line of a
| | 00:39 | paragraph that has been disassociated
with the other lines of that paragraph.
| | 00:43 | Definitely needs fixing. Had this been
the first line of the paragraph that was
| | 00:49 | at the bottom of a page, this would
have been a widow. That's the distinction
| | 00:53 | between them. I think I have to admit,
I sometimes get the two confused, but
| | 00:58 | they are related concepts,
and the solution is the same.
| | 01:02 | Now what I am going to do to fix
this is I am going to select this whole
| | 01:06 | paragraph down here by clicking in it
four times, and I am going to apply some
| | 01:13 | negative tracking across this paragraph.
I want to get away with as little as
| | 01:18 | possible. So I have my Preference set
in Units & Increments, and for Windows
| | 01:25 | users your Preference are under the
Edit menu. My Kerning preference, which
| | 01:31 | also applies to tracking, I had that
set to 5. 5, 1/1000 em, and now when I
| | 01:38 | press the Option key or the Alt key+
left arrow once, we can see there in my
| | 01:46 | tracking field, I have gone to -5,
that's not enough in this case to fix the problem.
| | 01:52 | So I am going to try another time,
come back down to select the text. -10 too
| | 02:02 | goes with the keyboard shortcut is
enough to fix the problem. I would suggest
| | 02:07 | that you don't want to have more than -
15, any more than -15, and your reader
| | 02:14 | is going to notice that you have been
tightening up the space here, loosening
| | 02:18 | up the space there, and your text is
going to have a kind of unpleasant effect
| | 02:24 | tightening and loosening, and we want
to keep the rhythm constant, and we want
| | 02:28 | to keep the spacing consistent. But -
10 fixes the problem and that's a big improvement.
| | 02:38 | Let's now look at tracking a short line,
which is the same solution, and here
| | 02:46 | we have a second paragraph that runs
to just a single word. I think it would
| | 02:51 | look better if this word were brought
up previous line. And in addition to
| | 02:56 | saving as a line, it's also going to
fix some bad word spacing problems that we
| | 03:01 | have here. The result from this being a
justified paragraph. We will be talking
| | 03:07 | about justification in the alignment
chapter coming up. But for now I am going
| | 03:12 | to fix this problem by four clicks to
select the whole paragraph, and then use
| | 03:17 | the keyboard shortcut Option or Alt+
left arrow, and one go on that is enough to
| | 03:24 | do it. -5, 1/1000 em tracking applied.
Now I might want to see if I can get
| | 03:31 | away with even less, since that works
so easily. So I am going to try -1, is
| | 03:37 | that enough, no, -2, yes. So always
good to get away with this little as you
| | 03:45 | possibly can.
| | Collapse this transcript |
| Tracking and readability| 00:00 | Let's look now how tracking can affect
the readability and the personality of
| | 00:05 | your type. I am in a document called
tracking, we have a single paragraph of
| | 00:11 | body text, and typically body text
does not require a tracking. And none is
| | 00:17 | applied here, and the type is perfectly
readable, has good type color or density.
| | 00:22 | Let's look at the same paragraph but
with Loose Tracking applied. I am going to
| | 00:28 | open my Layers panel, and turn on the
visibility of my Loose Layer. With the
| | 00:33 | Loose Tracking applied, and it's very
loose, it's +30, the letters do not hang
| | 00:41 | together quite as well as they do
without the tracking, and the letter shapes
| | 00:46 | are starting to be lost, and I think
that's an impediment to easy reading.
| | 00:52 | Likewise, a similar impediment is if
you are tracking is too Tight, obviously
| | 00:59 | this is going to take up less room, we
now have four lines compared to the five
| | 01:03 | lines of the loosely tracked text. But
the letters are starting to collide, and
| | 01:08 | everything is looking rather cramped.
A really extreme example of what can
| | 01:12 | happen if your tracking is too tight,
is this word down here, now from a
| | 01:18 | distance at first glance, that might
look like the word bum. Actually it's
| | 01:23 | burn, but the letters have been
tracked so tightly, that the r and the n are
| | 01:30 | colliding to give the impression of
being an m. So if you track your text too
| | 01:35 | tightly, then it can take on another
meaning entirely. Let me just track that
| | 01:42 | one out looser, the real word reveals itself.
| | 01:47 | I am going to go now to another
document in the same folder, and this one is
| | 01:58 | called loosetighttrack. Now depending
on the nature of the font that you are
| | 02:04 | working with, sometimes Loose
Tracking may work better than No Tracking, or
| | 02:08 | Tight Tracking might work. Here we
have three examples of the same words, No
| | 02:14 | Tracking, Loose Tracking, Tight Tracking.
This is using the font called Trajan
| | 02:19 | Pro. With upper case text, especially
upper case text is in a serif font. Loose
| | 02:25 | Tracking may give you a more pleasing
result, arguably a more refined look, and
| | 02:33 | conversely Tight Tracking, I don't
think works, because serifs of the type
| | 02:39 | begin to collide with each other.
And for that reason I think the loosely
| | 02:47 | tracked more airy appearance of this
middle example is the most successful.
| | 02:52 | I am going to open my Layers panel,
and turn on the sans layer, where we see
| | 02:58 | the same words, but this time in a sans
serif font, and I have also reduced the
| | 03:04 | leading on this to create a more dense,
look, and feel to this type. Now I
| | 03:10 | think the No Tracking example is fine,
the Loose Tracking just isn't working
| | 03:15 | here, because the openness of the
type is going against the dense that I am
| | 03:20 | trying to create by making it tightly
leaded. And in this example over here,
| | 03:25 | the Tight Tracking I think is much
more successful. So the point I am making
| | 03:29 | here is that, sometimes Tight Tracking
works typically, or more readily it will
| | 03:35 | work with sans serif type, whereas
Loose Tracking works better with serif type,
| | 03:41 | when you are working with upper
case text. And that's a very important
| | 03:46 | distinction, because if you work with
lower case text, and you loosely track as
| | 03:50 | we saw in the previous example, the
letters start to become disassociated from
| | 03:55 | each other, and the words tends
to loose there recognizable shapes.
| | 04:03 | In this third example I am using a
file called trackreverse, which is in the
| | 04:07 | same folder, the Kerning and Tracking
folder, and here I am suggesting that
| | 04:13 | when you are working with reversed-
out type, that applying a little bit of
| | 04:17 | Loose Tracking can actually aid
readability. This is also true; especially when
| | 04:21 | you are working with On-Screen type.
Loose Tracking, especially when applied to
| | 04:26 | a sans serif font, as this is here,
this is Myriad Pro, can aid readability.
| | 04:31 | But I am going relatively light on
the amount of tracking that has been
| | 04:35 | applied, a value of 25, and compared
to this version on the left which has No
| | 04:42 | tracking applied. I think it's a
slightly more readable result. So when working
| | 04:46 | with Reverse out-type, to compensate
for the slightly reduced readability of
| | 04:51 | reversed-out type, you might consider
applying some positive tracking, and we
| | 04:56 | also saw when we are working with the
leading movie, applying a little bit of
| | 05:01 | extra leading will also
help with reversed-out type.
| | Collapse this transcript |
| Using preferences and keyboard shortcuts| 00:00 | Let's take a look at some very
important kerning and tracking preferences, and
| | 00:05 | useful keyboard shortcuts. I am in a
document called kerningtracking prefs,
| | 00:11 | which is in the Kerning and Tracking
folder in the exercise files folder, and
| | 00:16 | here on the right we have a list
of our kerning and tracking keyboard shortcuts.
| | 00:20 | We have already seen the Option+Left
Arrow/Option+Right Arrow, or if you are
| | 00:24 | Windows, Alt+Left or Right Arrow, to
decrease or increase the spacing between
| | 00:31 | the pair of words, if you are kerning
or across a range of characters if you
| | 00:35 | are tracking. We also saw the
decreasing of the word spacing, that's what I am
| | 00:43 | going to do here. That's Command or
Ctrl, Option or Alt, and the Backspace
| | 00:47 | Delete key to reduce just the space
between the words. Now if I want to go in
| | 00:52 | the other direction, if I want to
increase the space between the words, that's
| | 00:56 | Command+Option and the backslash key,
or Ctrl+Alt and the backslash key.
| | 01:05 | Another useful shortcut that we
haven't encountered yet is the ability to be
| | 01:09 | able to clear any kerning or tracking
that has been applied to your text and
| | 01:14 | return it to Metrics Kerning. And that
is Command+Option+Q or Ctrl+Alt+Q, and
| | 01:22 | that just removes any kerning or
tracking that has been applied. Let's take a
| | 01:28 | look at the unit of kerning, the
degrees at which you are kerning or tracking,
| | 01:34 | and that is this very important
preference here. You may find that your values
| | 01:38 | in your documents are set to 20.
That's the factory default amount. I think
| | 01:43 | that's too much, it's too coarse an
increment. I recommend that you make it 5,
| | 01:48 | possibly even less, so that every time
you use that shortcut, the Option+ Left
| | 01:53 | Arrow, Option+Right Arrow, you are
moving in increments of only -5, 1/1000 em.
| | 02:00 | Now we have talked about this increment
of 1/1000 em, every letter is designed
| | 02:06 | within an em2, that is 1000 units
X1000 units, it's a relative size. And
| | 02:14 | kerning is expressed in that unit of 1/
1000 em. Now if you are a refugee from
| | 02:21 | QuarkXPress, and you are trying to
equate the values that you are used to in
| | 02:26 | QuarkXPress, to the values that we
have here in InDesign, then the values in
| | 02:31 | InDesign are five times greater. The
em2 in QuarkXPress is 200X200 unit em2.
| | 02:39 | Whereas in 1000X1000 unit em2. Meaning
that the value that you are used to in
| | 02:46 | QuarkXPress, just multiply those by 5 to
get the equivalent amounts in InDesign.
| | 02:52 | There is another keyboard shortcuts
that I haven't used, and that is to kern or
| | 02:58 | track by five times the specified
increment that's in your Preferences, and
| | 03:04 | that's Command+Option+Left Arrow.
So in this case, that's 25 or
| | 03:09 | Command+Option+Right Arrow, Ctrl+
Alt+Left or Right Arrow for Windows.
| | 03:15 | Now the last and very useful kerning
or tracking preference, is a composition
| | 03:23 | preference, which allows us to see
where kerning and tracking has been applied.
| | 03:28 | So I am going to apply some tracking
to my second paragraph, and now I will
| | 03:35 | need to go to my Normal view mode. Once
I am in my Normal view mode, come to my
| | 03:42 | Preferences, if your Windows, that's
under the Edit menu, and to Composition,
| | 03:47 | and here I can turn on Custom Tracking/
Kerning. And I will see as the kerning
| | 03:54 | or tracking has been applied, my text
will be highlighted in green. Now this is
| | 03:58 | especially useful I think for two
possible reasons. One is that you might have
| | 04:04 | inherited a document from somebody who
is maybe not as sensitive to kerning or
| | 04:09 | tracking as you might like them to be,
and you just want to pinpoint very
| | 04:13 | quickly where kerning or
tracking has been applied.
| | 04:17 | And the second reason is, perhaps in
order to fit the text in your document,
| | 04:22 | you have had to kind of break your own
rules a bit, and apply a little bit more
| | 04:27 | kerning or tracking than you might
have liked, but then the text has
| | 04:31 | subsequently been edited, meaning that
the kerning or tracking you applied, is
| | 04:36 | no longer necessary. And again, you
can quickly pinpoint where that has been
| | 04:40 | applied. And in this case I am going
to remove it with the keyboard shortcut,
| | 04:45 | Command+Option+Q or Ctrl+Alt+Q.
| | 04:50 | So anyway, there are our kerning and
tracking, let me turn that Preference off
| | 04:54 | now. You will not see your composition
preferences when you are in Preview view
| | 04:59 | mode, so I am going to press W to
go to preview. Here are our keyboard
| | 05:03 | shortcuts, and we have got as I
mentioned, these two important preferences
| | 05:08 | relating to kerning and tracking in
your Units and Increments. The kerning or
| | 05:12 | tracking amount and in Composition,
the Custom Tracking/Kerning Composition preference.
| | Collapse this transcript |
| Adjusting word spaces only| 00:00 | As we have seen tracking is the
adjustment of space between characters, the
| | 00:04 | words and the word spaces. In
addition, InDesign has a little documented
| | 00:09 | feature, which allows you to adjust
only the word spaces. Let's see how this
| | 00:15 | might be useful for us.
| | 00:16 | I am in a document called
decreasewordspace, which is in the Kerning and
| | 00:20 | Tracking folder. I have got three
paragraphs. They differ only in the amount of
| | 00:26 | tracking or word space adjustment that
has been applied. In my top paragraph
| | 00:31 | here, no tracking is applied, and we
run to 13 lines. Beneath, just the word
| | 00:37 | spaces have been adjusted, meaning
that the tracking between the letters
| | 00:41 | themselves remains as it is here in
the top paragraph, i.e., no tracking
| | 00:48 | applied. In the example on the right,
the reduction of space has been achieved
| | 00:53 | by tracking both paragraphs to a
degree of -15, 1/1000 em. Meaning that there
| | 01:03 | is an equal amount of space
reduction in the word spaces, and between the
| | 01:08 | letters themselves.
| | 01:09 | Let's see how we can apply this
decreasing of word space. I am going to select
| | 01:14 | just this one paragraph here, and to
use the keyboard shortcut, and there is
| | 01:18 | only a keyboard shortcut. That's the
only way to apply this option. It's
| | 01:23 | Command+Option+Backspace delete key, or
Ctrl+Alt+Backspace delete key. And I am
| | 01:30 | going to need to press that several
times. And as I do so, my text gets
| | 01:38 | tighter, and there we have saved
ourselves a line, and if I place my cursor in
| | 01:45 | the text, we can see that what has
happed, is when I placed it after a space,
| | 01:52 | the amount of space that has been
shaved off of the word space character
| | 01:56 | itself, is -60, but when I place my
cursor between the characters, then there
| | 02:06 | is no tracking applied. Just an
alternative way of tightening up your text, in
| | 02:12 | order to save or possibly
take up a bit more room.
| | Collapse this transcript |
|
|
6. Working with Special CharactersUsing the Glyphs palette| 00:00 | This chapter is about the small details.
The fiddly stuff. And we are going to
| | 00:04 | begin with the Glyphs palette, and how
we can use the Glyphs palette to access
| | 00:10 | those special characters, Foreign
Accents, Currency Symbols, Fractions,
| | 00:16 | Ornaments, other things that we
cannot easily get on the keyboard.
| | 00:20 | I am working in a document called
Special Characters in the Special Characters
| | 00:24 | and Punctuation folder. And I have
some text here that requires the insertion
| | 00:29 | of some of those special characters.
Let me begin by just pointing out that we
| | 00:34 | have a menu item, Insert Special
Character, where we can access some of the
| | 00:39 | frequently used special characters. In
this case, the copyright symbol is one
| | 00:44 | that I am after. But we also have here
different types of hyphens and dashes,
| | 00:50 | as well as different quote marks. But I
am going to go for the copyright symbol.
| | 00:57 | Now for other things, beyond what's on
that list, we are going to need to go to
| | 01:01 | the Glyphs palette. That's under the
Type menu, and this is what it looks like.
| | 01:06 | Firstly, what is a glyph? A glyph is
the smallest unit of measurement of a
| | 01:11 | character. In fact, a single
character can be made up of several different
| | 01:17 | glyphs. Alternate versions of the
same character. For example, any of these
| | 01:23 | where we have a black triangle at the
bottom right hand corner, it means that
| | 01:28 | there is more than one particular
glyph to that character, so we can choose
| | 01:33 | alternate versions.
| | 01:34 | Let's just take a little look around
the Glyphs palette, before we go any
| | 01:38 | further. Here is where we can choose
the font that we are viewing, and we can
| | 01:43 | change Magnification size. And we can
also, if necessary, increase the size of
| | 01:52 | the palette. Now I am currently
faced with an overwhelming number of
| | 01:56 | characters, so, I may find it useful
to filter, what is it that I am viewing.
| | 02:02 | And I can do that here with the Show
menu. And I just need to remind myself of
| | 02:08 | what it was I was after. I
am after a trademark symbol.
| | 02:12 | So, I am going to Show Symbols, and
also I am going to be zoom in, and there we
| | 02:20 | see my trademark symbol, and I have
two alternate glyphs that make up that
| | 02:28 | character. So I left my document
with the TM selected, so that now when I
| | 02:36 | double-click, my trademark symbol is
going to replace that character. My glyphs
| | 02:41 | palette is getting a little bit large
and unwieldy. So I am going to reduce its
| | 02:46 | size. I can leave that Open, and I will
come back here. 25 Pounds, I am talking
| | 02:53 | Currency here. And we want the
Currency Symbol to go in front of the number.
| | 02:58 | So there is the one we are after.
Simply double-click to insert that Currency
| | 03:04 | Symbol in the text. Coming over here
to the Foreign Accents. For this I will
| | 03:13 | filter my view to, view just the Basic
Latin, and Latin one. And I have got a
| | 03:18 | few more glyphs to swift through here,
until I find one that I am after. But
| | 03:24 | there we have an e`(e acute), which I
can insert simply by double-clicking. Now
| | 03:29 | you will notice that as I am inserting
these glyphs, they are appearing in this
| | 03:34 | list up here, recently used. Which is a
very nice shortcut that Glyphs palette
| | 03:39 | has been quite improved in CS3.
| | 03:42 | Now another thing, I might want to do,
is if I am going to be using the same
| | 03:47 | glyphs on a regular basis, it is making
my own custom glyphs set. And I can do
| | 03:52 | that by coming over here to the panel
menu and choosing New Glyph Sets. And I
| | 03:58 | am going to call this Nigel, for my name,
okay, and now I can make a glyph set
| | 04:05 | that combines glyphs from different font sets.
| | 04:10 | So for example, perhaps I will scroll
down here, and look at Wingdings. I want
| | 04:17 | to review the Entire font, and there
are several of these Wingdings that I want
| | 04:22 | to add to my custom glyphs set. Now
to do that, you can right click on the
| | 04:26 | character, and then come over to Add
to Glyph Set, and slide over to your
| | 04:32 | custom glyph set. I am just going to
repeat that for as many characters as I
| | 04:37 | want to add to my custom glyph set.
| | 04:39 | If you have a single button mouse and
you are on a Mac, Control-click on the
| | 04:44 | character. Now maybe I will add some
glyphs from a different font, perhaps I
| | 04:52 | will come to Zapf Dingbats, where I
also want to add that one. Now having
| | 05:01 | created my custom glyph set, which I
can go back and edit anytime. I can see
| | 05:06 | just that glyph set, by choosing it
from my Show menu. And there are the custom
| | 05:10 | glyphs that I added.
| | 05:12 | To insert them into the text,
simply double-click on them.
| | Collapse this transcript |
| Using typographer's quotes| 00:00 | Now as I am sure you all know we want
to use typographer's quotes for the most
| | 00:04 | part. I.e paired quotation marks
that surround the quotation, rather than
| | 00:09 | straight inch marks or feet marks.
However, there are certain times, when we
| | 00:15 | actually need to use inch marks and
feet marks. So let's take a look at how we
| | 00:20 | can access those characters when we
need to, and how they are distinctly
| | 00:25 | different from typographer's quotes.
| | 00:27 | I am in a document called Quote and
Inch Marks, which is in the Special
| | 00:31 | Characters and Punctuation folder, in
the exercise files folder. And firstly,
| | 00:36 | we are looking at these two examples
here, with this quotation. The first one
| | 00:40 | has inch marks, i.e. they are
straight, they are not paired, they do not
| | 00:45 | surround the quotation. And these I
think are definitely to be avoided. It is
| | 00:52 | the mark of Amateur Typography. Whereas
these typographer's quotes look so much nicer.
| | 00:59 | Let's just make sure that we have the
necessary preference turned on, so that
| | 01:04 | we get these typographer's quotes
automatically. Preferences > Type, and if you
| | 01:10 | are a Windows user, your Preferences
will be under the Edit menu. And here is
| | 01:14 | the option that I am talking about.
It is indeed turned on, so every time I
| | 01:20 | insert a quote mark, what I get is an
opening paired quotation mark. And then
| | 01:25 | when I come to the end of the quote,
what I get is a closing paired quotation mark.
| | 01:33 | Now that's all well and good, but
sometimes typographer's quotes can trip us
| | 01:38 | up, because sometimes we don't want
typographer's quotes. As is the case down
| | 01:44 | here, when we are dealing with
measurements. What we want here are the straight
| | 01:52 | feet and inch marks. And that's what we
have over here in this example, in the
| | 02:00 | middle. So how do we get these? Because
if I begin by deleting those inch marks
| | 02:07 | there. If I now want to insert them,
what I am going to get, is a closing
| | 02:13 | single quote, or a closing double quote.
| | 02:19 | One way to make sure that we get the
feet and inch marks that we are after, is
| | 02:24 | from under the Type menu > Insert
Special Character > Quotation Marks. And
| | 02:29 | there we have single straight quote or
single double quote. Arguably there is a
| | 02:41 | better way, because inch marks and
feet marks just don't look very good. No
| | 02:44 | matter if you are using them
appropriately or not. So in this third example
| | 02:48 | over here, I am not using either
typographer's quotes or inch marks.
| | 02:53 | I am using what I call prime marks,
and you will see that they are slightly
| | 02:57 | slanted, but they are not paired the
way quotation marks are. And the way we
| | 03:01 | get these is through a good friend,
the Glyphs palette. And if we filter our
| | 03:09 | view to view just the Symbols. There is
a single Prime mark, and right there is
| | 03:15 | our double Prime mark. So for the
most part you want your paired quotation
| | 03:22 | marks to be on your typographer's quotes,
but just be aware that every once in
| | 03:27 | a while that can trip you up.
Especially when you actually want these Symbols
| | 03:31 | to convey, feet or the inches, in
which case you may be better off inserting
| | 03:36 | prime marks, which you can
access from the Glyphs palette.
| | Collapse this transcript |
| Using fractions| 00:00 | Let's take a look at working with
fractions, which can be very tricky, and we
| | 00:04 | will look at three different
approaches to setting professional looking
| | 00:07 | fractions. I am working in a
document called fractions, which is in the
| | 00:12 | Special Characters and Punctuation
folder. And I have divided these into easy
| | 00:16 | fractions and tricky fractions.
Easy fractions: half, three quarters, one quarter.
| | 00:22 | Most font sets will have this
fraction as a distinct character.
| | 00:27 | And the way to get to it is I am just
going to highlight those three characters
| | 00:32 | that are going to make up the fraction.
| | 00:35 | And then go to my Type menu, to my
Glyphs palette, and if I am viewing the
| | 00:40 | Numbers, I am filtering my view to show
just the Numbers of that font. There we
| | 00:46 | see the different fraction s. So I can
just double-click on half there, select
| | 00:52 | three quarters, double-click on that
one, and one quarter. Okay, so those are
| | 00:59 | easy fractions. But beyond that, if you
got anything other than one half, three
| | 01:03 | quarters, and one quarter, things get a
bit more tricky. So then in the second
| | 01:08 | part of this document, we have got
probably three sets of fraction s all the
| | 01:12 | same, but before which isn't really a
fraction at all, and looks really big and
| | 01:19 | clunky, and not what we want.
| | 01:21 | The first option we have is to apply a
fraction script. Now I am using a script
| | 01:27 | from a guy called Dan Rodney, and his
website is danrodney.com. I want to give
| | 01:32 | him a plug, because I have got this
script for free. I am going to go to my
| | 01:37 | Window menu, and to the Automation
flyout, and to the Scripts panel. And in
| | 01:42 | there we see this script called Proper
Fraction, and it's simply a matter of
| | 01:48 | selecting the text that we want to
become the fraction. Double clicking on the
| | 01:52 | script, and it's made for us. Now what
that script does is it takes the first
| | 01:58 | number, and makes it into Superscript,
replaces the slash with a fraction al
| | 02:02 | slash. Takes the second number, and
makes it into Subscript. And then kerns the
| | 02:08 | space between them. Big, big time saver.
| | 02:12 | My third type of fraction is using
OpenType, which is I think by far the
| | 02:16 | easiest, if you have that option
available to you. This says it is currently
| | 02:21 | set in Times, which is not an
OpenType font. But if I change that to Minion
| | 02:26 | Pro, which is, I could now select the
fraction, and then from all the way over
| | 02:32 | on the right hand side on the Control
panel menu, I can come to my OpenType
| | 02:37 | flyout and choose Fractions, and solve
that one, and then do the same for that
| | 02:43 | one there. So three different
approaches to getting good looking fractions.
| | Collapse this transcript |
| Using apostrophes| 00:00 | Let's take a quick look at apostrophes,
because these are something that can
| | 00:03 | easily trip you up, if you are not
careful. This is much like the point I was
| | 00:08 | making when working with the inch
marks and the quotes marks. When you have
| | 00:11 | typographer's quotes turned on, which
is what you want, what you are going to
| | 00:15 | get sometimes instead of an Apostrophe,
is an opening single quote, and that's
| | 00:21 | what's happened here in these
examples on the left, and that's incorrect,
| | 00:25 | because the apostrophe here is
substituting for the missing letter and needs to
| | 00:30 | be a closing single quote or
apostrophe, same character.
| | 00:35 | So, just make sure that you are getting
the character that you need, and if you
| | 00:40 | find that when you type it in, it
looks like that, then you can use the
| | 00:44 | keyboard shortcut for an apostrophe,
which is Alt+Shift+Right-bracket.
| | 00:50 | Alternatively, I could also get that
from the Type menu > Insert Special
| | 00:55 | Character > Quotation Marks, and
this is a single right quotation mark.
| | Collapse this transcript |
| Using ellipses| 00:00 | The purpose of an Ellipsis character
or three dots is to indicate an omission
| | 00:05 | within a sentence or between
sentences. I am working in a document called
| | 00:09 | ellipsis, which is in the Special
Characters and Punctuation folder, and here
| | 00:13 | is a definition of what we are talking
about. "The omission from a sentence or
| | 00:17 | other construction of one or more words
." Just to be little bit more pedantic
| | 00:22 | about this, there is a distinction
between an omission within a sentence, which
| | 00:27 | uses three dots and an omission
between sentences, which uses a period and a
| | 00:32 | space, then the three dots.
| | 00:35 | There is also a further distinction of
an ellipsis that occurs at the end of a
| | 00:39 | sentence, where there is no sentence
which follows it. In that case, the
| | 00:44 | ellipsis should be followed by a
period. A total of four dots. What we are
| | 00:49 | going to look at here is to
setting the three dot ellipsis character.
| | 00:54 | Three ways to do it. I would
suggest that this, the third way, is to be
| | 00:59 | avoided. This is just dot, dot, dot
(...), and while it's unlikely, it's
| | 01:04 | possible that these dots could be
broken at the end of a line. The second way
| | 01:08 | or the middle way here is using an
ellipsis character, and that character is
| | 01:14 | accessible from your keyboard by Alt
+Semi Colon, or Option+Semi Colon.
| | 01:20 | You can also access it from the Type
menu, Insert Special Character > Symbols >
| | 01:26 | Ellipses. I think the best way is
three dots separated by a thin space. The
| | 01:33 | ellipses character will begin with a
thin space. Now, a thin space is one of a
| | 01:37 | spacing characters that exists here,
under the Insert White Space menu or is
| | 01:45 | Command+Shift+Option+M or Ctrl+Alt+Shift
+M, and that's what it looks like, when
| | 01:53 | you have your Hidden Characters turned
on. So I am going to do that, and then
| | 01:57 | the dot and then Command+Option+Shift+M,
dot, Command+Option+Shift+M, dot, and
| | 02:05 | then one more thin space to separate
it from the character that follows. I am
| | 02:09 | going to turn off my Hidden Characters
now, and that's what that looks like.
| | 02:13 | So, slightly more space between the
dots and slightly less either side of the
| | 02:19 | ellipses character. Then the second
example here that uses just a standard
| | 02:25 | space bar character. Then down here, we
see a comparison of those two different
| | 02:35 | types of ellipses character. In action
one the ellipses character as accessible
| | 02:40 | from the Insert Special Character >
Symbols menu, and the second the custom
| | 02:46 | build ellipses with the dots
separated by the thin spaces.
| | Collapse this transcript |
| Understanding your dashes| 00:00 | Know your Dashes. Your Em Dashes,
your En Dashes, and your Hyphens, the
| | 00:04 | difference between them and what is
an appropriate usage of them. I am in a
| | 00:08 | document called dashes, which is in
the Special Characters and Punctuation
| | 00:12 | folder, and here we are going to begin
just by looking at the different widths
| | 00:16 | of the dash. We can see that we go
from the Hyphen, to the En Dash, and then
| | 00:20 | double the width of the En Dash is the Em Dash.
| | 00:23 | I am now going to my Layers palette
and turn on my em layer. I will need to
| | 00:29 | reduce my view size a bit, so that I
can see the content of that layer. I will
| | 00:35 | hide the visibility of my Dashes
Layer and then make a zoom marquee,
| | 00:40 | Command+Spacebar, and click and drag
over that to make it fit my screen.
| | 00:45 | Em Dashes: They are used to set off a
phrase or to indicate an abrupt change in
| | 00:51 | thought. What you don't want to be
using are two hyphens or a single hyphen.
| | 00:56 | All well and good, but do we put spaces
either side of the dash? Well, that's a
| | 01:01 | matter that is opened to some debate,
probably not too much debate really, but
| | 01:06 | some debate. The most important thing
is to be consistent. Here, I am using
| | 01:11 | space either side of my dash, but I am
not using a full spacebar width, I am
| | 01:16 | using a thin space, and the thin space
is one of the spacing characters that is
| | 01:22 | accessible under the Insert
White Space fly out menu, thin space.
| | 01:27 | Now another point to make about Em
Dashes is that some people feel that they
| | 01:31 | are just to long, and actually, while
not technically correct, they prefer to
| | 01:36 | use an En Dash, because it's wider than
hyphen, but not quite so wide as an Em
| | 01:41 | Dash. Let's go and take a look at
these two examples down here. In the first
| | 01:45 | sentence, I am using an En Dash
instead of an Em Dash, and in the second
| | 01:52 | example, I have an Em Dash but set to
horizontal width of 80%, making it not
| | 01:58 | quite as long.
| | 01:59 | In both cases I have before and after
the dash, a thin space to separate it
| | 02:06 | from the text. Okay, I am now going to
look at En Dashes. Incidentally En and
| | 02:12 | Em are two very good scrabble words, if
you need to get out and you got to some
| | 02:18 | spare letters. So here we are. The
simple usage of an En Dash is if you would
| | 02:25 | speak the phrase, you would use the
word 'to'. So instead of using the hyphen,
| | 02:28 | we use an En Dash here. Open 9x5,
1914x1918, SeptemberxOctober. There we are.
| | 02:37 | Hyphens, Em Dashes, and En Dashes.
| | Collapse this transcript |
| Avoiding two spaces after a period| 00:00 | This movie is about, why should have
only one space after a period. I am in a
| | 00:04 | document called nodoublespace. In the
upper example, I am using a single space
| | 00:09 | after a period, and beneath that,
using a same text I have two spaces after a
| | 00:13 | period. You can see that there are
unsightly holes opening up in my text at the
| | 00:18 | beginning of every sentence as a
result of using two spaces. Now even though
| | 00:23 | two spaces after a period was taught
when people were learning how to type on a
| | 00:28 | typewriter using Monospace fonts.
| | 00:31 | Here we are using proportionally
spaced fonts, and that practice is now
| | 00:36 | unnecessary. We want to keep that
spacing consistent throughout, so only ever
| | 00:41 | one space after a period. Now if you
are thinking, wait a minute, I am so used
| | 00:45 | to using two spaces after a period. I
just can't get my head around the idea
| | 00:49 | that you should only use one. Here is
why? I am going to scroll over here and
| | 00:54 | look at these different characters. Now
with proportional space fonts, each of
| | 00:58 | our characters uses a different width.
Obviously, a W is far wider than an I,
| | 01:03 | which is far wider than a period.
| | 01:05 | If I would zoom in on this, included in
every character, is the space that goes
| | 01:11 | with it, and there is more space built
into the period character than there is
| | 01:17 | into the W or to the I character. So
the point here is, the space is already
| | 01:22 | there; it's already a part of the
character. You don't need two of them. Using
| | 01:26 | two of them is just going to give you
unsightly holes in your text. Just to
| | 01:30 | demonstrate this point a bit further, I
am going to go to my Normal View mode,
| | 01:36 | in which I can see my hidden characters.
You can see that what I have done here
| | 01:41 | to get this spacing width, and I am on
very large view percentage in order to
| | 01:47 | see this, is I have just drawn a box.
It goes from the very edge of the visible
| | 01:52 | part of the character to this
paragraph mark here, which indicates the end of
| | 01:57 | the paragraph.
| | 01:58 | And I have done the same to each of
these three characters. We can see this for
| | 02:01 | the period; it is significantly larger,
at least at this view size, than it is
| | 02:06 | for W or for the I. So please
only ever one space after a period.
| | 02:12 | If, for whatever reason, you cannot
retrain yourself to only type a single
| | 02:16 | space after a period. Go ahead, type
two spaces, but just make sure that the
| | 02:20 | first thing that you do before you
start working with your type, is you came up
| | 02:24 | to the Edit menu, choose Find/Change,
and then from the Text tab, you can do a
| | 02:32 | simple search and replace to replace
all multiple spaces with a single space.
| | 02:37 | Now I am going to go ahead and change
all, and that gets rid of over those
| | 02:42 | double spaces in my second example down here.
| | Collapse this transcript |
| Spacing characters| 00:00 | Now if you just viewed the previous
movie, you may be thinking, well, wait a
| | 00:03 | minute, what if I need more spacing?
Are there going to some times when I want
| | 00:08 | a bit more space than just a regular
space character is going to give me? Yes,
| | 00:12 | I am sure there are and there will be
times when you want a bit less as well.
| | 00:15 | That's where we have different
widths of spacing characters.
| | 00:18 | I am in a document called spaces,
which is in the special characters and
| | 00:22 | punctuation folder, and here I am just
using four different types of spacing
| | 00:28 | character. There are more than this but
I tend to find that these four are good
| | 00:32 | for my needs and this just demonstrates
the relative widths of those different
| | 00:39 | spacing characters.
| | 00:40 | So this is what a Spaceband is going
to be. By Spaceband, I mean what you get
| | 00:44 | when you press the Spacebar and Em
Space. Look how huge that Em Space is. The
| | 00:49 | En Space, half of that width and then
for less than a Spaceband, a Thin Space.
| | 00:56 | Of course, all of the spacing widths
are relative to the point size that for
| | 01:00 | you are working with. I am just going
to press W to switch to my normal view
| | 01:05 | mode, where we can see how, when I have
hidden characters shown these different
| | 01:10 | spacing characters are
represented by these hidden characters.
| | 01:14 | I should also point out that the
spacing characters are available here under
| | 01:20 | the Type menu, Insert White Space and
in addition to the ones I showed you, we
| | 01:24 | also have Hair Space, Thin Space,
Quarter Space, Punctuation Space and Flush
| | 01:29 | Space. More spaces than
you can shake a stick at.
| | Collapse this transcript |
| Reducing punctuation size in headlines| 00:00 | To give your type the tender, loving
care that it deserves, you might consider
| | 00:03 | reducing the size of your
punctuation in headlines, which can look
| | 00:08 | disproportionately large.
| | 00:09 | I am in a document called reduce
punctuation and this is in the special
| | 00:13 | characters and punctuation folder in
the exercise files folder. Here we have a
| | 00:18 | file that may look familiar. We were
working with this one in the Leading
| | 00:21 | chapter and we have here several
pieces of punctuation that are just at this
| | 00:27 | size of type, looking too large and clunky.
| | 00:31 | So what I am going to do is I am going
to select that colon first of all and I
| | 00:35 | am going to reduce it's size, Command+
Shift+< or Ctr+Shift+< to knock that down
| | 00:42 | in size. Now, of course when I do that,
I may also then find I need to shift it
| | 00:48 | up a bit using my baseline shift
and that's what I am going to do.
| | 00:54 | I would probably get rid of the column
altogether but I just want to show you
| | 00:58 | how it would look if we did decide to
use it. There's that one and I am also
| | 01:03 | going to select these quote marks and
make those smaller. They are currently at
| | 01:07 | 36 points. I think we can knock them
down to 24 points and having done that,
| | 01:14 | I'll also need to baseline shift
them up to about there and now probably
| | 01:22 | easiest to get the closing quote is
to copy the opening quote, Command+C or
| | 01:27 | Ctr+C and then select the closing quotes.
| | 01:32 | Make sure I only have that selected,
Command+V or Ctr+V and then just replace
| | 01:39 | the opening quote with the closing
quote and I want to make my comma the sign
| | 01:44 | size, which was 24 points. There we go.
| | 01:50 | Reduce punctuation in a headline.
| | Collapse this transcript |
|
|
7. Using OpenType FontsUnderstanding OpenType fonts| 00:00 | This next series of movies is about
OpenType. What is OpenType and why is it a
| | 00:05 | good idea to use OpenType
fonts if you have them available?
| | 00:10 | Let's begin with a look at the benefits
of OpenType fonts. Firstly, they have a
| | 00:14 | vastly expanded character set, and
Old Type 1 PostScript font would have a
| | 00:20 | character set of only 256 characters,
which on the face of it, would seem like
| | 00:25 | sufficient, 26 for lowercase, 26 for
uppercase, 10 for your numerals, various
| | 00:30 | bits of punctuation, a few foreign
accents, a few fractions and you'd think you
| | 00:35 | would still have enough leftover.
| | 00:36 | But these days, we are working more
and more with multilingual publishing. We
| | 00:40 | want different numbering systems, we
want fractions, we want ornaments, we want
| | 00:44 | different forms of characters. We want
extra ligatures and these all are the
| | 00:48 | things that OpenType can offer us
and it can offer us these different
| | 00:52 | characters all within the same font.
| | 00:54 | Some of you may remember using expert
sets when you wanted to use real small
| | 00:59 | caps or different numbering styles. It
would involve changing the font. Here
| | 01:04 | you don't have to worry about
that. It's all in one place.
| | 01:07 | Secondly, they are cross platform.
You are a Mac user and can exchange with
| | 01:11 | Windows no problem and same vice versa.
OpenType fonts present no compatibility
| | 01:17 | problems when moving from
one platform to another.
| | 01:20 | Thirdly, when working with an OpenType
font file, there is just one component
| | 01:25 | to it. You do not have to worry
about that being a distinct file for the
| | 01:28 | ScreenFont and a distinct file for the
PrinterFont. So it's just one component,
| | 01:33 | one less thing to worry about.
| | 01:35 | Fourthly, and what we are really
going to be really getting into is the
| | 01:38 | typographic features that InDesign can
harness the potential of OpenType fonts
| | 01:44 | so that we can use extra ligatures,
the real fractions, the real small caps,
| | 01:48 | different numbering styles and a whole
lot more and we are going to begin in
| | 01:52 | the next movie by looking at ligatures.
| | Collapse this transcript |
| Understanding ligatures| 00:00 | Ligatures are two or more characters
that are fused together to form a single character.
| | 00:07 | I am in a document called Ligatures,
which is in the OpenType folder.
| | 00:11 | Ligatures are not exclusive to
OpenType. You can use ligatures without
| | 00:16 | necessarily using an OpenType font.
The basic ligatures, the most common ones,
| | 00:21 | the fi, fl in lower case
combinations are available in non-OpenType
| | 00:27 | fonts. With OpenType fonts, you have
more ligatures available to you, but before
| | 00:32 | we get into the specifics of the
OpenType ligatures, let's just talk a moment
| | 00:36 | about what ligatures are
and why they are useful.
| | 00:39 | Without ligatures, using in this case,
Adobe Caslon Pro, we see that with the
| | 00:44 | fi letter combination, there is a
collision between the f and the dot of the i.
| | 00:50 | That problem is solved with a ligature
where those two characters become one.
| | 00:53 | The horizontal bar at the f joins with
the i and the dot on the i is dropped.
| | 00:59 | Similarly with the fl combination,
which is fused together much more gracefully
| | 01:05 | than this collision that we get
when there are two separate characters.
| | 01:09 | Now, that's about the extent of the
ligatures that you have in a non-OpenType
| | 01:14 | font but with an OpenType font, you
get extra ligatures and here is some of
| | 01:18 | them. ffi as in the word office, ffl as
in the word waffle. Three characters in
| | 01:25 | this case, all fused into one
to avoid character collisions.
| | 01:29 | Just want to mention that ligatures
are perhaps not always such a good idea.
| | 01:33 | They are more necessary in some fonts
than others. Here, I am using the font
| | 01:38 | Futura. Now you may not have this font
but you can still get the idea from just
| | 01:43 | looking at the screen. Futura, a
geometric Sans-serif font, where the issue of
| | 01:48 | a character collision doesn't really come up.
| | 01:50 | So using a ligature just looks a
little bit odd in this case and is perhaps
| | 01:55 | unnecessary. So if you do not want to
use ligatures from your character formats
| | 02:00 | on the Control panel all the way over
in the right-hand side, you can uncheck
| | 02:05 | the Ligatures option right there and
your ligature now becomes two distinct characters.
| | 02:11 | Okay so that's the grounding for
ligatures. Let's now see what specifically
| | 02:16 | OpenType ligatures can do for us. I am
going to come to my Window menu and pull
| | 02:20 | down to the OpenType file, which I
already have open. This is in the OpenType
| | 02:25 | folder which is in the exercise files
folder and I am going to zoom in to this
| | 02:31 | area called discretionary ligatures
because as well as extra ligatures, we have
| | 02:36 | this feature called discretionary
ligatures in OpenType fonts which may be a
| | 02:41 | little bit too much icing on your cake
but maybe sometimes can give a little
| | 02:46 | extra something to your type.
| | 02:47 | Here are some examples, the ct
combination, the st and the sp combination in
| | 02:55 | this font Minion Pro. So if I want to
turn on my discretionary ligatures, and I
| | 02:59 | am going to now do this for the text on
the left, I will select it and from my
| | 03:04 | palette menu up the top there, OpenType.
Here is a list of my OpenType features.
| | 03:09 | Now you will see that some of these
features have square brackets around them.
| | 03:13 | That means that this particular
feature is not available in this font but
| | 03:17 | Discretionary Ligatures is available,
so I am going to choose that and there we
| | 03:22 | have the discretionary ligatures
available for those characters.
| | 03:25 | Next, I am going to talk about
using real small caps in OpenType.
| | Collapse this transcript |
| Understanding small caps| 00:00 | We saw in an earlier movie how to
set small caps and some of the problems
| | 00:03 | inherent in doing that when
working with a non-OpenType font.
| | 00:07 | When working with OpenType fonts, when
we choose small caps, the result that we
| | 00:11 | get uses distinct characters. These
are separate characters that are part of
| | 00:16 | the OpenType font sets and in the
same document I was in, in the previous
| | 00:21 | movie, open type and it's in the open
type folder and here we are looking at
| | 00:25 | using small caps.
| | 00:27 | Now, in the example on the left
here, I have small caps applied to a
| | 00:30 | non-OpenType font and that's simply
applied by clicking on the big T, small t.
| | 00:35 | I have done the same thing with an
OpenType font over here, Adobe Caslon Pro.
| | 00:40 | Look at that beautiful Q by the way
and when I do this, the benefit is that
| | 00:45 | because the horizontal scale of these
characters hasn't been reduced as it has
| | 00:51 | here, you can see that the characters
just look more substantial, they look
| | 00:55 | less spindly than the
fake small caps on the left.
| | 00:59 | Now, in addition to that, we also,
with OpenType small caps have one other
| | 01:03 | refinement that we can apply should we
choose and that's the ability to have
| | 01:08 | all our text in lowercase small caps
regardless of whether or not the initial
| | 01:13 | character of the word is in an all cap
and that option is this one right here
| | 01:18 | All Small Caps, with
everything as I reduced size capital.
| | Collapse this transcript |
| Understanding numerals| 00:00 | OpenType allows us to choose
different figure styles for our numerals.
| | 00:05 | I am in the OpenType file from the
OpenType folder and just so that we can zoom
| | 00:10 | in, focus in on what we want to learn
in this movie. I am going to open up my
| | 00:15 | Layers panel, where we see I got the
different features assigned to different
| | 00:19 | layers and I am going to hide all the
layers except oldstyle numerals and to do
| | 00:24 | that I am going to hold down my Option
or Alt key and Click on the Visibility
| | 00:28 | icon of that layer and then I am
going to collapse my Layers panel.
| | 00:33 | Okay. So here we have Oldstyle
Numerals on the left. We have regular lining
| | 00:38 | numerals where the numbers are the
height of the cap high of the text and on
| | 00:43 | the right; we have Oldstyle Numerals
where certain of the numbers will have
| | 00:47 | descenders in the case of the five, the
three, the four and the nine and others.
| | 00:53 | Well one other, in this case has an
ascender at the six. The part of that
| | 00:58 | number that goes above the X height and
if I just draw myself a guide to the X
| | 01:04 | height, you can see exactly what I
mean there. I am now going to hide those
| | 01:08 | guides. So to set your type using
Oldstyle Numerals select it and I am using
| | 01:16 | Chaparral Pro. Incidentally, the word
Pro after the font name is a pretty good
| | 01:21 | indication that it's an OpenType font.
| | 01:23 | I am going to come up to my character
formatting palettes, OpenType and pull
| | 01:30 | down to Proportional Oldstyle and there
we have my Oldstyle Numerals which just
| | 01:36 | blends so much more harmoniously
with the upper and lowercase of my text.
| | Collapse this transcript |
| Understanding fractions| 00:00 | OpenType fonts give us easy access to
real fractions. I am in the OpenType file
| | 00:07 | in the OpenType folder and we are going
to concentrate on fractions, now, so I
| | 00:11 | am going to go to my Layers panel and
Alt or Option-click on the Visibility
| | 00:16 | icon of the Fractions layers, so that
we can see just that layer by itself.
| | 00:20 | Now, we have already seen fractions,
we had a whole movie on fractions in the
| | 00:23 | previous chapter. I am going to give
you a one new piece of information here.
| | 00:27 | We so how, we have in an OpenType, font,
we got our Glyphs palette and we look
| | 00:35 | in the Numbers section.
| | 00:36 | We can find all these useful
fractions, if we are using a non-standard
| | 00:41 | fraction, then all we need to do is
highlight the fraction and come up to our
| | 00:45 | OpenType menu and choose Fractions.
Fair enough, all well and good.
| | 00:48 | But here is a slight drawback of that
Fractions feature in OpenType and that is
| | 00:55 | that, if I turned Fractions on, and
then I start typing, and let's say I type a
| | 01:02 | number, I don't want to be a fraction,
so it's not affecting the text, not a
| | 01:07 | problem. But I don't want that number
to be a fraction I want that to be a
| | 01:11 | regular size number.
| | 01:13 | The point here being, that you have
to specify the number that you want to
| | 01:16 | convert to a fraction and then
travel to the OpenType menu. That can be a
| | 01:20 | little bit long winded, so here is an
alternative way that you can do that and
| | 01:25 | the thing I am going to show you next
has many, many applications; this is just
| | 01:28 | one of them and I am going to
suggest that we make a keyboard shortcut to
| | 01:31 | quickly apply our OpenType, Fractions.
I am going to set these back to being
| | 01:36 | non-fractions and I am going to
travel to the Edit menu and pull down to
| | 01:41 | Keyboard Shortcuts.
| | 01:43 | Now, the Product Area that I want to
affect, the thing that I want to add a
| | 01:47 | Keyboard Shortcut to, that doesn't
already have one is on the panel menus. So,
| | 01:53 | I am going to choose panel menus and
then under the Commands I get a long list
| | 01:57 | of everything that is on every panel
menu within InDesign. I need to scroll
| | 02:02 | down until I find the Character panel,
down, down, down, Character: OpenType:
| | 02:09 | Fractions, that's the one I want. I
want to assign a shortcut to this.
| | 02:13 | I am going to need to create a new
keyboard shortcuts set which I'll give my
| | 02:17 | names so that we don't overwrite the
original keyboard shortcuts set, and it
| | 02:21 | just return me to the Application menu,
Product Area, thanks very much. So I am
| | 02:26 | going to do that again, panel menus
and scroll down to Character: OpenType:
| | 02:34 | Fractions and the shortcut I am going
to give it is Ctrl+Option+F, and that's
| | 02:41 | control on a Mac. Ctrl+Option+F.
Windows, you may need to find a different
| | 02:47 | shortcut, but just find a shortcut that
in some way makes sense to you and that
| | 02:51 | isn't already taken by something else.
And you will see that this is a keyboard
| | 02:55 | shortcut that is currently unassigned.
I am going to click Assign, click OK and
| | 03:00 | now to apply my fractions as
appropriate, Ctrl+Option+F. We'll do it and if I
| | 03:05 | come up here to the OpenType menu,
Fractions that even tells me that, that
| | 03:10 | Keyboard Shortcut has been applied to it.
| | 03:13 | So that's just a, I think a time saving
tip for quickly applying fractions, if
| | 03:18 | you are working with a document
that requires a lot of fractions.
| | Collapse this transcript |
| Understanding other OpenType features| 00:00 | Okay, so far we've looked at Ligatures,
Discretionary Ligatures, small caps,
| | 00:04 | Oldstyle Numerals, Fractions. I am now
going to address a few other OpenType
| | 00:08 | features in one movie. I am going
to be talking about Glyph Shifting,
| | 00:12 | Contextual Alternates, Swash
Characters, and Titling Alternates.
| | 00:17 | I am in the OpenType file, in the
OpenType folder, and so that we can focus in
| | 00:23 | on the aspects that we want to look at
in this movie. I am going to open up my
| | 00:27 | Layers panel and hide the visibility
on Ligatures, discretionary ligatures,
| | 00:31 | small caps, oldstyle numerals and
fractions, leaving us with these four. I will
| | 00:38 | then close my Layers panel
and move my screen up a bit.
| | 00:44 | So firstly, let's look at Glyph
Shifting: Glyph Shifting is a feature that's
| | 00:48 | on; there is no option to turn it on or
off, it's just on with OpenType fonts.
| | 00:52 | When we look at the example on the
left, a non-OpenType font without
| | 00:56 | glyph shifting, we see that the
position of the hyphen and the closing
| | 01:00 | parenthesis is the same, regardless of
whether or not that is preceded by a
| | 01:04 | lower case h or an upper case H.
| | 01:07 | In the example on the right, an
OpenType font with glyph shifting, we see that
| | 01:11 | the position of the hyphen and the
closing parenthesis is lower for the
| | 01:17 | lowercase text than it is for the
uppercase text or actually it is higher for
| | 01:22 | the uppercase text. Because without
the glyph shifting the position of the
| | 01:26 | hyphen and the parenthesis is too low
and might require that you shift the
| | 01:31 | baseline manually, if you are working
with a piece of display type or type on
| | 01:35 | a logo or a business card.
| | 01:37 | Let's move now to Contextual
Alternates and we will see in the example on the
| | 01:42 | left, Contextual Alternates are not
used. This is using the font called
| | 01:45 | Caflisch Script Pro, which if you
don't have just follow along with the
| | 01:50 | screen to get an idea of what this is.
This is a feature that's only going to
| | 01:53 | be available for certain types of
script fonts that are OpenType fonts.
| | 01:57 | In the example on the right, we see
that we have to Contextual Alternates
| | 02:02 | turned on and look what affect that has,
for example, with the b and the r. We
| | 02:06 | have a different b because it's
followed by an r. We have a different o because
| | 02:12 | it's followed by w. There is a
connection between these characters made.
| | 02:15 | Now, I can select this text and come up
here to OpenType and choose Contextual
| | 02:22 | Alternates and that will change it, but
the really cool thing here is that if I
| | 02:26 | type it and I have Contextual
Alternates turned on, look how my characters
| | 02:32 | change as I typed them. There is my b
standard looking b but then when I follow
| | 02:37 | that with an r look how that b
changes to create a link with the character
| | 02:41 | which follows; that's Contextual Alternates.
| | 02:45 | Next, Swash characters. Swash
characters should be used very sparingly but
| | 02:50 | every once in a while, if you are
after a little nautical swashbuckling
| | 02:54 | flair for your type, they might be
just the ticket. So here on the left I am
| | 02:58 | using Adobe Caslon Pro Italic but
without the Swash characters and here on the
| | 03:02 | right I have the Swash characters turned on.
| | 03:04 | So I am going to select this example on
the left and for make that the same as
| | 03:08 | on the right, I'll come up to my
Character panel menu, OpenType and then pull
| | 03:13 | down to Swash. Remember, anything that
has square brackets around it means that
| | 03:18 | that feature is not available for this
particular font, and there are my Swash characters.
| | 03:25 | Now the last example, Titling
Alternates is going to be a little bit difficult
| | 03:29 | to see on screen really and it's
applicable only when you are using really,
| | 03:32 | really large type. When you are
working with very large type sensitive points
| | 03:36 | and above our regular font character
content to look a little bit clunky
| | 03:40 | perhaps, as is the case with this
example on the left although, it looks fine
| | 03:44 | really but not quite as choose old as
the example on the right, which is the
| | 03:49 | Titling Alternate.
| | 03:50 | So, a Titling Alternate swoops out the
regular character for a character that
| | 03:54 | is designed to be used at very large
sizes and if I select this character here,
| | 04:00 | Adobe Garamond Pro this is an OpenType
font that offers us Titling Alternates
| | 04:05 | come up to OpenType and then I'll pull
down to, there it is right there Titling
| | 04:10 | Alternates. And it's fallen out of its
box, so I need to resize that text frame
| | 04:17 | and there we see, now the
same as the example on the right.
| | 04:21 | So that's Glyph shifting, Contextual
Alternates, Swash characters and Titling Alternates.
| | Collapse this transcript |
|
|
8. Aligning Your TypeAligning your type| 00:00 | Welcome to the chapter on aligning
your type and we are going to begin by
| | 00:04 | taking a look at the different types of
alignment that we have in InDesign and
| | 00:08 | how we apply that alignment to our type.
| | 00:10 | I am in the document alignment_types,
which is in the alignment folder in the
| | 00:16 | exercise files folder, and here we
have six different types of alignment the
| | 00:20 | same piece of text with
different alignment applied.
| | 00:23 | Practically speaking, we are talking
about either this option, Left, or this
| | 00:28 | option here, what InDesign calls
Left Justify. What's commonly known as
| | 00:33 | justified text, i.e. having a
smooth right-hand margin. But we also
| | 00:38 | here the different options of Center,
Right and then the seldom used options of
| | 00:42 | Center Justify and Full Justify.
Very, very rarely do I use those.
| | 00:47 | Let's just take a look at where these
options live. They are on the Character
| | 00:51 | palette on the Paragraph Formats. This
is one of the places that you can find
| | 00:55 | them. You can also find them on your
Paragraph panel. I prefer to access them
| | 00:58 | from here. So we have Left, Center,
Right. One that is not here Align towards
| | 01:04 | the spine, Align away form the spine.
| | 01:06 | We'll be taking a look at examples.
They all fairly rare examples of when you
| | 01:11 | might use those and then we have Left
Justify. Left Justify with the last line
| | 01:16 | centered, which is this one here, and
Left Justify with the last line completely
| | 01:21 | justified and that's this one here,
and you can see that's creating some
| | 01:24 | very nasty word spacing problems.
| | 01:26 | So practically speaking, we are
talking about this one and this one for
| | 01:30 | continuous reading of text. Let me
just quickly run over the keyboard
| | 01:33 | shortcuts. They are Command+Shift+L for
Left Justify, Command+Shift+C, you get
| | 01:39 | the idea. Command+Shift+R for right,
Command+Shift+J for justified or
| | 01:43 | Ctrl+Shift if you are working with
Windows, okay. So those are our alignment types.
| | 01:48 | As I said we are talking about Left
versus Left Justify, what InDesign refers
| | 01:53 | to as Left Justify practically speaking,
and let's have a look at how that is
| | 01:58 | going to reflect the appearance of our
text. So on the left-hand side, we got
| | 02:02 | left alignment applied and on the right-hand
side left justified alignment applied.
| | 02:07 | Now, there are several things we
could say about these different types of
| | 02:11 | alignment. We could say that left
aligned is more asymmetrical, obviously right
| | 02:16 | alignment is more symmetrical. We
could say that the left alignment is more
| | 02:20 | informal and the justified alignment
is arguably more formal. We can also say
| | 02:26 | and we can see that here that the Left
Aligned text is going to run longer than
| | 02:31 | the Justified text.
| | 02:32 | So in the next chapter, we are going
to look specifically on working with
| | 02:35 | Justified text and how if we take
the trouble, we can get really nicely
| | 02:40 | justified text and avoid any word
spacing or character spacing problems like in
| | 02:45 | sometimes occur when you use Justified text.
| | Collapse this transcript |
| Setting Justification options| 00:00 | This movie is all about getting the
best quality justify type, avoiding any
| | 00:04 | word or character spacing problems.
| | 00:07 | I am in the document justification,
which is in the Alignment folder, and I
| | 00:13 | have two pieces of justified type.
When working with justified type, the
| | 00:17 | challenge is, how do we make that space
that is assigned to the word spaces and
| | 00:23 | potentially to the spaces between the
characters? How do we make sure that it
| | 00:27 | looks even and consistent and that we
have good type color, how do we avoid big
| | 00:33 | holes between our words? Especially
when working with narrow columns as we have here.
| | 00:38 | In the before example, on the left I
have what I would argue is not very well
| | 00:44 | justify type and on the right a much
better justify type. You'll notice that
| | 00:49 | the spacing between the words is much
more consistent in the example on the
| | 00:53 | right. I am going to zoom in, so that
we can get a good look of that. Take a
| | 00:57 | look at this line here, where we have
nasty word spacing here, here, and here.
| | 01:02 | We don't have that same
problem in the example on the right.
| | 01:05 | So what I want to do is run through how
I got from here to here. So I am going
| | 01:11 | to delete this version, I am going to
turn on my guides by pressing W and I am
| | 01:16 | going to copy this version over to here,
holding down the Alt key and the Shift
| | 01:21 | key, so that I constraint the movement
of the copy. That's Option+Shift on a Mac.
| | 01:27 | Just to point out where the problems
exist, I am going to turn on a Composition
| | 01:30 | Preference. We saw in the movie on
tracking how there was a Composition
| | 01:34 | Preference that we highlight, where
your text has been custom tracked or
| | 01:38 | kerned. There is a similar
Composition preference in the Composition
| | 01:43 | Preferences, not surprisingly which
is code H&J Violations. And when I turn
| | 01:48 | that on, we see lots of yellow highlighting
indicating where I have an H&J Violation.
| | 01:56 | This means that InDesign is unable to
honor the justification settings I am
| | 02:02 | asking of it and it's unable to do
it because I am asking the impossible
| | 02:05 | because my column width is too narrow,
really relative to my point size. I
| | 02:10 | really should be working with a wider
column, but I am going to try and make it
| | 02:14 | work, even with a narrow column like I
have here. And where we see this dark
| | 02:18 | yellow highlighting, I have got a
really bad problem. And where I see light
| | 02:22 | yellow highlighting I've got a minor problem.
| | 02:24 | I am going to trying to get rid of as
many of these problems as possible. So I
| | 02:29 | am going to begin by doing a Select
All, Command+All or Ctrl+A in the text
| | 02:35 | frame on the rights. I am going to
help out my text here by allowing it to
| | 02:40 | hyphenate. Allowing words to hyphenate
is going to get me a better type color,
| | 02:44 | it's going to avoid words spaces. You
might think the hyphens are not so great,
| | 02:49 | but I would argue they are the lesser
of the evils. So I am going to turn on
| | 02:53 | Hyphenation. I could also go to my
Hyphenation options where I can specify
| | 03:01 | exactly how I want words to hyphenate.
| | 03:04 | Now, we'll be taking a look at
these in some depth, in the chapter on
| | 03:07 | hyphenation. But for now, all I am
going to do is, I am going to change the
| | 03:12 | Words with at Least to 6; meaning the
only words with at least six characters
| | 03:17 | can hyphenate and the After First and
the Before Last both to 3, meaning that I
| | 03:22 | have at least three characters
proceeding a hyphen and at least three
| | 03:26 | characters after a hyphen. I am going
to uncheck Hyphenate Last Words. So that
| | 03:30 | the last word of a paragraph will not
be allowed to hyphenate. Okay, let's just
| | 03:35 | assess where we are, has that improved
things? Not too much. So let's now go to
| | 03:45 | the Justification options and this is
where we are really going to see a big change.
| | 03:51 | So far, all of the justification in
that type is being achieved by the Word
| | 03:57 | Spacing. We have two other options,
Letter Spacing and Glyph Scaling, which are
| | 04:01 | not being called upon, and by bringing
those into play we are going to get a
| | 04:05 | much more even type column.
| | 04:08 | Now, let's just take a look at what
these mean first of all before we start
| | 04:11 | changing the settings. If you are
working with Left, Centered or Right align
| | 04:17 | type only the Desired column has any
effect. You can forget about Minimum or
| | 04:23 | Maximum. But when working with
justify type as we are, the Minimum and the
| | 04:28 | Maximum determine the permissible
range over which the Word Spacing can vary.
| | 04:33 | So currently, I am allowing my Word
Spacing to vary between 80% and 133% and I
| | 04:37 | want the Desired to be 100%, what the
type design had decide it should be the
| | 04:44 | width of the spacing character in this fonts.
| | 04:47 | Now I am going to leave the Word
Spacing values as they are, but I am also now
| | 04:51 | going to allow the Letter Spacing to
very slightly. The amount of variation I
| | 04:56 | hope is going to be imperceptible but
it is going to help fix the word spacing
| | 05:01 | problems that we have. I am going to
make the Minimum -2. I am going to leave
| | 05:04 | the Desired at 0 and I am
going to make the Maximum +2.
| | 05:11 | Now when I turn on my Preview checkbox,
I think we might be able to see that,
| | 05:16 | some of that yellow highlighting has gone away.
So we are already seeing an improvement.
| | 05:21 | The next thing I am going to do is
change the Glyph Scaling. Now, the Glyph
| | 05:25 | Scaling is actually the horizontal
scaling of the characters. Now this might
| | 05:29 | seem like a very, very bad idea, but in
actual fact the amount of Glyph Scaling
| | 05:34 | that we are applying is so
imperceptible and the benefits offered are so great
| | 05:39 | that I think we can get away with it.
| | 05:41 | So I am going to make the Minimum
amount of Glyph Scaling 97% and the Maximum
| | 05:46 | amount 103%, and then I am going to
just move that out of way and we can see
| | 05:52 | that that pretty much fixed all of our problems.
| | Collapse this transcript |
| Setting left alignment| 00:00 | In this movie, we are going to look
at some of the challenges involved with
| | 00:03 | setting your text with left alignment.
| | 00:05 | I am working in a document called
leftalign, which is in the alignment folder.
| | 00:10 | Now the challenge of working with
left aligned text is what happens to the
| | 00:14 | space at the end of the line and what
kind of rag does it creates. By rag I
| | 00:18 | mean what kind of shape does that
spacing create at the end of the line and
| | 00:23 | ideally we want to create a
rag that is as even as possible.
| | 00:27 | Now there are few features that will
enable us to do this, but more than
| | 00:31 | anything, we just need to develop a
sensitivity and analyze to what works and
| | 00:35 | what doesn't.
| | 00:37 | Now, below in this example, I have a
feature called Balanced Ragged Lines
| | 00:41 | turned on, which has a couple of
different uses this is one of them, may be, I
| | 00:46 | am not so sure that it's a good idea,
but let me just point it out anyway.
| | 00:50 | If I come up here to my palette menu and
I am on my Paragraph Formats and I come
| | 00:55 | down to Balanced Ragged Lines, that's
the feature right there. So we can see
| | 01:00 | that if I were to do that to the text
that was currently not balanced, it's
| | 01:04 | going to attempt to make each line more
or less the same length. So that's one
| | 01:10 | thing we might consider.
| | 01:11 | Another thing that's really going
to help with our rag is to turn on
| | 01:15 | Hyphenation. Now I know that this
is the second time I have mentioned
| | 01:18 | hyphenation and it's preceding the
actual chapter on hyphenation. I just can't
| | 01:22 | really avoid mentioning it now,
although we will be looking in detail at the
| | 01:27 | Hyphenation options later on.
| | 01:29 | So if I turn on Hyphenation, you'll
see that that doesn't close any words to
| | 01:32 | hyphenate, but I am going to go to my
Hyphenation options and with Hyphenation
| | 01:38 | turned on, I have this slider here,
which is a very clear visual representation
| | 01:43 | of the kind of choice that we need to
make, do we want Better Spacing, or do we
| | 01:47 | want Fewer Hyphens, do you want
Better Spacing and Fewer Hyphens, well you
| | 01:52 | can't have that, it's one or the other.
| | 01:54 | The more hyphens you have, the better
that your spacing will be, the fewer
| | 01:57 | hyphens the worse your spacing will be
and this concept of type color that I
| | 02:01 | have mentioned several times, by type
color I don't mean is your type red or
| | 02:05 | green or blue. I mean what's the
density of it? If you are looking at it from a
| | 02:08 | distance, how does it look as a block,
as a great block? Is it consistent or
| | 02:13 | are there big holes in it?
| | 02:14 | So, let me see what happens if I've
got my Preview box checked here, if I get
| | 02:19 | my slider, I'll move towards Better
Spacing, how does that affect things,
| | 02:24 | you'll see it suddenly gives me
more hyphens, that's for sure.
| | 02:29 | Now, typically I'll leave this in the
middle, but you might want to just move
| | 02:32 | it one way or the other and in fact in
this case, I would suggest that may be
| | 02:37 | kind of contradicting what I just
said and on the lining, the fact that you
| | 02:41 | really need to trust your eye more
than the features themselves. I am moving
| | 02:45 | towards Fewer Hyphens and that seems
to be giving me better spacing in this case.
| | 02:50 | So there are couple of options that we
can employ to affect the way left align
| | 02:55 | text will rag. Balanced Ragged lines
and the Better Spacing or Fewer Hyphens
| | 03:01 | slider in the Hyphenation options.
| | Collapse this transcript |
| Setting Optical margin alignment| 00:00 | One of InDesign's coolest features and
certainly one of the easiest to apply is
| | 00:05 | Optical Margin Alignment. Once again
two pieces of text, in most case identical
| | 00:11 | with the exception that the upper
piece has Optical Margin Alignment applied
| | 00:16 | and the piece doesn't; spot the difference.
| | 00:19 | Well the difference is and we can see
it more clearly if I turn on my Frame
| | 00:23 | Edges. I am going to press W to turn
on my Frame Edges and with the Optical
| | 00:28 | Margin Alignment applied and we saw
this in the justification movie, hyphens
| | 00:33 | and punctuation stick out beyond
the right-hand edge of the text frame,
| | 00:38 | creating more optically aligned text
along the right-hand edge. Not only that,
| | 00:43 | but it also does the same on the left-
hand edge where your opening quote mark
| | 00:48 | in this case sticks up beyond the
left-hand edge of the text frame.
| | 00:52 | Now, let's just compare that with the
non-optically aligned text. The reasoning
| | 00:58 | here is that the hyphen positioned
where it is here at the end of a line,
| | 01:02 | creates a visual hole, so that's
the need for Optical Margin Alignment.
| | 01:07 | Now, some people don't like this and
my feeling about this is that it's just
| | 01:12 | because they have gotten used to not
saying this, this is something that was
| | 01:15 | kind of lost with digital typography.
But now with InDesign has returned and
| | 01:19 | it's easy to apply, it used to be a
nightmare to try and apply using a page
| | 01:23 | layout program, but now
it's an absolute piece of cake.
| | 01:26 | But we've been looking at type set
without it for 10, 15 may be 20 years and we
| | 01:31 | have become used to not seeing it. But
if you look at good typography from days
| | 01:36 | gone by often they will include
Optical Margin Alignment. Let's just see how
| | 01:41 | easy it is to apply. All I need to do
is place my cursor in the story or I
| | 01:46 | could select it with my Selection tool,
either will work and then come to my
| | 01:49 | Type menu and choose Story; not really
quite sure why it's called Story but it is.
| | 01:55 | And it is simply a case of checking
the Optical Margin Alignment checkbox and
| | 02:00 | you'll see that sticks the hyphens and
punctuation out beyond the right-hand
| | 02:04 | edge. There is one option and
that is to change the point size. Now
| | 02:07 | theoretically, you should match this to
the point size you are working with. I
| | 02:12 | have to say in practice I tend to
always leave it at 12 points unless I find a
| | 02:16 | compelling reason to change it.
| | 02:17 | But let's see I am working here with 10
point types. So theoretically, I should
| | 02:22 | set this value also to 10 point. But
I think you'll find out why I make too
| | 02:27 | much difference.
| | 02:28 | So there we have it, Optical Margin
Alignment really easy to apply, no reason
| | 02:33 | not to use it, especially useful
when working with justified text.
| | Collapse this transcript |
| Hanging punctuation| 00:00 | In the previous movie, we saw Optical
Margin Alignment, very much related to
| | 00:04 | that is the issue of hanging punctuation.
| | 00:06 | I am in a document called hanging_
quoatation and this is in the alignment
| | 00:12 | folder and you know the drill by now,
we have one example that is unfinished
| | 00:16 | and one finished example. And the
unfinished example is the one on top where
| | 00:21 | the quotation doesn't hang,
where it's not optically aligned.
| | 00:25 | The problem is that the y of your is
aligning underneath this opening quote
| | 00:30 | mark, rather than underneath the L and
that's what we wanted to do. And also we
| | 00:35 | see that the attribution in the
finished version has been moved in from the
| | 00:39 | right-hand side, so that
it aligns under this text.
| | 00:43 | The Optical Margin Alignment feature
is not going to take you a whole way in
| | 00:47 | this case, what we need is something
else called the Indent to Here character
| | 00:51 | and the keyboard shortcut for that is
Command or Control+\. You can also find
| | 00:57 | it on the menu, if you come up to
Insert Special Character > Other > Indent to
| | 01:04 | Here. I'll choose it from there and
then we see all subsequent lines of my
| | 01:09 | paragraph, in this case just
the one aligned to that point.
| | 01:12 | Now to align the attribution, this text
is right aligned to push it in from the
| | 01:19 | right, I need to add some right indent
to it. I am just going to do that by I
| | 01:23 | or may be I'll draw myself a guide. So
if I come down here and choose Normal to
| | 01:30 | go to my Normal view mode or rather
as I would do normally just press W and
| | 01:35 | what you know I have a guide already
placed exactly at that point, what a coincidence.
| | 01:39 | So I am going to select this text and
then I am going to increase the amount of
| | 01:44 | Right Indent. Now if I hold down my
Shift key as I do this on moving bigger
| | 01:48 | increments and that's too much. Just
notch that over to get just about there I
| | 01:56 | think, and I'll turn off my Frame
Edges by going to my Preview view mode,
| | 02:03 | pressing W and I am ready to
call that a hanging quotation.
| | Collapse this transcript |
| Using Adobe Paragraph Composer| 00:00 | Let's take a look at InDesign's two
composition methods. The Adobe Paragraph
| | 00:05 | Composer and the Adobe Single-Line
Composer, these are especially important
| | 00:09 | when working with justify text.
| | 00:11 | I am in a document called para_vs_singe,
which is in the alignment folder, and
| | 00:17 | here we have two pieces of text both
are justified on the left-hand side we
| | 00:21 | have the text justified using the
Adobe Paragraph Composer, on the right-hand
| | 00:25 | side using the Single-Line Composer.
| | 00:28 | Neither piece of text is hyphenating,
which is causing bad word spacing
| | 00:32 | problems although you can see that
there are a lot worse here in the right-hand column.
| | 00:37 | Let's go and take a look at the option
that I am talking about, it's under here
| | 00:41 | Justification; it's this one here. Now
when you are using the Adobe Paragraph
| | 00:46 | Composer InDesign is looking within
the whole paragraph, figuring out how it
| | 00:50 | can best distribute the space across
the paragraph to achieve even type color
| | 00:55 | and consistent word spacing.
| | 00:59 | When you are using the alternative, the
Adobe Single-Line Composer, InDesign is
| | 01:03 | looking only on a particular line at a
time. I would say there is no reason to
| | 01:08 | not use the Adobe Paragraph Composer.
It will always give you a better result,
| | 01:13 | sometimes as in this case,
a drastically better result.
| | 01:16 | Having set that, there is one thing
I should point out about the Adobe
| | 01:20 | Paragraph Composer and that is that
when you type in a paragraph you'll see
| | 01:28 | that the text will recompose, not only
below to the right of the cursor, but
| | 01:32 | also to the left and above the cursor.
| | 01:35 | This can sometimes be a little bit
disconcerting if you are not sure why it's
| | 01:38 | doing that but once you are aware,
this is all because the paragraph is still
| | 01:42 | in progress, InDesign is still
composing the paragraph then so long as you can
| | 01:46 | live with that let's always go
with the Adobe Paragraph Composer.
| | Collapse this transcript |
| Align to or away from spine| 00:00 | Here is an Alignment Option you
probably won't end up using too much, but every
| | 00:04 | once in a while it can't come in handy.
| | 00:07 | The two picture captions on my page are
both Align to Spine, if I double-click
| | 00:12 | in either one of them and look at my
Paragraph Formats, I see the alignment is
| | 00:16 | Align to Spine meaning that on the
left-hand page of my two page spread, my
| | 00:22 | text is right aligned, if I now move
that over to the right-hand page it
| | 00:27 | ultimately becomes left aligned and
vice-versa if I move this one over to the
| | 00:31 | left-hand page.
| | 00:33 | Down here I have a page number and
this is aligned Away From the Spine. I am
| | 00:37 | just going to restore those captions
to their original location, by pressing
| | 00:41 | Command or Ctrl+Z a couple of times
and my page numbers. So if I want another
| | 00:46 | page number over here on the right-
hand side, I am going to go to my Master
| | 00:51 | Pages where I put the page number,
turn on my guides by pressing the W key to
| | 00:55 | go to my Normal view mode,
there is my page number.
| | 00:59 | This has a paragraph style applied to
it and that paragraph style is there on
| | 01:04 | my Paragraph Styles panel. The
chapter on paragraph styles is coming up
| | 01:09 | shortly, but this is a little teaser for it.
| | 01:12 | I am going to edit or just to take a
look at that paragraph style definition
| | 01:16 | for the folio style and we can see that
in Indent and Spacing; this is aligned
| | 01:21 | Away From Spine. Okay meaning that
when I get a hold of this and hold down my
| | 01:28 | Alt key and my Shift key to make a
copy of it, when I copy that over to the
| | 01:33 | right-hand page, it automatically
becomes aligned Away From Spine, right
| | 01:38 | aligned on the right-hand page.
| | 01:40 | So now when I return to my document
pages, I'll turn off my guides. There are
| | 01:45 | my page numbers aligned Away From Spine.
| | Collapse this transcript |
| Setting vertical alignment| 00:00 | We have said a fair amount about
horizontal alignment, but what about vertical
| | 00:04 | alignment? What InDesign refers to is
Vertical Justification. So far, all of
| | 00:10 | the text we have been working with has
been top aligned, but there are three
| | 00:13 | other Vertical Alignment or
Vertical Justification Options. I am in the
| | 00:18 | document vertical_alignment, in the
Alignment folder. Center and Bottom are
| | 00:23 | self explanatory, Justify;
let's take a look at what that does?
| | 00:27 | I am going to go to my Text Frame
Options, which is under my Object menu,
| | 00:31 | Command+B or Ctrl+B. See where it is on
the menu? Right there and these are the
| | 00:38 | options that I am referring to. Now
this is currently set to Justify. If I
| | 00:41 | change that to Top, we can see that,
that's how it would look, if the leading
| | 00:45 | value in that text will honored, but
when we make the Vertical Justification,
| | 00:50 | Justify the leading value is
overwritten. Now that may be a good idea in
| | 00:55 | certain cases but rarely is that the case.
| | 00:57 | I would now like to look at some
practical applications of these different
| | 01:02 | alignment options. Center Alignment
tends to work well whenever we have an
| | 01:06 | informational box, especially when
that box is shaded, so that we can see the
| | 01:10 | bounce of the text frame. And if I
would make this Centered, Command+B or
| | 01:14 | Ctrl+B to go to my Text Frame Options,
set my Vertical Justification to Center
| | 01:20 | and then to just make sure my text
isn't so claustrophobic on the edges of my
| | 01:24 | text frame, I am going to give it some
Inset Spacing and because I have my Make
| | 01:29 | all settings the same icon checked,
when I press Tab I get six points of space
| | 01:34 | all the way around.
| | 01:35 | So I have got equal spacing top and
bottom there as a result of my Center
| | 01:39 | Vertical Alignment. In this example and
I am going to zoom in on this, my text
| | 01:46 | is Center aligned. If you don't
believe me, there it is right there the
| | 01:51 | evidence, Center Aligned, although it
doesn't look like it does it and that's
| | 01:55 | because of the Baseline Options.
| | 01:58 | Now we have these different Baseline
Options which determine the position of
| | 02:02 | the first line of your type within the
Text Frame. Ascent works fine most of
| | 02:07 | the time, but if you really want to
control where the first Baseline of your
| | 02:11 | type is, then set this to Leading
and specify an exact leading increment.
| | 02:16 | In this particular example, X Height is
going to work. It may vary depending on
| | 02:22 | the form that you are working with.
If you are working with text in all
| | 02:26 | uppercase, you are not going to see any
descenders going below the baseline. So
| | 02:30 | that's going to be a factor that you
need to consider. So, when you are working
| | 02:34 | with a single line of Center type
within a text frame, just experiment with
| | 02:39 | these to see which one works best. In
this case, X Height is the one we want.
| | 02:44 | I am now going to zoom out and move
to the next page in this document,
| | 02:49 | Option+Page Down and here we have
these blue boxes substituting for pictures,
| | 02:55 | these are picture placeholders and
next to them I have some captions. Now I
| | 02:59 | want my captions to be aligned to the
bottom of these pictures. So it's going
| | 03:03 | to help me if I make the vertical
alignment of these text frames, bottom.
| | 03:09 | I am going to select those three and
then go to my Text Frame Options and make
| | 03:15 | the Alignment, Bottom and now if I
turn on my guides, I can very easily drag
| | 03:21 | these down, need to be in my Selection
tool, I can drag these down and I can
| | 03:27 | fill the bottom of that text frame snap
to my bottom margin, and in the case of
| | 03:33 | this picture here I will need to draw
myself a guide and move that down like so.
| | 03:40 | So, that's a practical usage of the
Bottom Alignment. Now I am going to move to
| | 03:45 | the next page, Option+Page Down and
this example is all about Vertical
| | 03:50 | Justification. Here we have an article
that is ending two lines short and we
| | 03:55 | want all of that, three baselines by
three columns, ending in the same place.
| | 04:00 | So I am going to select this text
frame and then Command+B or Ctrl+B to go to
| | 04:05 | my Text Frame Options and then when I
choose Align Justify that happens and we
| | 04:10 | can see the leading is now inconsistent.
| | 04:13 | We have got columns one and two that
line up along the baseline beautifully,
| | 04:17 | column three we are now getting
extra space between the lines because the
| | 04:22 | leading value has been overwritten by
the Vertical Justification. Probably a
| | 04:27 | very bad idea. Better solutions to
this problem would be to track some space
| | 04:32 | tighter to trying gain align here or
there or possibly edit the text and I
| | 04:36 | would working with dummy text here but
if we got real text, if editing is an
| | 04:40 | option then that's a possible solution.
| | 04:43 | But perhaps we could also look at this
option Paragraph Spacing Limit. Now if I
| | 04:49 | increase this that allows me to add
the spacing between the paragraphs rather
| | 04:55 | than between the leading, still not
such a good solution. I would say that this
| | 05:01 | is the lesser of the two evils but
again we have got inconsistent spacing now
| | 05:06 | because these paragraphs in the third
column have space before them and these
| | 05:11 | in columns one and two do not. So
Vertical Justification usually not a good idea.
| | 05:16 | In this next and last example for
this movie, we see that we have an intro
| | 05:20 | paragraph next to two paragraphs of
body text and if I turn on my guides, it's
| | 05:26 | clear that the first baseline of this
intro paragraph is not sitting on the
| | 05:31 | same guide as columns two and three and
we want to make that happen and one way
| | 05:37 | we can make that happen is using our first
Baseline Options that we took a look at before.
| | 05:42 | So I am going to go to my Object menu >
Text Frame Options > Baseline Options.
| | 05:48 | Now in this case, I said before that
leading was a good one to use. I don't
| | 05:53 | think that's going to work here
because leading is going to take the leading
| | 05:56 | value of this piece of text which is
bigger than the leading value of our body
| | 06:02 | text. So, what we are going to do
instead is choose Fixed and have that fixed
| | 06:08 | amount of Baseline Offset be 12 points,
12 points being the leading value of
| | 06:14 | the text in columns two and three and
now my intro paragraph sits on the same
| | 06:22 | baseline as the text in columns two and three.
| | 06:25 | So, there are our Vertical Alignment
Options as well as those rather esoteric
| | 06:31 | First Baseline Options.
| | Collapse this transcript |
|
|
9. Indents and SpacingUsing first-line indents| 00:01 | Welcome to the chapter on indents
and spacing. In this first movie of the
| | 00:04 | chapter, we are going to take a look at
using first line indents and comparing
| | 00:09 | them to using paragraph spacing.
| | 00:11 | I am in the document called firstline_v
_paraspace in the Indents and Spacing
| | 00:16 | folder. On the left hand side we have
text that uses first line indents; on the
| | 00:21 | right hand side we have text that
uses paragraph spacing. I have my Hidden
| | 00:25 | Characters turned on, that's the last
option under the Type menu, so that we can
| | 00:31 | see these blue marks here that
indicate where my paragraph breaks up. Text
| | 00:36 | intended for continuous reading is more
likely to use First Line Indents. Text
| | 00:42 | of the more instructional nature is
perhaps more likely to use paragraph spacing.
| | 00:49 | Let's take a look at where these
options are. I am going to insert my cursor in
| | 00:54 | the text on the left and come up to my
Paragraph Formatting Options and here is
| | 01:00 | the First Line Indent Option on the
Control palette and alternatively over here
| | 01:06 | on the right hand side, here is the
Paragraph Spacing Before Option, there is
| | 01:11 | also the Paragraph Spacing After Option.
| | 01:15 | In this case all of the text on the
right hand side has Paragraph Space Before.
| | 01:21 | I could have used Paragraph Space
After, I tend to prefer for no particular
| | 01:25 | reason, Paragraph Space Before. I would
suggest that you standardize on one or
| | 01:32 | the other. There are rare occasions
when you may need to use both but you are
| | 01:37 | likely to run into some
confusion if you mix and match.
| | 01:41 | So I always use Paragraph Space Before
every once in a while, sometimes adding
| | 01:47 | Paragraph Space After in addition,
but this uses Paragraph Space Before and
| | 01:53 | this uses First Line Indent. Either
approach is valid, what you must not do
| | 02:00 | however, is mix and match the two,
don't use both devices for differentiating
| | 02:07 | your paragraphs because one device
along first line indents or paragraph
| | 02:12 | spacing is sufficient.
| | 02:14 | So if you are going to use first line
indents, how big should those first line
| | 02:17 | indents be? It's convention for your
first line indent to be one em space. An
| | 02:24 | em space as you will remember is the
size of your type. So if your type is nine
| | 02:27 | point then an em space is nine point.
If your type is 12 point, an em space is
| | 02:32 | 12 point. In the case of this text on
the left, my first line indent is nine
| | 02:36 | point and also my type is nine points.
| | 02:42 | Now of course, you can vary that
slightly. Perhaps if you want to slightly
| | 02:45 | large your first line indent, perhaps
your first line indent could be the size
| | 02:48 | of your leading or you can just kind of
do it by eye. But, what we should avoid
| | 02:55 | is first line indents that are too big,
if I make my first line indent too big
| | 02:59 | and I am really going to exaggerate
this. But with the first line indent that
| | 03:05 | is too big you run into problems of
having an exit line. The line that
| | 03:10 | proceeded from the previous paragraph
if that is short then we open up this
| | 03:14 | ugly spaces here between the paragraphs.
| | 03:18 | Conversely, if your first line indent
is too small then of course, it doesn't
| | 03:27 | really serve as the visual cue
necessary to the reader that this is a new
| | 03:32 | paragraph and a new thought. So one
em space is usually sufficient for your
| | 03:37 | first line indent amounts.
| | Collapse this transcript |
| Using paragraph spacing| 00:00 | So in the previous movie, we talked
about using First Line Indents, we are now
| | 00:03 | going to talk about using
paragraph spacing, the alternative way of
| | 00:07 | differentiating your paragraphs.
| | 00:09 | I want to point out that there is a
banana skin to avoid here and that is using
| | 00:14 | extra carriage returns to space your
paragraphs, rather than using space before
| | 00:20 | or space after. I am in the document
called carriage_returns, which is in the
| | 00:26 | Indents and Spacing folder and here I
have two paragraphs of text where each
| | 00:31 | paragraph is separated from it, one
that proceeded by a carriage return.
| | 00:35 | I am going to zoom in on the text and
there are two problems here, one is that
| | 00:43 | using carriage returns to space your
text is going to give you too much spacing
| | 00:48 | between paragraphs. If I press W to
hide my guides and my hidden characters, we
| | 00:54 | could see that that's an unnecessary
amount of space between the paragraphs and
| | 00:58 | the second and bigger problem in this
case is that when those carriage returns
| | 01:02 | or should those carriage returns occur
at the top of a column or top of a page,
| | 01:07 | you are going to end up with an extra
line space. Then you may find this extra
| | 01:11 | line space and then -- well, I will
just go and delete that but then the text
| | 01:15 | re-flows and you find that you don't
have the extra space that you need, you
| | 01:19 | will be constantly chasing your tail if
you try and space your paragraphs using
| | 01:25 | this method.
| | 01:26 | So should you inherit text that comes
space with extra carriage returns which
| | 01:32 | is a fairly common thing, then I
suggest the first thing you do is the simple
| | 01:37 | Find and Change Routine to strip out
those extra carriage returns. I am going
| | 01:43 | to go to the Edit menu, Find/Change
and I am going to use this predefined
| | 01:52 | Query, Multiple Return to Single
Return and I am searching in the whole
| | 01:57 | document, Change All, and that has
quickly zapped those extra carriage returns.
| | 02:05 | Now I want to add some spacing before
the paragraphs. I could add spacing after
| | 02:10 | as I mentioned before, I just tend
to prefer Spacing Before. So with this
| | 02:14 | paragraph here, paragraph A to get
some spacing between it and the one that
| | 02:19 | follows it, I would need to add space
before this paragraph or I could say add
| | 02:24 | space after this one. But I am going
to Select All, come to my Paragraph
| | 02:29 | Formats and here is the Spacing Before
option. Now I am working with text that
| | 02:37 | has a leading value of 12 points, so
for that reason I am going to use Space
| | 02:43 | Before of six points which is a half
line space, which I think is enough to
| | 02:50 | differentiate one paragraph from the
next but not too much, so that we get some
| | 02:55 | ugly holes between the paragraphs of that text.
| | 02:58 | Now of course, we do have a widow at
the bottom of this column, that's a
| | 03:05 | different and unrelated issue. So I am
just going to pull that down to fix that
| | 03:13 | widow. Anyway, that's our
Paragraph Spacing Before.
| | Collapse this transcript |
| Using indent alternatives| 00:00 | So let's say you don't want to use
first line indents and you are not too keen
| | 00:04 | on paragraph spacing either, what are
some alternative ways of differentiating
| | 00:11 | one paragraph from another? I am in the
document called parasymbol, which is in
| | 00:17 | the Indents and Spacing folder and
here rather than break my text out into
| | 00:23 | paragraphs, I am differentiating the
paragraphs by using this paragraph symbol.
| | 00:29 | I could use any symbol and I am
choosing to use this particular symbol one
| | 00:33 | colored red and this can be found
under the Insert Special Character flyout
| | 00:41 | menu > Symbols > Paragraph Symbol.
| | 00:45 | So this is going to give my text a
solid fill and yet at the same time signify
| | 00:51 | to the reader where a new paragraph
begins, a new thought begins. Another
| | 00:57 | alternative is, I am now going to go
to the no_firstlineindent file, which I
| | 01:04 | already have open. So I am going to
access this from under the Window menu,
| | 01:08 | this is in the same folder and we
could just skip the First Line Indent
| | 01:12 | altogether, have a completely flushed
look on the left hand edge of our text.
| | 01:17 | The advantage of this is, if you
happened to like a flushed left edge this is
| | 01:23 | the way to get it and it's going to
be very economical in terms of space.
| | 01:28 | However, the obvious problem is that
we can't easily differentiate where the
| | 01:34 | paragraph breaks up. If I come to my
Normal View mode and so I am going to
| | 01:40 | press W to switch to my Normal View
mode, I have got my Hidden Characters
| | 01:45 | turned on. We can see there is a
paragraph break there and there but without
| | 01:50 | those hidden characters shown, it's
not easy for our eye to see that and
| | 01:55 | discern a new paragraph and a new thought.
| | 01:59 | A third alternative and I am going
to go to an already opened file called
| | 02:05 | outdents, once again in the same folder,
is to rather than indent your first
| | 02:11 | line, outdent your first line relative
to the subsequent lines of the paragraph
| | 02:16 | that follow and this approach might
be suitable for some kind of dictionary
| | 02:21 | entry or to some kind of bibliographic
entry and I am going to zoom-in on this
| | 02:29 | and this is achieved simply by -- I
am going to come up to my Paragraph
| | 02:35 | Formatting Options here, so I need to
make my first line Indent a negative
| | 02:40 | amount. For this text I am going to set
my First Line Indent, first I am going
| | 02:44 | to set my First Line Indent to
zero and my Left Indent to zero.
| | 02:51 | So I have my text begins like that, I
will start by indenting my left indent by
| | 02:58 | one pica or 12 points and then making
my First Line Indent at same amount but
| | 03:07 | minus one pica and there we have
a hanging indent or an outdent.
| | Collapse this transcript |
| Using last-line indents| 00:00 | Now in addition to the first line indent,
there is also the rather intriguingly
| | 00:04 | lined last line indent. What on earth
would we use that for? Frankly, the last
| | 00:12 | line indent is a seldom-used feature
but here is a particular case in point
| | 00:17 | where it might come in handy.
| | 00:18 | I am in a document called lastline_
indent in the Indents and Spacing folder.
| | 00:26 | Here I have a menu and my intention
here is to make the prices of the items
| | 00:31 | stick out further right than the item
description and that is achieved by using
| | 00:38 | a last line indent. Incidentally, I am
also using a negative First Line Indent
| | 00:45 | or Outdent on these paragraphs too.
| | 00:48 | Let's double click in those paragraphs
and switch to my Paragraph Formatting
| | 00:54 | Options up here. Now my keyboard
shortcut to do that is Command+Option+7 or
| | 01:00 | Ctrl+Alt+7. So I am indenting my
paragraphs by three picas to this point right
| | 01:08 | here and then I am negative first
line indenting them to minus three picas,
| | 01:13 | which is bringing the first line back
to the original starting point, but what
| | 01:20 | we are particularly
interested in is this last line indent.
| | 01:23 | Now you will see that all the
paragraphs are indented on the right by two picas
| | 01:29 | and then negative indented on the
right by minus two picas. So I am going to
| | 01:35 | set all these values for the right
indent and the last line indent and it's
| | 01:42 | very picky, it's going to insist if I
do the last line indent first. I will set
| | 01:48 | those back to zero and let's see how this works.
| | 01:53 | So I am going to indent on the right by
two picas, that's 24 points if you are
| | 01:58 | in points as your unit of measurement,
press the Tab key, move over to my Last
| | 02:05 | Line Indent field and then I am going
to make that value. Whatever I made my
| | 02:09 | right indent I am going to make my
last line indent negative that amount so
| | 02:15 | that my very last line sticks out
further right than the rest of the text.
| | Collapse this transcript |
| Establishing visual relationships| 00:00 | When working with paragraph spacing,
it's important to establish visual
| | 00:04 | relationships between related
paragraphs of text. I am in the document called
| | 00:09 | proximity in the Indents and Spacing folder.
| | 00:12 | Here we have two identical passages of
text. The only difference between them
| | 00:18 | being the position of the subhead
within that text. In the text on the
| | 00:23 | left-hand side the subhead floats
rather ambiguously between the text that
| | 00:27 | precedes it and the text, which
follows it. Whereas on the right-hand side
| | 00:32 | there is a clear visual relationship
between the subhead and the text which follows it.
| | 00:38 | Let's just take a look at the different
spacing values that have been applied.
| | 00:41 | My body text leading is ten points
and for my subhead in the example on the
| | 00:49 | left, I am using five points of space
before and five points of space after.
| | 00:55 | Whereas in the example on the right, I
am not using any spacing after but I am
| | 01:01 | assigning all ten points of spacing
to before the paragraph, shifting the
| | 01:07 | paragraph down and clearly
relating it to the text which follows.
| | Collapse this transcript |
|
|
10. Break CharactersUsing line breaks| 00:00 | Welcome to the chapter on break
characters. This chapter looks at finessing
| | 00:05 | your type by applying break characters
when necessary to enhance readability.
| | 00:10 | In some cases these breaks can be
automated, in others they require menu
| | 00:16 | intervention and careful attention to detail.
| | 00:19 | Let's begin by taking a look at the
humble line break. I am in the document
| | 00:24 | called linebreak, which is in the
Break Characters folder and here we have
| | 00:29 | three identical excerpts from the novel
1984 by George Orwell. And in the first
| | 00:37 | example, I have bad hyphenation on the
first line. In the second example this
| | 00:43 | bad hyphenation is fixed by applying a
line break or Shift+Return before the t
| | 00:50 | of the word thirteen.
| | 00:51 | In this third example and here
where we run into problems the user has
| | 00:56 | attempted to fix this problem by
applying not a Shift+Return or Line Break but
| | 01:02 | a Hard Return and when a new
paragraph is created and we can see from the
| | 01:08 | carriage return symbol there, my
hidden character, the new paragraph has been
| | 01:13 | created. That new paragraph takes on
all of the formatting attributes of the
| | 01:18 | paragraph that it came from, in this
case that means a drop cap, which explains
| | 01:24 | this large t here. So the solution here
or rather a solution because there are
| | 01:29 | several potential solutions here, but
copy editors tend to prefer using a line
| | 01:34 | break just for its simplicity and the
solution is placing your cursor in front
| | 01:41 | of the t, Shift+Return.
| | Collapse this transcript |
| Balancing ragged lines| 00:01 | Headlines of more than a single line
can often look unbalanced if there are
| | 00:05 | lines with different lengths.
InDesign's Balanced Ragged Lines feature can
| | 00:10 | often help solve this problem.
| | 00:12 | I am in a file called balanced_ragged,
which is in the Break Characters folder,
| | 00:17 | and here we have a straightforward
example of a headline, that in the top
| | 00:22 | example is balanced versus the example
below that is unbalanced where we have
| | 00:27 | one line considerably longer than the other.
| | 00:30 | The solution here, place your cursor
anywhere inside the paragraph, come up to
| | 00:36 | your Control palette menu and come down
to Balance Ragged Lines, problem solved.
| | Collapse this transcript |
| Using no-break and non-breaking characters| 00:00 | Where it possible, you want to avoid
breaking certain phrases, names, or
| | 00:04 | product names across a line, a column
or a page. Applying a No Break to the
| | 00:10 | selected words will ensure that
they always are kept on the same line.
| | 00:14 | I am in a document called nobreak. Now
in the first paragraph we see that the
| | 00:20 | words Formula One are broken across a
line. That's what we want to avoid. In
| | 00:25 | the second paragraph, the space between
those two words has been replaced by a
| | 00:30 | Non-breaking space.
| | 00:31 | Now the Non-breaking space, let me
just show you where that is and I am going
| | 00:35 | to select the space there is the top
example and come up to my Type menu and
| | 00:42 | down to Insert White Space >
Nonbreaking Space. That's not working in this
| | 00:48 | instance because these paragraphs
all allow hyphenation to happen and the
| | 00:53 | hyphenation is overruling the
Nonbreaking Space. Technically it's nonbreaking,
| | 00:58 | but it is allowed to
hyphenate across a line break.
| | 01:02 | So instead what we might want to use is
a No Break, which means selecting those
| | 01:09 | two words, coming up to the Control
palette menu and choosing No Break, forcing
| | 01:17 | that selected phrase to move down to
the next line. Now No Break is a fairly
| | 01:24 | commonly used and very useful feature,
however, it doesn't have a keyboard
| | 01:29 | shortcut. So I suggest you might want
to give it one so that you can apply very
| | 01:33 | quickly and efficiently.
| | 01:35 | Now we looked at this before but let's
look at it again, Keyboard Shortcuts and
| | 01:41 | I have here a Keyboard Shortcut Set
that I saved in an earlier movie. If you
| | 01:47 | need to save a new set just click on
New Set, give it a name and I want to
| | 01:54 | change something from the panel menu,
Product Area and I am going to need to
| | 02:01 | scroll down now, I have got the very
long list to scroll through until I get to
| | 02:10 | the Character palette menu, No Break
and I am going to give that the keyboard shortcut.
| | 02:18 | Bear in mind I am working on a Mac
here, so when I say Control, it's not a
| | 02:22 | Windows' Control key. Ctrl+Option+B,
which I see is unassigned that's what I
| | 02:30 | want, assign that, click OK. So
now if I need to apply a No Break,
| | 02:37 | Ctrl+Option+B would do it quickly
and efficiently and if I return to the
| | 02:44 | Control panel menu, there we see No Break
has that keyboard shortcut applied to it.
| | Collapse this transcript |
| Using column and frame breaks| 00:00 | Chapter headings and section breaks
lend themselves to a more automated
| | 00:04 | approach to ensure that the headings
always start at the top of a column or page.
| | 00:09 | I am in a document called alice in the
Break Characters folder and here we have
| | 00:15 | several chapters of the novel Alice
in Wonderland. Let's just take a look
| | 00:19 | through this document to see what
problems we are going to encounter. I am
| | 00:23 | holding down my Option key or my Alt
key, I am pressing Page Down to move
| | 00:27 | through my document one spread at a
time and I see that on page 7, my second
| | 00:35 | chapter begins half way down the page
and I actually want it to begin at the
| | 00:40 | top of a page and if I carry on I am
probably going to find, there we are on
| | 00:44 | page 13, the same problem occurring.
| | 00:47 | Now what I want is the solution
that is going to automatically make the
| | 00:50 | chapters begin at the top of a page,
specifically to begin at the top of the
| | 00:55 | right hand or odd numbered page.
This involves using style sheets. Now we
| | 01:01 | haven't used style sheets yet they are
coming up but for now all we need to is
| | 01:05 | edit an existing style.
| | 01:06 | So I am going to come over here to my
Paragraph Styles panel and the styles are
| | 01:13 | already setup, I have one defined
called Chapter Number, I need to edit that
| | 01:18 | and to do so I am either going to right-
click if have a two button mouse or if
| | 01:22 | I am on a Mac with a single button
mouse, Ctrl-click on that style name and
| | 01:28 | choose Edit 01 chapter number.
| | 01:32 | Now the options we are concerned with
are the Keep Options and specifically we
| | 01:37 | are concerned with this option, Start
Paragraph, currently Anywhere. We want to
| | 01:42 | start the chapter numbers at the top
of the Next Odd Page. So I am going to
| | 01:47 | choose that option there and then
click OK and now if I move through my
| | 01:52 | document, I will find that all of my
chapters begin at the top of a page.
| | 01:57 | Okay, in fixing one problem, we will
likely have created another. So I am going
| | 02:03 | to move to the beginning of my
document now and move through it again page by
| | 02:10 | page, Option+Page Down or Alt+Page Down
and what I am looking for is an example
| | 02:16 | of a widow or orphan. The first
example I come to is on the top of page 16.
| | 02:28 | Here's an orphan, this last line of the
paragraph disassociated from the other
| | 02:34 | lines in the paragraph. So I need to
fix this. Now we saw when we were working
| | 02:39 | with tracking, how you can use
tracking to fix widows and orphans, and that I
| | 02:43 | think is the preferable solution here.
| | 02:45 | I just want to point out that there is
another solution but I don't think it's
| | 02:49 | appropriate in this situation and that
would be to edit the style definition of
| | 02:56 | the Body style, which is applied to
all of the text, all the vast majority of
| | 02:59 | the text. So if I right-click or Ctrl-
click on the Body style to edit it and
| | 03:05 | then come to Keep Options, the option I
am talking about here is this one, Keep
| | 03:10 | Lines Together. If I check this I can
-- I want a specific number of lines at
| | 03:16 | the start and the end of every paragraph.
| | 03:19 | I will leave that at 2 and then click
OK and we will find that the problem has
| | 03:26 | been solved; however, in fixing this
problem we are creating another problem.
| | 03:31 | Because if we now go to the previous
page, we see that that page, page 15 now
| | 03:40 | ends one line shorter than its facing
page, page 14 and this is something that
| | 03:47 | I think in the context of a novel or a
magazine or newspaper text, we want to
| | 03:52 | avoid. We want our text to bottom out,
to share the same baseline of the bottom
| | 03:59 | of the page.
| | 04:00 | So rather than go for that solution
which might be appropriate when you don't
| | 04:04 | need your text to bottom out at the end
of a column or page. Rather than doing
| | 04:09 | it that way I am going to undo that
and as we did before in the Tracking
| | 04:15 | Chapter, I am going to select that
whole paragraph and Option+Left Arrow or
| | 04:21 | Alt+Left Arrow to track that paragraph
tighter by -5, one thousands of an em,
| | 04:27 | which is sufficient to bring back
that single word from the previous page.
| | Collapse this transcript |
| Defining Keep options| 00:00 | Another way of controlling the way
that your text breaks is using a Keeps
| | 00:05 | Option called Keep With Next. I am in
a file called keeps, which is in the
| | 00:10 | Break Characters folder, and here we
see that the problem is that the subhead
| | 00:15 | has been disassociated from text which
follows, occurring at the bottom of this
| | 00:20 | column here.
| | 00:21 | So we want these subheads to move with
the text and if this would just a single
| | 00:28 | instance, I could come up to the Type
menu and Insert a Column Break manually.
| | 00:35 | But let's imagine that we have pages
and pages of this text, we want all
| | 00:39 | subheads to be effected by the change
that we are about to make. So that's
| | 00:42 | going to involve editing the
paragraph style definition.
| | 00:47 | Now just before I do that, I am going
to come over to my Layers panel and turn
| | 00:51 | off that red circle there, close my
Layers panel. Now I am going to come to my
| | 00:56 | Paragraph Styles panel where I see a
predefined paragraph style called Subhead
| | 01:03 | and to edit that, if I am on a single
button mouse I will use Ctrl this on a
| | 01:08 | Mac, Ctrl-click on the paragraph style
or with a two button mouse right-click
| | 01:14 | on Subhead, choose Edit Subhead, come
to my Keep Options and this time I want
| | 01:21 | this one Keep with Next and I am
going to specify the Keep with Next to two
| | 01:26 | lines, click OK, problem solved.
| | Collapse this transcript |
|
|
11. Mastering TabsUnderstanding the different types of tabs| 00:00 | In this chapter we will see some of
the useful things we can do with Tabs.
| | 00:04 | At their most basic, tabs are used to
indent type to a specific point on a line but
| | 00:09 | there are also several useful tricks
that you can employ when using Tabs. We
| | 00:14 | will begin by looking at the
different Tab types and the Tab Ruler.
| | 00:18 | I am in a document called tabtypes in
the Mastering Tabs folder and I am going
| | 00:23 | to begin with this text block here,
where we have four paragraphs, each has a
| | 00:28 | tab set to exactly the same point. The
difference being the type of tab. Now
| | 00:33 | when I turn on my Guides and Hidden
Characters and I am going to do that by
| | 00:37 | pressing the W key and I have my
Hidden Characters shown and I think I will
| | 00:44 | just increase my view size over that
area of the page by holding down my
| | 00:48 | Ctrl+Spacebar keys or Command
+Spacebar drawing a marquee.
| | 00:53 | Here we see the hidden character for a
Tab Stop and I need to just scroll down
| | 01:00 | a bit to give myself enough room to
open up the Tab Ruler which is what I am
| | 01:04 | going to do next. Let me go to the Type
menu and choose Tabs or Command+Shift+T
| | 01:10 | or Ctrl+Shift+T, there is my Tab Ruler
and when I am in the first paragraph we
| | 01:15 | can see that my Left tab looks like
that. My Center Tab slightly different.
| | 01:20 | It's got no tick indicating a left or
right alignment. My Right Tab looks like
| | 01:26 | that and my Decimal Tab like so and
here we have a palette just describing the
| | 01:33 | different aspects of the Tab Ruler.
| | 01:34 | Now one thing to bear in mind about
the Tab Ruler is that should it get moved
| | 01:40 | around, we have this Magnet Symbol
here, which we can click on, and the Tab
| | 01:45 | Ruler will snap to your column width,
which is a nice feature. Okay, next we
| | 01:51 | are going to look at using Tab Leaders.
| | Collapse this transcript |
| Using tab leaders in a TOC| 00:00 | Tab Leaders fill the space between the
text and tab stop. A common use for a
| | 00:06 | Tab Leader is a series of dots between
the chapter name and a page number in a
| | 00:11 | table of contents. We are going to use
a similar example with a menu where we
| | 00:16 | separate the description of the
item and the price using Tab Leaders.
| | 00:20 | I am in a document called tableaders
in the Mastering Tabs folder and here we
| | 00:25 | see we have a menu with the menu item
separated from the price by this Tab
| | 00:30 | Leader character, actually Tab Leader
characters because it's a period followed
| | 00:35 | by a space. Now I have the unfinished
version of this on a separate layer, so
| | 00:39 | let's see how this tab leader is created.
| | 00:43 | I am going to turn to the Begin Layer
and then get my Layers panel out of the
| | 00:49 | way. So first of all, I am going to
double click right there with my Selection
| | 00:52 | tool to insert my type cursor at that
point and press the Tab character and
| | 00:58 | because I have my Hidden Characters
Shown. Actually I don't. Let's turn my
| | 01:03 | Hidden Characters on. I am going to
press W which will show my guides and I
| | 01:08 | have got my Hidden Characters on right here.
| | 01:11 | So that's going to show me my Tab
character. I now need to set the Tab Stop and
| | 01:16 | I am going to do that by opening up my
Tab Ruler, that is Command+Shift+T or
| | 01:21 | Ctrl+Shift+T or from under the Type
menu, Tabs. Notice how my Tab Ruler goes
| | 01:27 | exactly over my column width and I
want a right hand tab, so I am going to
| | 01:33 | click anywhere on the ruler and then
just move that tab along until we get to
| | 01:39 | the right hand edge.
| | 01:40 | Now I don't want to go further than
this triangle, which indicates the right
| | 01:44 | hand column edge, otherwise my tab
stop will fall off. So I am going to leave
| | 01:49 | it about there I think and then I am
going to come to the Leader Box and in
| | 01:54 | there type in a period followed by a
space and then press the Tab character to
| | 02:00 | have that take effect. Okay, I will now
close my Tabs Ruler and because I want
| | 02:06 | all of the other menu items to take on
the same appearance, I am now going to
| | 02:11 | modify this paragraph style.
| | 02:13 | Now we haven't actually talked about
paragraph styles officially but we have
| | 02:18 | several chapters devoted to them and
coming up. For now, all I want to do is
| | 02:22 | redefine an existing paragraph style.
So I will open up my Paragraph Styles
| | 02:27 | panel and from the panel menu I am
going to choose Redefine Style. That's going
| | 02:34 | to make all of these paragraphs, which
are tagged with the body style, take on
| | 02:41 | this Tab Stop. Now all I need to do to
finish this is actually insert the Tab
| | 02:47 | Stop before the dollar sign and
one more and we are done Tab Leaders.
| | Collapse this transcript |
| Creating a Reply Coupon| 00:00 | You can use an Underscore as a Leader
character as one easy way of creating an
| | 00:05 | effective Reply Coupon. I am in the
document called reply_coupon in the
| | 00:09 | Mastering Tabs Folder. Here we see
the finished version and here we have a
| | 00:12 | starting point.
| | 00:14 | So what I want to do first of all is
double click with my Type tool to insert
| | 00:19 | my cursor after the text and add in my
tab stops first of all. Now of course,
| | 00:28 | my tab stops aren't set to a
specific point so that's not really going to
| | 00:32 | change things too much. Then I am
going to return to the Name paragraph and
| | 00:37 | open up my Tab Ruler. Type > Tabs. I
could use either a left or right tab. In
| | 00:43 | this instance, I will stick with a
right tab. Click all the way around the
| | 00:47 | right hand side as far as I wanted to go,
right about there, then come over to
| | 00:51 | my Leader Box and type in Shift+-,
which will give me an underscore and then to
| | 00:58 | see that take effect press the Tab
character, there is our first line finished.
| | 01:04 | So we get an underscore
from the text to the tab stop.
| | 01:08 | Now I could create a paragraph style
based upon this and then apply it to the
| | 01:13 | other paragraphs but what I am going
to do here is I am going to select this
| | 01:18 | paragraph, choose my Eyedropper tool
and then just click on Name to pick up the
| | 01:24 | formats from that paragraph. In fact I
properly should have done it for this
| | 01:28 | one too. When I do that, could have
done this all in one go, so I am making
| | 01:32 | this harder than it needs to be. I will
do that, now obliviously with this one,
| | 01:36 | now it is only going to get me part of
the way because I need three tab stops
| | 01:40 | on the same line.
| | 01:41 | So I am going to need to come and
modify this one independently of the rest.
| | 01:45 | With my cursor in this paragraph I
will press Command+Shift+T or Ctrl+Shift+T
| | 01:50 | to bring up my Tab Ruler and I will
leave that tab stop there, I just need to
| | 01:55 | insert two before it, so I will insert
one over there, I am just doing this by
| | 02:01 | eye really and again that one needs to
have a Leader character, Shift+-, press
| | 02:07 | the tab stop to see that take effect
and then another one about there and that
| | 02:14 | also needs a Leader character and for
some reason we seem to have lost the
| | 02:19 | Leader character from our third tab,
no that's not the problem we have just
| | 02:25 | lost the tab completely. So I need to
place my cursor after the p of Zip. Press
| | 02:30 | the Tab key and there is my underscore
to the end of the line and there is my
| | 02:36 | finished Reply Coupon using an
underscore as the Leader character.
| | Collapse this transcript |
| Using Flush tab| 00:00 | Here is a quick and easy one for you.
A Right Indent Tab is going to move the
| | 00:04 | text to the right of the cursor,
flush with the right hand edge of the text
| | 00:08 | frame. I am in a document called
rightindenttab in the Mastering Tabs folder
| | 00:13 | and I have got two options here to
achieve what I want to do and the easiest is
| | 00:16 | the keyboard shortcut. I will just
insert my cursor before the end dash here.
| | 00:21 | Shift+Tab is going to move it over,
flushed with the right hand edge.
| | 00:25 | Alternatively, I could come up to my
Type menu > Insert Special Character >
| | 00:30 | Other > Right Indent Tab. Quick and
easy, no need to set a tab stop at a
| | 00:36 | specific point on the line.
| | Collapse this transcript |
| Creating a bullet list| 00:00 | Bulleted Lists typically incorporate
tabs to create a hanging indent. Creating
| | 00:05 | a Bullet List is a snap in InDesign
using the Bullets and Numbering feature.
| | 00:10 | I am in the document called bulletlist
in the Mastering Tabs Folder. Here we see
| | 00:15 | our finished version and
beneath that our work in progress.
| | 00:18 | I am going to zoom-in on that, Command+
Spacebar, click and drag. I am now going
| | 00:23 | to double click with my type cursor to
insert my type cursor into the story,
| | 00:29 | select that text and then come up here
to my Paragraph Formats on my Control
| | 00:34 | palette and click on the Bulleted List icon.
| | 00:39 | Now because I want to set my Bullet
List Options, I am going to hold down my
| | 00:44 | Option Key or my Alt key when I
click on that to bring up the Bullets and
| | 00:48 | Numbering dialog box. From List Type, I
am going to choose Bullets. Then I now
| | 00:52 | get to choose which kind of Bullet
character I want to use. If I don't like any
| | 00:57 | of these, I can add my own and that
can come from a different font from the
| | 01:03 | font that we are actually in. I am
going to choose one from Zapf Dingbats and I
| | 01:09 | want to use that pointing hand. I am
going to click Add, click OK and now that
| | 01:17 | gliff will up here in my list
of potential bullet characters.
| | 01:21 | Character style, this is the style
that is going to be applied to the bullet
| | 01:28 | character. If choose None it's going
to remain in the same color, the same
| | 01:33 | point size etcetera as the existing
font, but I am going to change that to a
| | 01:39 | character style that I have already
created which is called Red and here is
| | 01:43 | where the tabs come in. I want the
Alignment to be Left and I see I have a Tab
| | 01:49 | Position set at 36. I am going to turn
on my Preview just so we can see what's
| | 01:54 | happening so far.
| | 01:56 | So I have got a 36 point tab which is
moving all of the text about to that
| | 02:02 | point but actually I want a hanging
indent. So I am going to set my Left Indent
| | 02:07 | to less than that 18 points and then
to move my bullet back to the starting
| | 02:14 | point and have everything else aligned
at the 18 point mark. I am going to make
| | 02:19 | my first line Indent -18 points and
then when I press the Tab key to move down
| | 02:25 | to the Tab Position field, this will
become blank and it becomes blank because
| | 02:31 | the Tab Stop is automatically set at
your Left Indent Point and that's is our
| | 02:39 | bulleted list.
| | 02:40 | Now I could go one step further with
this if I wish to apply these formats to
| | 02:43 | other paragraphs and make this into a
paragraph style and we will be looking
| | 02:47 | and creating and applying paragraph
styles in the chapter on Paragraph Styles later on.
| | Collapse this transcript |
| Creating a numbered list| 00:00 | Okay, here we are going to see how we
can make a numbered list and specifically
| | 00:04 | we are going to see how we can right
align the numbers and that's useful when
| | 00:07 | you have numbers that go
into two or more digits.
| | 00:13 | So, I am going to select this text here
on the left and we want to make it the
| | 00:16 | way it looks on the right and I am
going to hold down my Option or Alt key and
| | 00:22 | come and click on the Numbered List
icon and choose Numbers. Now let's say, I
| | 00:31 | don't need a List type. Format, that's
what I want 1, 2, 3, 4. Let's turn on my
| | 00:37 | Preview so I can see what we are going
to get. And Number right, so currently
| | 00:44 | that's the place order for the number.
I have got the number followed by a
| | 00:47 | period, followed by a tab. Now I don't
think I need the period, so I am going
| | 00:52 | to get rid of that.
| | 00:54 | Character style, this is the character
style that's going to get applied to the
| | 00:59 | number and I am going to choose one
that I have already got made. It's called
| | 01:02 | Number and it's going to make the
numbers red. Now so far so good except that I
| | 01:07 | got too much of an indent after my
number and my numbers are all left aligned,
| | 01:13 | whereas I want it to be right aligned?
| | 01:15 | So I am going to come down to Bullet
or Number Position and change that to
| | 01:20 | Right and I will make my preview updates.
Now if that doesn't work and it's not
| | 01:27 | working for me at the moment I then
need to put in, a left indent amount, which
| | 01:33 | I am going to make 18 points and then
when I press my Tab key, we can see that
| | 01:38 | my numbers are indeed right aligned.
| | 01:42 | I am then going to change my Tab
Position, which is the position of the text
| | 01:46 | itself. We are going to make that 24
points and then press my Tab key again and
| | 01:53 | there we have it. A numbered
list with my numbers right aligned.
| | Collapse this transcript |
|
|
12. HyphenationSetting Hyphenation options| 00:00 | Hyphens. Many people try to avoid them
but when set up correctly, hyphens are an aid
| | 00:05 | rather than an impediment to readability.
Let's take a look at our different
| | 00:09 | Hyphenation Options and how we
can control how our text is broken.
| | 00:15 | But before we do that let's just look
at some interesting hyphen shapes. I am
| | 00:19 | in a document called hyphenexamples,
which is in the Hyphenation folder and
| | 00:24 | here I have four very different styles
of Hyphen, just want to point out that
| | 00:28 | no all hyphens are born equal, they
don't all look like a generic dash.
| | 00:33 | So now I am going to go to the
Hyphenation document, which I already have
| | 00:37 | opened. It's in the same Hyphenation
folder. I am going to zoom-in on this
| | 00:42 | document. We have two passages of text
on the left without hyphenation on the
| | 00:47 | right the exact same text but with hyphenation.
| | 00:51 | Now you will see that I also have
some yellow highlighting in the left hand
| | 00:55 | column that's because I have my
Hyphenation and Justification Violation. My H&J
| | 01:00 | Violations composition preference
turned on. That's just remind ourselves of
| | 01:04 | where that is.
| | 01:05 | I am going to come to InDesign menu >
Preferences > Composition. For Windows
| | 01:10 | users your preferences are under the
Edit menu > Composition > H&J Violations.
| | 01:16 | So that's showing me where InDesign
cannot honor the settings that I am asking
| | 01:20 | of it. Essentially, it's pointing out
to us potential problem areas with that
| | 01:25 | spacing. So obviously we see that the
example on the right where hyphenation is
| | 01:29 | allowed, we don't have any of those
problems. So the point I am making here is
| | 01:34 | that hyphenation will get
you better word spacing.
| | 01:37 | Let's just take a look at the
Hyphenation Options that I have applied. Now
| | 01:41 | hyphenation is up here on your
Control palette, on the panel menu and it is
| | 01:48 | right there. You will notice it doesn't
have a keyboard shortcut. How about we
| | 01:53 | give it one? Because it's something
that we do return to quite frequently.
| | 01:57 | So I am going to come up to my Edit menu,
go down to keyboard shortcuts and the
| | 02:04 | Product Area and once again, I am
modifying my nigel keyboard shortcut set,
| | 02:10 | that I made in an earlier movie and I
want to choose my panel menus and I think
| | 02:17 | I want to come all the way down to my,
my Paragraph panel, Hyphenation, okay.
| | 02:26 | So let's see what do we have available.
I want to use the shortcut that isn't
| | 02:29 | already being used and I am going to
go for Option+Control and I am on a Mac,
| | 02:34 | so on the PC, Ctrl. Option+
Ctrl+H and that is currently unassigned.
| | 02:41 | That's a good news. So that's the
keyboard shortcut that I could now use to
| | 02:48 | access my Hyphenation Options.
| | 02:50 | I am going to select all and use that
keyboard shortcut Ctrl+Option+H to bring
| | 02:56 | up my Hyphenation Settings and
this what we currently have. Obviously
| | 03:00 | Hyphenation is turned on. Words with
at least five characters, so your words
| | 03:05 | need to have at least five
characters in order to be began that it's for
| | 03:09 | hyphenation. Now if I want to be a bit
stricter with my hyphenation and I do, I
| | 03:13 | am going to say Words with at least
seven characters. So I will need words with
| | 03:18 | seven or more characters will be hyphenated.
| | 03:20 | After First, determines the minimum
number of characters that proceed the
| | 03:25 | hyphen and I want this to be three
and Before Last, the minimum number of
| | 03:31 | characters that come after the hyphen.
I want that to be three as well. Hyphen
| | 03:36 | Limit, this is the number of
consecutive hyphens or hyphens in a row and I like
| | 03:40 | this set to zero, that way we prevent
any kind of laddering effect along our
| | 03:45 | right hand column edge with multiple hyphens.
| | 03:49 | So I am going to leave that set at zero.
Hyphenations Zone has no effect when
| | 03:54 | working with justified text. No when
working with the Adobe Paragraph Composer
| | 03:59 | and we are working with both, so the
Hyphenation Zone is actually irrelevant
| | 04:04 | and then we have this slider here,
Better Spacing, Fewer Hyphens. You can have
| | 04:09 | one or the other, typically I tend to
leave this in the middle and it does tend
| | 04:13 | to make more of a difference when
working with left aligned rather than left
| | 04:17 | justified text. I am going to
just leave that where it is for now.
| | 04:21 | Hyphenate Capitalized Words, pretty self
-explanatory. Whether or not you should
| | 04:24 | have that checked, it really depends
upon the nature of the text that you are
| | 04:28 | working with. If you are working with
text that has a lot of capitalized words
| | 04:32 | you may need to make some of those
words hyphenated in order to get good word spacing.
| | 04:37 | Typically I would say that we do not
want to do that so I am going to unchecked
| | 04:41 | that and I definitely do not want to
hyphenate a word across a column and I
| | 04:46 | definitely do not want to hyphenate
a word that is the last word in the
| | 04:50 | paragraph, so I am going
to leave that unchecked.
| | 04:53 | So I am hyphenating but I am
hyphenating in a quite strict way so that I am not
| | 04:58 | going to get too many hyphens but still,
even though, I don't have too many we
| | 05:03 | see that I am avoiding any of the
Hyphenation & Justification Violations that
| | 05:08 | we see over here on the left
where no hyphenation is occurring.
| | Collapse this transcript |
| Using the Hyphenation Slider| 00:00 | The Hyphenation slider is a simple
option that gives us the choice between
| | 00:04 | Better Word Spacing or Fewer Hyphens.
Here in the document hyphenation_slider
| | 00:09 | from the Hyphenation folder. We see on
the left we have an example of Better
| | 00:12 | Word Spacing and on the right, Fewer Hyphens.
| | 00:17 | Let's take a look at how this option is
applied. I am going to select that text
| | 00:23 | come up to my panel menu here and
down to Hyphenation or I could use that
| | 00:29 | shortcut that I have made in the
previous movie. Now, when I move this over
| | 00:33 | toward Fewer Hyphens, like so, in fact,
that gets rid of all of the hyphens but
| | 00:44 | possibly at the expense of a more
uneven rag to the type and by rag I mean the
| | 00:51 | variance in the line and length.
| | 00:53 | So, it's a trade off, which do you
prefer? Hyphens or less than optimum word
| | 00:58 | spacing. Typically I would tend to
leave the Hyphenation slider right where it
| | 01:03 | is in the middle and that tends to
give a good result most of the time.
| | Collapse this transcript |
| Adding discretionary and non-breaking hyphens| 00:00 | Discretionary hyphens can do two things.
They can allow your word to break at a
| | 00:04 | different point or they can
prevent your words from breaking.
| | 00:07 | I am in the document discretionary_hyph,
which is in the Hyphenation folder.
| | 00:12 | And by discretionary, I mean that if
you use the discretionary hyphen to break
| | 00:16 | your word at a different point, should
that word then move to the middle of the
| | 00:21 | line, the hyphen is forgotten, it's
discretionary, it's smart enough to
| | 00:24 | disappear when it's not wanted.
So it's not a hard hyphen.
| | 00:28 | Okay. Now in the example down here, I
have inserted a discretionary hyphen
| | 00:33 | before the R of Recognized so that,
that word does not break. So if you want to
| | 00:39 | use the discretionary hyphen to
prevent a word break, here is how you do it.
| | 00:43 | I am going to choose my Type tool,
insert just before the R and the keyboard
| | 00:47 | shortcut to insert a discretionary
hyphen is Command+Shift+Hyphen or
| | 00:52 | Ctrl+Shift+Hyphen. And doing that not
only prevents that word recognized from
| | 00:59 | not hyphenating, but it also sorts out
a lot of other spacing problems into the bargain.
| | 01:04 | Before we had found too many hyphens
in that passage and now just adding that
| | 01:08 | one discretionary hyphen and working
in conjunction with the Adobe Paragraph
| | 01:13 | Composer, that has solved a lot of the
problems in this paragraph. I am going
| | 01:17 | to Undo that now, Command+Z or Ctrl+Z.
| | 01:19 | Let's take a look at the other usage
of the discretionary hyphen, which is if
| | 01:24 | you want a word to break at a
different point. So if I want to hyphenate this
| | 01:28 | word after the O and before the G,
that's where I would locate my cursor, and
| | 01:32 | again insert that discretionary hyphen,
Command or Ctrl+Shift+Hyphen. Or I can
| | 01:38 | do it from under the Type menu >
Insert Special Character > Hyphens >
| | 01:45 | Discretionary Hyphen, and then we have it.
| | Collapse this transcript |
| Using the Optical hyphen| 00:01 | I've touched upon the optical alignment
of hyphens in earlier movies but I want
| | 00:04 | to mention it here in case you are
following these movies in a nonlinear way. I
| | 00:09 | want to be sure you don't miss this
great and very easily implemented feature.
| | 00:12 | I am in a document called hanging_
hyphens in the Hyphenation folder and I have
| | 00:17 | a short passage of text where Optical
Margin Alignment is turned-on, meaning
| | 00:21 | that the hyphens that occur at the end
of the line hang out beyond the right
| | 00:26 | hand edge of the text frame, and the
effect here is to create an optically
| | 00:32 | aligned right hand edge avoiding any
optical holes that we would otherwise get
| | 00:37 | where the hyphens occur at the end of the line.
| | 00:40 | Let's take a look at how this would
look without Optical Margin Alignment. To
| | 00:45 | apply Optical Margin Alignment is just
a question of going to the Type menu, to
| | 00:50 | Story and checking or unchecking this box.
| | 00:55 | I hope you will agree with me, but
when we take away the Optical Margin
| | 00:59 | Alignment, it looks like we have
holes here, and here, and here where the
| | 01:03 | hyphens occur. We turn it on and
things just look so much better.
| | Collapse this transcript |
| Understanding the Hyphenation Zone| 00:00 | Now, in the overall scheme of things,
the hyphenation zone really isn't that
| | 00:03 | important, but it has a very
intriguing line so I wanted to include a short
| | 00:07 | movie just to explain what it is.
| | 00:10 | I say in the overall scheme of things
not so important and the reason is that
| | 00:14 | the hyphenation zone is only applicable
when you are working with left aligned
| | 00:19 | text that has the Single Line
Composer applied which is probably not very
| | 00:24 | often, because as we saw in an earlier
movie about the Paragraph Composer, that
| | 00:28 | was in the Alignment section using
the Adobe Paragraph Composer, is nearly
| | 00:34 | always preferable.
| | 00:35 | Anyway, here I do have two examples of
passages of text with the Single Line
| | 00:40 | Composer applied, and just to refresh
our memories, that option is in that
| | 00:44 | Justification Settings. I just
press my keyboard shortcut to get to
| | 00:48 | Justification, which is Command+Option+
Shift+J or Ctrl+Alt+Shift+J, and it's
| | 00:54 | this option here.
| | 00:54 | Now, when you have left align text
single line composer, the size of the
| | 00:59 | hyphenation zone can determine how
many hyphens you are going to get and the
| | 01:04 | shape of the rag you are going to get on
the right hand edge of your text frame.
| | 01:09 | As we can see here when the
hyphenation zone is set bigger, as is the case on
| | 01:14 | the right hand side, we have not what
you might think, we have fewer hyphens
| | 01:20 | when the hyphenation zone is set bigger
and we have a perhaps less even rag as
| | 01:26 | a consequence of that.
| | 01:27 | Let's just go and take a look at that
setting. So I am going to travel back up
| | 01:32 | here and then come down to hyphenation
here. The hyphenation zone is set at 6p0
| | 01:39 | whereas here it's set at 0p0, and this
cyan box that I have drawn here is just
| | 01:45 | to indicate the size of the
hyphenation zone. That box is 6p0 wide.
| | 01:50 | So anyway, the bigger the hyphenation
zone, the fewer hyphens and the more
| | 01:55 | uneven rag you will have, but
applicable only with the Single Line Composer and
| | 02:00 | ragged text.
| | Collapse this transcript |
|
|
13. Using Drop CapsUnderstanding the purpose of drop caps| 00:00 | A commonly used device for hooking
your reader is to apply a drop cap to your
| | 00:05 | opening paragraph. Drop caps are also
used for section breaks, often smaller
| | 00:10 | than the initial opening drop cap, but
as a way of repeating that decorative element.
| | 00:16 | Let's take a look at how we can very
easily apply drop caps in InDesign. I am
| | 00:19 | in a file called dropcaps in the Drop
caps folder, and we are going to begin by
| | 00:24 | just taking a look at some of the many,
many different ways you can apply a drop cap.
| | 00:29 | So here I have six slightly varying
examples all using the same opening
| | 00:34 | paragraph. I am going to hold down
my Command and Spacebar or my Ctrl and
| | 00:40 | Spacebar and click and drag to
zoom into these first three examples.
| | 00:45 | Okay, and I am going to double-click
inside that paragraph and then switch to
| | 00:49 | my paragraph formats because that's
where we get the Drop Cap options, and I am
| | 00:54 | going to do that by pressing Command+
Option+7 or Ctrl+Alt+7 and here are the
| | 00:59 | options I am referring to.
| | 01:01 | So this first one here refers to the
number of lines that the character sinks
| | 01:05 | into the paragraph, and the second
option in all cases here is set to 1, is the
| | 01:09 | number of characters that are made big.
And we will see in movies coming up how
| | 01:14 | sometimes you may want to vary that. For
the most part, we will leave that at 1.
| | 01:17 | Okay. So standard drop cap for the
first example, sinking three lines into the
| | 01:23 | paragraph. Moving down this next
example, same thing except that the opening
| | 01:28 | character has been set as a swash
character. If you viewed the chapter on open
| | 01:34 | type, you will know all about swash characters.
| | 01:36 | This is a decorative character that
comes as part of the OpenType font, which
| | 01:42 | in this case is Minion Pro. Moving on
down, same thing but this time the drop
| | 01:49 | cap has been set at a reduced tint
percentage just to make it little less solid
| | 01:54 | because it has been increased in size.
So to increase your point size for the
| | 01:59 | drop cap, simply select that character
and size up as you would any other character.
| | 02:04 | You will notice that the drop cap
size -- if I were to select these ones up
| | 02:10 | here, I am working with 10-point type.
My drop cap actually says it is 10
| | 02:13 | points, so that is relative to that
point size. This is 14 points and the base
| | 02:21 | line of the drop cap very
conveniently remains fixed where it is, and it
| | 02:24 | increases in size above that base line,
and in addition to which I may want to
| | 02:31 | then go in and add a little bit of
extra kerning holding down my Option or Alt
| | 02:36 | keys and my Left Arrow to move
that text in a little bit tighter.
| | 02:41 | My fourth example isn't a drop cap tool,
but it is another example of the same
| | 02:46 | kind of visual device. This is an
initial cap, and it doesn't use the drop cap
| | 02:52 | features over here. Merely, I am
making the opening character bigger than the
| | 02:57 | rest. That's also a legitimate opening device.
| | 03:00 | Now, for these last two examples 5 and 6,
I have taken the drop cap and I have
| | 03:06 | pasted it into its own distinct text
frame, which I have then cut and pasted
| | 03:11 | back into the main text frame to create
what's called an anchored object. Now,
| | 03:15 | I am not going to go into exactly how
I did that for now, let this just be a
| | 03:19 | teaser for the section when
I deal with anchored objects.
| | 03:23 | That's coming up in the chapter on
nested and sequential styles. But, if I
| | 03:28 | switch to my Normal View mode, we
can see that we have these special
| | 03:33 | characters, these hidden characters
indicating that these are anchored objects.
| | 03:37 | But, the point I just want to make
here is that here is another decorative
| | 03:41 | approach to your opening paragraphs and
the reason I made them anchored objects
| | 03:46 | is so that if I move this, then the
drop cap goes with it, likewise with this one too.
| | 03:51 | So in this last example, drop cap
reversing out of a solid box. This is by no
| | 03:58 | means an exhaustive list. Just take a
flip through any magazine and you will
| | 04:02 | see many, many different
approaches to drop caps.
| | Collapse this transcript |
| Understanding the optical alignment of drop caps| 00:00 | There are two new features in CS3 that
make the alignment of drop caps a little
| | 00:04 | bit easier. One is called Align Left
Edge and the other is Scale for Descenders.
| | 00:08 | I am in a document called
alignleftedge which is in the Drop Caps folder and
| | 00:14 | firstly, we have a problem of our sans-
serif I drop cap. Because of the spacing
| | 00:21 | that is incorporated into that
character on the left hand side not quite
| | 00:25 | aligning with the left hand edge of the column.
| | 00:27 | Now it used to be that we have to go
through this rather involved work around
| | 00:31 | of adding in a space before that and
then kerning back that space to solve the
| | 00:36 | problem. Now, with CS3, it's a lot easier.
| | 00:39 | So I am going to go to my Layers panel
and turn-off that red ellipse and then
| | 00:44 | just insert my cursor in this
paragraph and come up to my panel menu and come
| | 00:51 | down to Drop Caps and Nested Styles or
keyboard shortcut Command+Option+R or
| | 00:57 | Ctrl+Alt+R. And here we see that
feature, Align Left Edge. I have got my
| | 01:03 | preview checkbox checked. Watch
carefully and you will see the I jumped to the
| | 01:09 | left hand edge of the text frame.
| | 01:11 | Now, I am going to hold down my Alt
key and my Spacebar and move down to the
| | 01:17 | next example. Let's do zoom out a bit,
Command or Ctrl+Minus. Let's take it a
| | 01:22 | little bit smaller, and I am going to
insert my cursor in this paragraph, use
| | 01:27 | the keyboard shortcut this
time Command+Option or Ctrl+Alt+R.
| | 01:33 | We can see the problem is that the
descender of the swash character is kind of
| | 01:37 | running rough shot over the fourth
line of that text here. Well, there is
| | 01:40 | another problem up here. This feature
is going to fix one of these problems but
| | 01:44 | not the other.
| | 01:44 | Let's turn it on and see what happens.
Now, we can see that the descender is
| | 01:49 | kind of constrained within the number
of lines that the character is dropped,
| | 01:54 | effectively giving you a smaller drop
cap. I am not so sure this is a good
| | 01:59 | solution in this context because the
next thing I would do would involve
| | 02:05 | kerning this away from that text,
and that doesn't look very good to me.
| | 02:12 | I think rather than scaling for
descenders, I am going to select this drop cap
| | 02:18 | and then use the base line shift to
move it up, and in addition to that, then
| | 02:27 | use a bit of kerning between the F
and the O, and I think that's a more
| | 02:33 | pleasing result. Anyway, those are
the two new Drop Cap Alignment Options,
| | 02:38 | Align Left Edge and Scale for Descenders.
| | Collapse this transcript |
| Navigating tricky drop caps| 00:00 | Drop caps can sometimes present us
with some challenges. Let's take a look at
| | 00:04 | two common examples of problems that
may occur when working with drop caps.
| | 00:09 | I am in a document called
trickydropcap and this is in the Drop Caps folder,
| | 00:14 | and the first example is when the
opening paragraph begins with punctuation.
| | 00:18 | Now, if you have a paragraph style
setup that says make the first character
| | 00:23 | three lines deep into the paragraph,
then what's going to happen, is it's going
| | 00:27 | to interpret that literally and make
the first character, in this case the
| | 00:31 | opening quote mark three lines deep or
in this case, four lines deep into the
| | 00:35 | opening paragraph.
| | 00:36 | So we are going to need to make an
exception of this paragraph. I am on my
| | 00:40 | Paragraph Formats, part of my Control
palette, and I am going to come over to
| | 00:46 | the number of characters made big. So
this is the number of lines, this is the
| | 00:50 | number of characters, and I am
going to change that to 2. Well, that's
| | 00:55 | certainly an improvement but I
need to go a bit further with this.
| | 00:58 | I want to make sure that it is aligned
to the left as we saw in the previous
| | 01:02 | movie. So I am going to use the
keyboard shortcut to go to my Drop Cap Options,
| | 01:06 | Command+Option or Ctrl+Alt+R, Align
Left Edge, a bit better, but still we need
| | 01:14 | to do more.
| | 01:15 | This opening quote mark is too big. So
I am going to reduce its size and I am
| | 01:20 | going to reduce its size by I and
Command+Shift+ or Ctrl+Shift+<, and I think
| | 01:26 | that's about right and now I need to
shift that up using my baseline shift,
| | 01:34 | like so, and then place my cursor
between the opening quote and the big C and
| | 01:39 | kern that space, Alt or Option+Left Arrow.
| | 01:45 | If the first time you do it, it
springs to the right. Don't worry about that.
| | 01:48 | Just carry on doing Alt+Left Arrow
until you get it the way you wanted to go.
| | 01:56 | And that looks about right.
| | 01:57 | The second problem you may run into
is when you have a chapter that doesn't
| | 02:03 | have enough lines in the first paragraph.
So if you're working with a three or
| | 02:07 | four line drop cap, and you
encounter an opening paragraph that is just a
| | 02:11 | single line, this might look a little
bit odd, but InDesign does a creditable
| | 02:16 | job of working with this, and we will see that.
| | 02:19 | If I apply a drop cap here, it is
actually very small and figures out how to
| | 02:25 | handle it. I will say that if you
have a lot of these paragraphs in the
| | 02:29 | publication that you are working on,
you might want to rethink your strategy of
| | 02:33 | using drop caps and instead, use
some other visual device to indicate the
| | 02:37 | opening of a paragraph.
| | 02:39 | Okay, well here I am in this opening
paragraph, and let's say we want to drop
| | 02:44 | by three lines, like so, and this is
another instance where we are beginning
| | 02:50 | with a quotation. So I am going to need
to set that to 2 characters. I want to
| | 02:55 | go over fixing this issue again
reducing the size of the punctuation but just
| | 02:59 | want to point out that look what
InDesign has done with the second paragraph.
| | 03:03 | It has not which it would have done
where it's not as smart as it is, continue
| | 03:08 | paragraph 2 beneath the drop cap but
rather, it runs that second paragraph
| | 03:13 | around the drop cap and it's smart
enough to indent it as if it were a new
| | 03:18 | paragraph which in fact it is.
| | 03:20 | So InDesign does a fairly good job of
handling this, but as I say, if you get
| | 03:25 | to encounter lots of this, you might
want to use something other than a drop cap.
| | Collapse this transcript |
| Using a nested character style with a drop cap| 00:00 | A common treatment for drop caps is
to apply the drop cap character in a
| | 00:04 | different and perhaps contrasting font
and also to set the first word or series
| | 00:09 | of words in small caps.
| | 00:11 | When doing this, you can automate
the process by nesting a character style
| | 00:16 | inside the paragraph style definition.
Now, you may be thinking, wait a minute,
| | 00:21 | we haven't even dealt with styles yet
and you are talking about nested styles.
| | 00:26 | Well that's true. I am and perhaps I
am jumping ahead of myself, but I just
| | 00:30 | want to point this out. I am not
going to go into how to do this, I am just
| | 00:33 | going to break it down, and maybe this
will serve us as a bit of a teaser for
| | 00:38 | the styles chapters that
are coming up real soon.
| | 00:41 | So we see here opening paragraph, it
has a drop cap. It's the same font but I
| | 00:47 | have toned down the color on it. I am
running it at 50% tint, just so there's
| | 00:51 | not quite so in your face.
| | 00:53 | Then, I have the first, oh, how many
is it, one, two, three, four, five words
| | 00:59 | in small caps. And the purpose of
small caps is just to give you a transition
| | 01:02 | between the opening large character
and the regular upper and lower case text
| | 01:07 | of the paragraph itself.
| | 01:09 | I am going to go to my Layers panel and
turn off the finished version and open
| | 01:14 | the begin version. We can see that
the purpose of doing this is so that the
| | 01:20 | next time I encounter a paragraph
that need that same treatment, I can just
| | 01:23 | click in it, and click on that
paragraph style, and we see it gets the drop
| | 01:29 | cap, it gets the drop cap applied at
different tint, and it gets the first five
| | 01:34 | characters applied at small caps.
| | 01:36 | So what exactly is going on there? Well,
there are three components to this.
| | 01:40 | There are two character styles and I
will look on my Character Styles panel,
| | 01:45 | two character styles, one called Drop
Cap for the Opening Character, and one
| | 01:49 | called Small Caps for the Small Cap
Text. And there is one paragraph style.
| | 01:56 | And the two character styles are nested
within the paragraph style, and we can
| | 02:00 | see where, if I just take a look at
the definition of 'first par'. So to get
| | 02:06 | there, I right-clicked or Ctrl-clicked
on that if you are on a single button
| | 02:11 | Mouse on a Mac, and come down to Drop
Caps and Nested Styles and here is how
| | 02:17 | that is assembled.
| | 02:18 | So we have seen this before in a
slightly different format. We are seeing it
| | 02:22 | now as part of the Paragraph Style
Options, 4 lines, 1 character and then that
| | 02:29 | Drop Cap character style applied to
that one character, after which there is
| | 02:35 | the small caps applied as a nested
style through a specified number of
| | 02:42 | something rather, in this case a
specified number of words. And that is our
| | 02:48 | result that came from here on in,
be applied with a single-click.
| | Collapse this transcript |
| Understanding other uses of drop caps| 00:00 | Drop Caps also have other uses
beyond the obvious. Here are a couple of
| | 00:04 | examples. My document is dropcap_QA in
the Drop Caps folder, and up at the top
| | 00:12 | here, we have drop caps used in the
familiar question and answer section, where
| | 00:18 | actually each of these paragraphs is
set to be a two line drop cap with two
| | 00:23 | characters being dropped. And the
reason for that is so that the space which
| | 00:29 | follows the Q could add as a bit of
padding between that large character and
| | 00:33 | the question which follows.
| | 00:35 | Then down beneath, we have again a
two line drop cap in this case, just a
| | 00:41 | single character used for an
instructional list. So here are a couple of
| | 00:46 | creative uses of drop caps in a Q and
A section and then in a numbered list.
| | Collapse this transcript |
|
|
14. Paragraph StylesApplying Paragraph Styles| 00:00 | Using style sheets is essential of
efficient use of InDesign and for creating
| | 00:05 | designs that are consistent and easily
editable. For the next few chapters, we
| | 00:10 | will be concentrating on style sheets.
Beginning with paragraph styles, moving
| | 00:16 | on to character styles and then
to nested and sequential styles.
| | 00:20 | Because most documents, regardless
of their length or complexity or their
| | 00:25 | content, have a similar structure
with headings, sub heads, body text, etc.
| | 00:30 | Formatting using styles can be
tremendously time saving. You save the
| | 00:36 | attributes under a style name and then
you can apply those attributes multiple
| | 00:41 | times with a single click.
| | 00:43 | I am going to begin in a document
called Benefits of Style in the Paragraph
| | 00:48 | Styles folder and just to hammer on
the point, here are the benefits of using
| | 00:53 | style sheets. They are fast and
efficient. They ensure consistency in your
| | 00:57 | formatting which equals good design
and they allow for ease of editing, which
| | 01:03 | because you can edit your document
easily, you can experiment with different
| | 01:07 | combinations of fonts, different
looks and fields for your layout, without
| | 01:12 | having to go through lots
of tedious repetitive work.
| | 01:15 | And that equals increased creativity.
Okay, let's look here at a single short
| | 01:23 | paragraph, just to make it clear the
difference between paragraph styles and
| | 01:29 | character styles. Paragraph styles are
the more global of the two. Paragraph
| | 01:34 | styles apply to the whole paragraph
on top of which there may be character
| | 01:39 | styles, which apply to
exceptions within that paragraph.
| | 01:43 | And here are two examples of character
styles applied within this paragraph. So
| | 01:50 | we are now going to look at paragraph
styles and begin by applying paragraph
| | 01:55 | styles. To do that, I am going to go
to my Window menu where I have already
| | 02:00 | opened a document called Styles. This
document is made up of four pages or two
| | 02:07 | double page spreads.
| | 02:09 | Let's just take a quick look. And the
text has been formatted using styles. If
| | 02:17 | I open my Paragraph Styles panel right
there, and then click in the paragraph,
| | 02:24 | I see here the style that has been
applied. So Head 1, Intro, Body First, Body,
| | 02:33 | Caption, etc.
| | 02:34 | And the first thing I would like to
look at is applying styles. So I am going
| | 02:42 | to go to an earlier version of this
document that does not have any of the
| | 02:47 | paragraph style formatting applied.
This is called stylesbegin in the
| | 02:52 | same folder, Paragraph Styles.
| | 02:54 | Now there are several methods that
you can use to applying styles. The most
| | 02:59 | basic, straight forward and the one
that I tend to use more than any other is
| | 03:03 | simply to click in the paragraph and
then click on the style name that you wish to apply.
| | 03:09 | It's not necessary to select the whole
paragraph. Because paragraph styles or a
| | 03:14 | paragraph level format, they are
applied to the whole paragraph, regardless, of
| | 03:18 | how much of that paragraph you have
selected. So I can now click in this
| | 03:22 | paragraph and I will expand my
Paragraph Styles panel, click on Intro, this one
| | 03:29 | is Body First, and most of the rest is Body.
| | 03:36 | So you see how quickly I can move
through this document. Now here I have a
| | 03:42 | style group and this is just a
housekeeping feature that allows us to organize
| | 03:48 | styles into related groups and there I
want to apply the Captions style, here I
| | 03:55 | want to apply the Byline style. So
it's really, really quick and easy.
| | 04:00 | Now I could also if I wanted to, use
something called Quick Apply. And that
| | 04:10 | involves pressing F4+Return or Ctrl+
Return to bring up the Quick Apply menu.
| | 04:16 | Now before I do that, I am going to
place my cursor in this paragraph here to
| | 04:19 | which I want to apply the Caption style.
Let's close my Paragraph Styles panel,
| | 04:24 | Command+Return, that brings up my Quick
Apply menu and I can just start typing
| | 04:30 | in the name of the first style that I want.
| | 04:33 | Now some people prefer this approach
because it groups together the various
| | 04:37 | different types of styles we have in
InDesign. The paragraph styles, character
| | 04:42 | style, object styles, etc. So rather
than dealing with multiple panels, you
| | 04:47 | have got them all in one place. So I
can start typing in Caption and that's the
| | 04:54 | one I am after. It tells me there in
parenthesis that is in the Sidebar and
| | 05:00 | Captions group so then I can just
click on that and that style is applied.
| | 05:05 | Another method of applying your styles.
Perhaps you want to apply your styles
| | 05:11 | using a keyboard shortcut. Down here, I
have text that needs to be formatted in
| | 05:21 | the Sub head style. I zoomed in there
by pressing Command+Spacebar, click and
| | 05:26 | drag or Ctrl+Spacebar, click and drag.
So to do that, to apply our styles by
| | 05:32 | keyboard shortcut, we first of all
need to setup the keyboard shortcuts.
| | 05:37 | So the style I am after is Head 2, and
I am going to edit the Head 2 style by
| | 05:43 | right clicking on it or if I have a
single button mouse on a MAC, Ctrl clicking
| | 05:48 | on it, Edit Head 2, and this is what
I need to change here. So let's see.
| | 05:55 | I am going to make Head 2, now when
you use a shortcut for your paragraph
| | 06:01 | styles, you can't use function keys
because they conflict with other things. So
| | 06:05 | instead, you use your number pad in
combination with a modified key. And I am
| | 06:10 | going to make this Option number pad
one or Opt+Num 1. Click OK and now to
| | 06:18 | apply Head 2 to that paragraph, Option+
Num 1, and I can go through and format
| | 06:25 | multiple instances in that way.
| | 06:27 | So that's another method of applying
your styles. The third method is to apply
| | 06:33 | your styles using the Story Editor and
I will do this secondary article down
| | 06:39 | here, Sidebar article elaborating on
main points, using the Story Editor. So I
| | 06:44 | am going to go my Edit menu and pull
down to Edit in Story Editor, and before I
| | 06:50 | did that, I inserted my cursor into that story.
| | 06:54 | And there we see the text and its
just dummy text, so it's kind of hard to
| | 06:57 | figure what exactly what's going on
there but scroll down. If I would be doing
| | 07:02 | a lot this I might want to put my
Paragraph Styles panel right next to my Story
| | 07:07 | Editor window, so I didn't have to move
my cursor around too much and this one
| | 07:12 | is going to be sidebar head.
Everything else is going to be sidebar and then
| | 07:20 | there are a few in the middle here
that are going to be sidebar bullet. First
| | 07:26 | the sidebar bullet, its going to be
sidebar bullet space; to add a little bit
| | 07:29 | of space before that grouping of
bullets and I think that's all I need to do.
| | 07:34 | Now I could leave the Story Editor by
clicking on its close button there, or
| | 07:40 | returning to the Edit menu and
choosing Edit in Layout and there, back in the
| | 07:45 | layout we see these styles apply to
my text. So whichever those methods you
| | 07:50 | prefer, there is no one better then
the other just whatever works for you.
| | 07:54 | Either just clicking on the Style 9 in
the Paragraph Styles panel, using Quick
| | 07:59 | Apply, or going to the Story Editor.
| | 08:02 | Up next, we are going to
look at creating styles.
| | Collapse this transcript |
| Creating Styles| 00:00 | In this movie we are going to see how
we can create styles. I am in a document
| | 00:05 | called Styles Create which is in the
Paragraph Styles folder and this may look
| | 00:09 | somewhat familiar because we were
working with a more finished version of this
| | 00:12 | document in an earlier chapter. This
is the Alice in Wonderland text and by
| | 00:18 | creating several styles we are going
to format all this text really quickly,
| | 00:23 | really efficiently and really effectively.
| | 00:26 | So, I am going to begin at the
beginning and let's just be aware that this
| | 00:32 | document follows a repeating format,
there is a Chapter number, there is a
| | 00:40 | Chapter title, there is an opening
paragraph for the Drop Cap and then the
| | 00:44 | remainder of the Chapter is all in
body text. And then we get to the next
| | 00:49 | Chapter, Chapter number, Chapter title,
opening paragraph, body text and on,
| | 00:54 | and on, and on. So, we want to create
the styles with Chapter number, Chapter
| | 00:58 | title, body first etc, and then just go
to the rest of the text and apply those
| | 01:05 | styles where appropriate.
| | 01:07 | As, I usually tend to do, I am going
to begin with the body text, since the
| | 01:12 | vast majority of the text in this
document is going to be in the body text I E,
| | 01:18 | the text that makes up the majority of
the document. So I am going to select
| | 01:23 | any paragraph doesn't even matter
which one. Now my approach is going to be
| | 01:27 | this, I am going to use my Control
palette up here to make this text look the
| | 01:33 | way I want it to look and then I am
going to create a paragraph style based
| | 01:37 | upon that text and then I am
going to apply that paragraph style.
| | 01:40 | So, first of all I am going to set the
font and tributes and I need to switch
| | 01:46 | to my Character Formatting Options on
my Control palette so, I am going to do
| | 01:50 | that by pressing the keyboard shortcut
Command+option+7 or Ctrl+Alt+7 and then
| | 01:58 | Command or Ctrl+6 to jump to my Font
menu and to start typing in the font, I am
| | 02:05 | after, which is Adobe Caslon Pro and
I want my Point Size to be 11 and my
| | 02:11 | leading to be 14 and I think that's
about all I need to do here. I am now going
| | 02:18 | to come to my Paragraph Format and
let's see I think I will make this text
| | 02:25 | Justified and I will give it a First
Line Indent of 11 points and that is
| | 02:33 | pretty much how I want my body text
to look. Now I can always come back and
| | 02:37 | make changes to it later if I need to,
but I am not going to create the style
| | 02:41 | based upon that text, click on the
Paragraph Styles panel and from the panel
| | 02:46 | menu choose New Paragraph Style. I am
going to call this body I could if I
| | 02:53 | wanted to apply keyboard shortcut
through this I don't think that's necessarily
| | 02:56 | here so, I am not going to bother.
And I want to make sure that I have this
| | 03:01 | one checked not so important for this
particular style but it is going to be
| | 03:04 | important for others and that's going
to save me the step of having created the
| | 03:09 | style then having to apply the
style to the text, I will click OK.
| | 03:15 | Now, as I mentioned since the vast
majority of my text is in body text I am
| | 03:19 | going to do Command+A or Ctrl+A to
select all now, we actually have I should
| | 03:25 | have pointed this out earlier but I
didn't, we actually have 26 pages here. So,
| | 03:31 | I have 26 pages of text selected so
that when I click on body the text on all
| | 03:38 | 26 pages is changed to the body style.
Okay, now I am going to come and do the
| | 03:46 | first instance of what will become my
Chapter number style and I will click in
| | 03:52 | that three times usually four times
but since it's a single line paragraph,
| | 03:56 | three times is enough and let's see I
do not want the First Line Indent, for
| | 04:03 | this so well I can see that I
am going to get rid of that.
| | 04:06 | It's unlikely that it ever would but
since this is a heading style, I do not
| | 04:11 | want it to hyphenate and let's see. I
think I want it to be in small caps. I am
| | 04:19 | going to come over to my OpenType and
choose All Small Caps, and then I am
| | 04:26 | going to apply some positive tracking
to this and may be increase the Point
| | 04:33 | Size a bit and I think that's where
I will leave it for my Chapter number
| | 04:38 | style. So, I will now come over to my
Paragraph Styles panel, click on the
| | 04:45 | panel menu, New Paragraph Style, call
this Chapter number, Apply Style to
| | 04:53 | Selection. With that checked,
click OK. All right, you get the idea.
| | 04:57 | So, more of the same. Now, for the
Chapter title I will speed up a bit for this one.
| | 05:02 | Three clicks to select the paragraph.
Let's make it look the way I wanted
| | 05:06 | it to look. I am going to make it
Semibold and I will make it 30 point and I
| | 05:14 | will like to increase the leading also
I will make that 30 point. I do not want
| | 05:20 | it to be Justified but rather left
aligned do not need a First Line Indent and
| | 05:24 | do not want it to Hyphenate that's
actually a little bit to big so I am going
| | 05:29 | to come back and make the Point Size 24
and I will do the same for the leading.
| | 05:38 | Okay, that is how I want
my chapter titles to look.
| | 05:42 | Once again New Paragraph Style,
Chapter title, press Return and moving on to
| | 05:54 | the next one. Now this is going to be
very much like the body text so, I just
| | 05:59 | need to make a few amendments to this
one, come to my Paragraph Formats. No
| | 06:04 | First Line Indent necessary because
this paragraph is clearly differentiated
| | 06:09 | from the title by the use of the Drop
Cap I am about to apply which is there I
| | 06:16 | now also have some space before this I
am using 14 point leading so I am going
| | 06:21 | to have a single line space 14 points
a space before and I think that's about
| | 06:29 | all I need to do for my body first
style except of course it's 2 actually
| | 06:36 | officially created, and
there is my body first style.
| | 06:41 | Okay these four styles are all I
really need to format this whole document, I
| | 06:46 | may need to make a few exceptions
here and there a few styles derived from
| | 06:52 | these but these are going to take me
most of the way. I am now going to zoom
| | 06:56 | out Command+Option+0 or Ctrl+Alt+zero
and Option+Page Down, Alt+Page Down to
| | 07:05 | find the second Chapter there it is
right there and this is going to be Chapter
| | 07:11 | number, Chapter title, body first.
Okay a couple of things come up here, you
| | 07:19 | remember from the chapter on break
characters how we want our chapters to begin
| | 07:25 | at the top of a right hand page. So in
order to make that happen I am going to
| | 07:30 | edit the Chapter number style. To edit
the style you simply Ctrl-click on it if
| | 07:36 | you are on a single button mouse on
Mac or right-click. You can also double
| | 07:41 | click on the style name, although I
advice against doing that. In this instance
| | 07:45 | it wouldn't create any problems but
sometimes you can end up inadvertently
| | 07:50 | applying the style when you don't
want to. So, I am going to instead right
| | 07:54 | click on there, Keep Options, and I
want to start this type of paragraph on the
| | 08:00 | next odd page. Okay, so I am knocking
that over there and then we see we have
| | 08:07 | got a problem here where in this
case the opening paragraph begins with a
| | 08:12 | quotation mark so, what I need to do
here is make a style based on this one and
| | 08:18 | I am actually going to see I am going
to duplicate that style and I am going to
| | 08:23 | call this body first 2 char, 2
character. And I want to make sure that it is
| | 08:30 | based on body first.
| | 08:33 | So, currently this style body first 2
character and body first are exactly the
| | 08:39 | same, I am just going to make one
change and that is this, this new style I am
| | 08:44 | creating is going to have 2
characters big and the reason I am making this
| | 08:49 | style is I happen to know that there
are other instances were this kind of
| | 08:54 | thing crops up so I can
just click on the style name.
| | 08:57 | Okay, moving along I am just using the
scroll wheel on my mouse right there is
| | 09:06 | a Chapter number, a Chapter title,
and a body first. See how easy this is,
| | 09:22 | carrying along now it could be a bit
more scientific about finding my Chapters
| | 09:27 | I might want to use find and change
to do this but I happen to know roughly
| | 09:31 | where they are so this is just
as quick using my scroll wheel.
| | 09:35 | Okay, Chapter number, Chapter title
body first now, at least don't look exactly
| | 09:42 | the way I want them to look. I am not
that concern whether at this point what's
| | 09:46 | most important is that I have their
appropriate paragraphs tagged with the
| | 09:52 | appropriate styles, then I can always
go and just change the style definition
| | 09:57 | and my document will update accordingly.
| | Collapse this transcript |
| Editing and redefining Styles| 00:01 | Styles are always a work in progress
and updating or redefining your styles is easy.
| | 00:06 | I am in the styles_edit file, which is
in the Paragraph Styles folder, and here
| | 00:13 | we are looking at the document that we
were looking at before with the styles applied.
| | 00:18 | Now let's say I want to change the
way some of these styles look. Let's say
| | 00:24 | that I don't want to use red headlines
and subheads but rather I quite fancy
| | 00:29 | them being green, but rather they were
in this Myriad Pro font but something else instead.
| | 00:36 | So if I come to my Paragraph Styles
panel and I am going to edit Head 1, so I
| | 00:43 | am going to right-click or Ctrl-click
on Head 1 and come down to, first of all,
| | 00:50 | Character Color. I will change that
to Green. You should see the change
| | 00:55 | automatically take place because I
have my Preview checkbox checked, and then
| | 01:00 | I'll come to Basic Character Formats.
| | 01:03 | Now let me just point out that all of
the options that we have been looking at
| | 01:06 | up until this point they are all
encapsulated within the Paragraph Style
| | 01:11 | Options. We've got Basic Character
Formats for the Point Size and Leading,
| | 01:16 | Indents and Spacing. We've already
seen Drop Caps and Nested Styles, the
| | 01:21 | Justification, Hyphenation options,
Keep options, etcetera. So paragraph styles
| | 01:27 | is where they all come together.
| | 01:29 | Now what I want to do is I want to
change the font here. So let's see what do we have.
| | 01:35 | This may well look like a dog's dinner
but I am going to change that to Marker
| | 01:40 | Felt, and then click OK.
| | 01:44 | Now of course, we see that Head 1 has
changed because that was the style that I
| | 01:50 | was editing, so that was to be
expected, but if I move my Paragraph Styles
| | 01:55 | panel out of the way, we see also that
Head 2 has changed, and that is because
| | 02:03 | Head 2, if we go and take a look at
its definition is based upon Head 1. This
| | 02:11 | is a parent-child kind of relationship
where when you create one style based
| | 02:17 | upon another. If you then go and edit
the parent style, the child style will
| | 02:22 | also be affected, except for the exceptions
that you have made to the child's style.
| | 02:28 | Now in the case of the Head 2-Head 1
relationship, the only change that has
| | 02:33 | been made is that Head 2 is smaller
than Head 1. So I just hammer that point
| | 02:40 | hard, maybe belabor that point
a bit. I am going to come up back
| | 02:44 | to Head 1 and I am going to change its size.
| | 02:48 | Now let's just make a note of the size
if Head 2, currently 14 point. Now if I
| | 02:54 | edit this size of Head 1 and I will
make that 70 point. Click OK. Yes, that
| | 03:03 | changes but Head 2 does not because the
point size in this case is independent
| | 03:11 | for Head 2. Everything else is going to
be governed by what happens to Head 1,
| | 03:15 | but in this case we've made an
exception of the point size. So that's how the
| | 03:20 | parent-child, the Based On feature works
when defining and when editing your styles.
| | 03:29 | Now another way is to redefine your
styles. There I dove straight into the
| | 03:35 | Paragraph Style Options, and I kind
of had an idea of why I wanted, but
| | 03:39 | sometimes you may find yourself
actually working with the text itself, working
| | 03:44 | locally i.e. making a selection,
making some formats to it. Just kind of find
| | 03:49 | out what it is you are after. And
that's what I am going to do here.
| | 03:53 | So I am going to experiment a bit.
Let's come out to my Font menu, Apple+6, and
| | 04:00 | this time I am going to go for, yes,
it has to be Rosewood Standard, nothing
| | 04:05 | else will do, and so it turns out I
really like the way that looks, and that
| | 04:13 | was a joke, I don't really like the way
it looks, but it serves the purpose of
| | 04:21 | illustrating this point. Although
Rosewood is a fantastic font but just
| | 04:25 | obviously, very
inappropriately used in this context.
| | 04:29 | Okay, so what I have now when I look
at my Paragraph Styles panel is I have
| | 04:34 | Head 2+, and that plus symbol
indicates an Override. The Override is the
| | 04:41 | exception that I just made i.e.
changing the font to Rosewood Standard.
| | 04:46 | Now if I want to incorporate that
Override into the actual paragraph style
| | 04:52 | definition, then I do this. Because at
the moment only this particular Head 2
| | 04:58 | is affected, but if I want them all
to be affected, I come to my Paragraph
| | 05:01 | Styles panel, panel menu
and choose Redefine Style.
| | 05:06 | The Plus symbol goes away and then
this becomes the actual definition of Head
| | 05:12 | 2, and just to confirm that that has
happened, if I now scroll through my
| | 05:17 | document, there we see the other
Head 2s are also in Rosewood Standard.
| | 05:22 | So that's editing style and redefining
a style. A subtle difference between the
| | 05:27 | two there's no right way or wrong way,
just whatever way it works best for you.
| | Collapse this transcript |
| Using Parent and Child Styles| 00:00 | The way you select your styles will
usually reflect the hierarchy inherent in
| | 00:04 | your document. You may have first
level heads, second level heads, subheads
| | 00:09 | etcetera where each lower level of
hierarchy is derived from the level above,
| | 00:14 | that is Head 3 is like Head 2, only
smaller, and Head 2 is like Head 1, only
| | 00:20 | smaller. It's easy to establish this
parent-child relation with styles using
| | 00:26 | the Based On option.
| | 00:29 | I am in a document called basedon which
is in the Paragraph Styles folder, and
| | 00:32 | here we have a very simple
document with three levels of head, and I
| | 00:37 | style-created for each of those three
levels of head on my Paragraph Styles panel.
| | 00:41 | Let's just take a look at head2, which
we can see is based on head1, and head3,
| | 00:51 | which is based on head2. So that, when
I come to head1 and edit that whatever
| | 00:58 | change I make with the exception of it
being a change in size because that's
| | 01:02 | the one attribute that is independent
about head2 and head3. Let's say I will
| | 01:08 | change the fonts to Popular Standard,
it doesn't really matter what you choose
| | 01:14 | to something different. I won't choose
that one; I will choose Optima instead,
| | 01:20 | now we see they will change.
| | 01:23 | Now imagine that we were working with
hundreds of pages how effective that
| | 01:28 | change could be. Also potentially how
destructive that change could be. So just
| | 01:33 | make sure that when you are using that
Based On feature you are conscious of
| | 01:38 | doing so, and you are using it to
establish the hierarchy in your document.
| | 01:43 | Now one other thing I might mention is
that in CS3 we have this option here,
| | 01:48 | just a little bit of house-keeping with
our styles and since these three styles
| | 01:52 | are old kind of related to each other
we might make a new style group, which we
| | 02:01 | could call heads, and then I could
select all three of those styles and drag
| | 02:08 | them into the heads folder. And
that's just a way of keeping our Paragraph
| | 02:12 | Styles palette a little tidier because
when you get to work with more complex
| | 02:17 | documents it's not uncommon to have a
very long list of styles which can get a
| | 02:22 | bit unwieldy unless you use style
groups to keep your styles nice and tidy on
| | 02:27 | your Paragraph Styles panel.
| | Collapse this transcript |
| Organizing Styles| 00:00 | This movie is about organizing your
styles on the Paragraph Styles panel. When
| | 00:06 | you are working with complex documents
it's not uncommon to get style sheets
| | 00:10 | that are very long. So to keep things
nice and tidy we need to do a bit of
| | 00:15 | housekeeping.
| | 00:15 | Now, I am less concerned with the
content of this document and more for this
| | 00:21 | exercise with what's on my Paragraph
Styles panel, and in fact I am just going
| | 00:26 | to move my document off-screen so
that we can concentrate on my Paragraph
| | 00:32 | Styles panel, which I am
going to tear-off and expand.
| | 00:36 | Now, we have a few nice improvements
in CS3 that allow us to organize as
| | 00:42 | styles. Before I go into that though
let me just mention the importance of
| | 00:47 | naming your styles logically it's a
very obvious point, but don't call your
| | 00:51 | styles Bob and Steve and Fred, because
they are not really going to make any
| | 00:55 | sense to you down the line or anybody
else. So let's stick to standard naming
| | 01:02 | conventions head1, head2, etcetera.
Body, Body-No indent, Sidebar, Caption,
| | 01:09 | Pull Quote and all the rest of it.
| | 01:11 | So standard naming convention is so
that when you come back to a document that
| | 01:16 | you created a while ago or when you
hand-off a document to anybody else your
| | 01:21 | style sheet makes sense.
| | 01:24 | Something else we can do is drag the
styles up and down in a list of styles to
| | 01:29 | create logical groupings, and to do
that we need to grab them by this white
| | 01:33 | line separating one style from the next.
So if I wanted to group my body styles
| | 01:39 | together that's one way of doing it.
| | 01:42 | To clean things up I can come to my
Paragraph Styles panel menu and choose
| | 01:49 | Select All Unused and then click on my
Trash Can to get rid of those. Now, if
| | 01:56 | amongst the Unused is included
BasicParagraph you will have to de-select that
| | 02:03 | first you can delete those styles. So I
am going to de-select those styles and
| | 02:09 | with the styles that are remaining I
am going to further organize them by
| | 02:14 | clicking on this icon here to create a
style group. And I'll double-click on
| | 02:19 | that to name it, and I'll call this
body styles. And then into that style group
| | 02:28 | I am going to drag all of my related
body styles, and maybe I'll create another
| | 02:34 | style group called sidebar and captions,
and you can expand and contract these
| | 02:47 | folders by clicking on the triangle to
the left of the folder icon, so if I am
| | 02:51 | going to now select all my related
sidebar and caption styles and drag those
| | 03:00 | into that folder.
| | 03:02 | So some handy interface improvements
for allowing us to keep a clean, tidy
| | 03:08 | style sheet.
| | Collapse this transcript |
| Loading Styles from another document| 00:00 | Creating a style sheet is a big
investment in time. It's an investment that is
| | 00:05 | going to pay-off over the course of a
publication's lifespan. Let's say that
| | 00:09 | you are working on a monthly
publication. First time you do it you've got to
| | 00:13 | set up the styles, it's going to take
you quite a long time. Second time about
| | 00:16 | half as long, third time half as long
again. By the fourth time you can you do
| | 00:21 | it in your sleep and you can do it
quickly and efficiently because you've got a
| | 00:25 | working style sheet.
| | 00:26 | The good news about a style sheet or
just one piece of good news about style
| | 00:31 | sheets is that once you have a style
sheet created, I use the word 'style
| | 00:36 | sheet' there as a collective term for
a bunch of styles. You can load those
| | 00:42 | styles into another document.
| | 00:43 | I am in the document styles_load, which
is in the Paragraph Styles folder, and
| | 00:49 | this looks familiar. We are at the
beginning point here where no styles have
| | 00:53 | been applied, nor do we have any
styles on our Paragraph Styles panel. So how
| | 01:00 | do we get them without actually going
through the process of creating them?
| | 01:05 | Well, we have a finished version of
this document, which we can use to load the
| | 01:09 | styles from. So I am going to go to my
Paragraph Styles panel menu. Now I've
| | 01:15 | got two options here, Load Paragraph
Styles that will load only the paragraph
| | 01:20 | styles or if I want the character
styles as well and I do, I am going to choose
| | 01:26 | Load All Text Styles.
| | 01:29 | And then I navigate to the place where
I have the finished version of the file
| | 01:33 | and it's right there, styles, click
Open and then I see this, on the left-hand
| | 01:41 | side a list of all the styles in the
finished document, and here a list of the
| | 01:48 | styles in my current
document and there are none.
| | 01:52 | So I can either take the whole lot
and that's what I am going to do, but I
| | 01:56 | could if I wanted to just cherry pick
select styles from the incoming style
| | 02:02 | sheet, or if I had styles already
existing in this document and they had the
| | 02:08 | same names as the incoming styles I
would have to choose, what do I want to do?
| | 02:14 | Do I want the incoming style to
overwrite the existing style or do I want to
| | 02:20 | Auto-Rename that style, so I would
end up with two versions of body text?
| | 02:26 | That's not an issue here since I am
beginning with a blank paragraph style
| | 02:29 | sheet so I am just going to go ahead
and click OK, and then I get all of those
| | 02:35 | styles on my Paragraph Styles panel,
and I can just go ahead and apply them as
| | 02:41 | I need to.
| | 02:43 | Now, you may think, well, wait a minute,
I don't want every document to look
| | 02:47 | the same so I am sort of not going to
be re-purposing style sheets from other
| | 02:51 | documents. But the thing is most
documents have a very similar structure, it's
| | 02:56 | the structure that is more important
than the way things look. You can always
| | 03:00 | very quickly change the way things look
by editing the styles. So you may find
| | 03:05 | a big time-saver if you have
already taken the trouble to create a
| | 03:10 | well-crafted, well flow-out style
sheet in another document to load those
| | 03:15 | paragraph styles and character
styles into your new document.
| | Collapse this transcript |
| Importing Styles from Word| 00:00 | It's a common workflow for somebody to
create the text in Microsoft Word or a
| | 00:05 | word processing program and hand-off
this text to you to place in InDesign.
| | 00:11 | Potentially this can result in a lot
of duplicate work because you may be
| | 00:16 | stripping out there formatting
before you can reapply your own. But it's
| | 00:20 | possible to use the existing formatting
and have the styles set up in Word and
| | 00:27 | map those styles to the styles
that you have set up in InDesign.
| | 00:31 | I am in a document called
importwordstyles, which is in the Paragraph Styles
| | 00:36 | folder. This document appears to be
empty, but if I take a look on my Paragraph
| | 00:40 | Styles panel we'll see that I have
four paragraph styles and I also have two
| | 00:49 | character styles. Now to place my
text file I am going to use the keyboard
| | 00:53 | shortcut Command or Ctrl+D and the
option that I am referring to in this movie
| | 01:00 | is this one, Show Import Options.
| | 01:03 | First of all I am going to do this
without turning that option on so that we
| | 01:08 | can see what will happen without
taking advantage of style mapping.
| | 01:13 | So I am going to click on this document
catalogtext from the Text folder inside
| | 01:18 | the Exercise Files folder, Open, and I
want to auto-flow this so I am holding
| | 01:24 | down the Shift key, and that result is
not too bad, of course you don't know
| | 01:29 | what it is I am after, but this is
close but not quite there. And if I take a
| | 01:34 | look at my Paragraph Styles palette we
see that what's happened is I now have
| | 01:41 | some extra styles that have come in.
These styles that have the disc icon next
| | 01:46 | to them are styles that have
been imported from the Word file.
| | 01:50 | Now the problem is that the person
who set up the Word file used a similar
| | 01:54 | style naming convention to the one I am
using, but not quite the same. So they
| | 01:59 | are calling things Class Heading rather
than Class, body text 1 rather than body space.
| | 02:05 | What I want to be able to do is to
place this text file and have their Class
| | 02:09 | Heading mapped to my class, their body
text 1 mapped to my body space. So let's
| | 02:14 | try this again.
| | 02:15 | I am going to press Command or Ctrl+Z
to undo that, and I am going to do that
| | 02:20 | twice so that we remove those imported
styles from the Paragraph Styles panel.
| | 02:26 | So let's run that again, Command or Ctrl
+D, and same text file, but this time I
| | 02:35 | am going to turn on Show Import Options,
click Open, and let's just pause for a
| | 02:43 | moment here and take a look
at these different options.
| | 02:46 | Now before I was preserving the
styles and formatting in the Word document,
| | 02:53 | which is, why it came in partially
formatted. I could and sometimes it may be
| | 02:58 | beneficial to do this, I could strip
out all of the formatting in the Word
| | 03:02 | document. So if you are receiving a
file that is a complete mess then perhaps
| | 03:07 | you might want to do this and
just start with plain vanilla text.
| | 03:11 | I want to go more than preserve the
styles. I want to take the styles that are
| | 03:15 | in there and map them to the styles
that I have already created in my InDesign
| | 03:20 | document. So for that I am going to
click here Customize Style Import, and then
| | 03:26 | on this button Style Mapping.
| | 03:29 | Now we have a familiar looking dialog
box here because we kind of saw something
| | 03:35 | similar when we loaded the paragraph
styles from another InDesign document into
| | 03:41 | an existing InDesign document, similar
concept. We've got a list on the left
| | 03:46 | here of the incoming Word styles and
a list on the right of the existing
| | 03:51 | InDesign styles. I now need to
determine how I want to handle any style conflicts.
| | 03:59 | So I am now going to map these first
four Word styles to my InDesign body
| | 04:08 | style, which is going to be my catchall
tyle really for anything that's ambiguous.
| | 04:14 | So the incoming body text style in
Word is going to get mapped to body, Class
| | 04:24 | Heading is going to get mapped to Class,
body text 1 to body space, and now the
| | 04:30 | remaining three they already mapped
because the names are identical.
| | 04:34 | I can click OK.
| | 04:36 | One more thing I might want to consider
here is, if I am going to be receiving
| | 04:41 | text from the same source on a regular
basis, perhaps it's going to be worth my
| | 04:46 | while saving a preset here. If I
click on Save Preset I could -- let's call
| | 04:51 | that Bob. For no particular reason
let's assume that I am receiving my text
| | 04:58 | from Bob, I'll click OK and thereafter
I can just choose this Preset from the
| | 05:06 | Preset menu, so that's going
to do the style mapping for me.
| | 05:10 | So now I am going to click OK to place
that text, hold down the Shift key and
| | 05:17 | auto-flow the text and this time we
see that the text takes on the correct
| | 05:22 | formatting, and a good
part of my work is now done.
| | 05:28 | Now, admittedly this is something of a
perfect world scenario because it relies
| | 05:32 | upon somebody else. It relies upon
somebody else that person creating the files
| | 05:36 | in Word using styles in a
consistent and logical way.
| | 05:40 | Word implement styles in a very
similar way to InDesign, so if you can
| | 05:45 | establish a strong line of
communication with the person creating your Word
| | 05:50 | documents then you can save
yourself an awful lot of repetitive work.
| | Collapse this transcript |
| Applying Styles with the Eye Dropper| 00:00 | Another way to apply your styles is
to use the Eyedropper tool. I am in the
| | 00:06 | file called eyedropper in the
Paragraph Styles folder, and if I want to copy
| | 00:10 | the formats from one paragraph to
another, I select the paragraph that I want
| | 00:15 | to copy the formats to, choose my
Eyedropper tool and then click on the
| | 00:21 | paragraph that I want to copy the formats from.
| | 00:24 | If I take a look at my Paragraph
Styles panel, we see that, not only had it
| | 00:30 | taken on the formats, it's also taken
on the paragraph style, meaning that if I
| | 00:35 | now go and edit that paragraph style,
and let's maybe change its color, then
| | 00:40 | they are both going to change.
Something to bear in mind is that you can set
| | 00:47 | the Eyedropper Options by double-
clicking on the tool to determine exactly what
| | 00:53 | gets copied, and we see in Paragraph
Settings that I am actually copying the
| | 00:59 | paragraph style rather
than just the local formats.
| | 01:04 | So this can be a very quick, efficient
way of applying styles, especially when
| | 01:10 | you are working with small bodies of text.
| | Collapse this transcript |
| Removing manual overrides| 00:00 | Once a style has been set up, if you or
anyone else then goes into the text or
| | 00:05 | makes changes to it, those changes
are considered to be overrides. Now
| | 00:09 | sometimes these changes are necessary,
but sometimes they can cause confusion.
| | 00:13 | Let's see how we can remove
those overrides, if necessary.
| | 00:18 | I am in a document called remove_
overrides and down here we have the base
| | 00:23 | paragraph. This is the normal style
definition for the paragraph style that I
| | 00:28 | have called body text. It's Caslon,
14 point, no first-line indent and
| | 00:35 | black in color. And up here, I have
the same paragraph with various different
| | 00:41 | categories of override applied to it.
Here we have an indent applied; this is
| | 00:47 | considered a paragraph override. Here
we have some color styling, and here we
| | 00:53 | have character styles
applied to these three words.
| | 00:56 | Now, character styles are not actually
considered to be overrides as such, but
| | 01:01 | we can strip them out of a
paragraph, should we need to.
| | 01:04 | Now let's just be clear why I am
talking about by local overrides. I mean,
| | 01:10 | rather than editing the style definition,
you are working on the paragraph and
| | 01:14 | you are making a change right
here on your Control palette.
| | 01:20 | So now I am going to go to my Layers
palette and I am going to turn-off Layer
| | 01:24 | 2, so we get rid of those annotations,
and here I have a list of the various
| | 01:29 | different shortcuts that we can use
to strip out different categories of override.
| | 01:35 | I am going to go to my Paragraph Styles
panel, which seems to have disappeared,
| | 01:41 | and it's disappeared, so I am going to
choose it from the Type menu > Paragraph
| | 01:47 | Styles, then I am going to move that
down, and I see that when I click in this
| | 01:53 | paragraph, I get a plus symbol next
to the paragraph style name. This plus
| | 01:58 | symbol indicates an override, if you
want to know exactly, what the override
| | 02:02 | is, then hover over the plus symbol
and your tooltip will tell you, in this
| | 02:09 | case the override is that
14 point first-line indent.
| | 02:15 | Firstly, if I want to get rid of
all of my local formats but retain my
| | 02:21 | character styling, I hold down my
Option key or my Alt key and I click on the
| | 02:27 | paragraph style.
| | 02:28 | Okay, you see that retains the
character styling. I am now going to undo that.
| | 02:34 | If I want to get rid of my local
formatting, plus my character styling, I hold
| | 02:39 | down my Option or Alt key and my Shift
key, and click on the paragraph style.
| | 02:46 | That gets rid of everything, setting
the paragraph back to the normal for that
| | 02:50 | style definition. I am going to undo that.
| | 02:54 | There are two other keyboard shortcuts,
which are admittedly a bit esoteric,
| | 02:59 | but let's take a look at them anyway,
and for these, we need to use the Clear
| | 03:05 | Overrides button.
| | 03:07 | Now if I Command-click on the Clear
Overrides button, I get rid of only the
| | 03:14 | character overrides, removing the
color from that word, but retaining the
| | 03:20 | first-line indent. I will undo that and
now, if I Command or Ctrl+Shift-click,
| | 03:29 | I get rid of only the paragraph level formats.
| | 03:32 | So four different ways of removing
overrides from your text; I am returning it
| | 03:37 | to its neutral state.
| | Collapse this transcript |
| Using Paragraph Rules creatively| 00:00 | A particularly cool thing that you
can do with paragraph styles is apply
| | 00:04 | paragraph rules to your text, either
above the paragraph or below the paragraph
| | 00:09 | or have the rule function as a
box out of which the text reverses.
| | 00:16 | In the document Paragraph_rules, in the
Paragraph Styles folder, we see various
| | 00:21 | different approaches to paragraph rules.
| | 00:25 | Now I am going to begin by applying a
simple rule above some text. So I am
| | 00:30 | going to come to this text here, and
select it, and I am going to switch to my
| | 00:39 | Character Formats on the Control panel,
Command+Option+7 or Ctrl+Alt+7, Apple
| | 00:47 | or Ctrl+6, and I am going to change
that to Myriad Pro, Bold and I am going to
| | 00:56 | make it Uppercase. I tend to find that
at least when reversing out of a rule,
| | 01:03 | uppercase tends to work better
because the rule looks vertically centered
| | 01:07 | within the rule, not having any
descenders or ascenders. So that is Command or
| | 01:12 | Ctrl+Shift+K, and I will also just
give it a little bit of positive tracking.
| | 01:19 | Okay, we are ready to go with the rule.
| | 01:21 | Now my paragraph rules are right here,
or keyboard shortcut Command+Option+J,
| | 01:27 | Ctrl+Alt+J. And I am going to turn on
Rule Above. I've got my Preview checkbox
| | 01:42 | checked, and we can see that I start
off with a rule that is at the baseline of
| | 01:48 | the type, that's the starting point.
And to move that rule up, I need to affect the offset.
| | 01:56 | Now this is a certain matter of trial
and error involved when using the offset
| | 02:00 | I find, but starting out with a type
size of 12 points, I think that I want to
| | 02:09 | shift my rule up by 12 points. So
put that in, press Tab and that's about
| | 02:16 | right. I will just Click OK
and see what we have there.
| | 02:19 | So there's my simple rule above. I am
now going to return to my paragraph rules
| | 02:25 | and I could alternatively make that the
width of the text rather than the width
| | 02:32 | of the column.
| | 02:33 | What we want to see now how we can make
our type reverse out of the rule as in
| | 02:39 | some of the examples below. So for
this, I am going to need a heavy rule of
| | 02:48 | let's say 12 points. Now what I didn't
do was I didn't make my type white, so
| | 02:54 | there is going to be a point on which I
am not going to see my text, but then I
| | 02:57 | will come back and change the
color of my text after I set the rule.
| | 03:01 | So 12 points, I am going to uncheck
my Preview and check it again, and that
| | 03:06 | offset is now too much. So I am going
to make this now -2 points, and I think
| | 03:14 | that will make my rule sit
exactly on top of my type.
| | 03:19 | Now when I click OK, I can select my
type and change its color. Now when I did
| | 03:30 | that, my rule disappeared and that's
because I wasn't paying close enough
| | 03:35 | attention and my rule was actually set
to be the text color which was fine when
| | 03:40 | my text was Black, but when I change
my text to White, my rule disappears.
| | 03:45 | So I am going to return to my
paragraph rules and specify that the rule be in
| | 03:50 | this case Black, and now we can see the
rule sitting on top of the type or the
| | 03:58 | type reversing out of the rule.
| | 04:01 | Now a couple of other options I'd like
to draw your attention to. I am going to
| | 04:08 | switch to my Selection tool and then
press the W key so that we can see my text
| | 04:13 | frame and my guides, and the reason I
am doing that is I want to point out a
| | 04:20 | new option in CS3, it's a relatively
minor thing, but quite a useful one, and
| | 04:25 | that is the ability to constrain the
position of the rule to be within the box,
| | 04:32 | to keep it in the box.
| | 04:34 | I will return to my paragraph rules,
Command or Ctrl+Option+J. If I check this
| | 04:42 | one Keep in Frame, you will see that my
rule shifts down ever so slightly, and
| | 04:49 | begins at the top of the text frame.
All right, now, some more options we might
| | 04:53 | want to explore.
| | 04:56 | If you are thinking that my text looks
a little bit tight, either side of that
| | 05:00 | rule, I agree with you and how we can
fix that is by changing the amount of
| | 05:07 | left indent. So I am going to make a
negative left indent amount, and this
| | 05:11 | indent applies only to my rule. So now
when I press my Tab key, you'll see my
| | 05:16 | rule pops out -2 points to the left
and I will do the same on the right, and
| | 05:25 | then press the Tab key. So it got a
little bit of padding now around our rule,
| | 05:31 | but wait a minute, don't we want our
rule to be constrained within the bounds
| | 05:36 | of our frame? If we do, then
that's another option we need to change.
| | 05:41 | I am going to click OK there to accept
that rule, and now I am going to go to
| | 05:45 | my Paragraph Formats, and if I indent
on the left by the same amount that I
| | 05:52 | negative indented the rule i.e. 2
points, you'll see that that moves the rule
| | 05:58 | back into the frame.
| | 06:01 | Now that may have seen like an awful
lot of trouble to create a rule, but the
| | 06:05 | beauty of this is, that now I have
invested the time in creating that rule, I
| | 06:11 | can save that as a new paragraph
style and I will call it simple rule, I am
| | 06:19 | applying style to the selection so
that text is automatically in that style.
| | 06:25 | And now if I want another rule
applied elsewhere, it's just a question of
| | 06:31 | clicking on the paragraph,
click on the paragraph style.
| | 06:35 | Let's take a look at how I created
some of these different paragraph rule
| | 06:45 | styles, and let's begin with this
one Rule Above and Below. Here we have
| | 06:50 | 1-point Rule Below, which is actually
shifted above the Rule Above, which is
| | 06:56 | the 12-point rule out of which the
text is reversing, and I have done it this
| | 07:01 | way because InDesign places the Rule
Below on top of the Rule Above. I don't
| | 07:07 | know why, but it does and that's how we do it.
| | 07:11 | Let's just take a look at the spec on
that one. Paragraph rules. So that we see
| | 07:18 | the Rule Below is 1 point and that is
the Column Width, and then the Rule Above
| | 07:25 | 12 points, and that is the Text Width.
And again, I've got that negative indent
| | 07:32 | on the left and the right, just to give
a little bit of padding either side of
| | 07:36 | the text so that the text
doesn't feel constrained by the rule.
| | 07:40 | Incidentally, I just want to mention
again the point I made earlier on in this
| | 07:43 | movie that using all caps when
reversing out of the paragraph rule tends to
| | 07:50 | work better because there are no
descenders or ascenders to the text which can
| | 07:56 | make the text appear to be not
vertically centered within the rule.
| | 08:04 | Click OK to that. Again, another
combination of Rule Above and Below, but I
| | 08:11 | want to go now to this one, which is
personal favorite I guess, the rounded
| | 08:16 | rule, and we will have a
look at how that one is created.
| | 08:21 | Again, it's a combination of two rules.
If I open my Paragraph Rules Options,
| | 08:28 | the Rule Above is your standard rule,
but the Rule Below is a dotted rule. So
| | 08:35 | if I turn off the Rule Above and we
see just the Rule Below by itself, we can
| | 08:41 | see that we have just a series of dots,
super-imposed on our text, but it is
| | 08:46 | the Rule Above sitting on top of that
and exactly sized and positioned so that
| | 08:53 | it registers perfectly with the dotted
rule that creates this rounded rectangle effect.
| | 09:02 | One more point I'd like to make about
paragraph rules is they do have certain
| | 09:06 | limitations.
| | 09:06 | I am going to zoom into the top of
column two. The yellow highlighting that has
| | 09:14 | been applied here, this can't be done
with a paragraph rule. This is done with
| | 09:18 | a character style.
| | 09:20 | Also, paragraph rules are no good
when your subheads -- if you are applying
| | 09:25 | them to subheads run to more than one
line. So if I were to type in some more
| | 09:34 | text there so that we make this go to
two lines, then we see that the whole
| | 09:41 | thing falls apart. So they are great
when you are working with subheads or
| | 09:46 | heads that are only a single line long.
But the great advantage of paragraph
| | 09:51 | rules as I mentioned early on
was that they move with the text.
| | Collapse this transcript |
|
|
15. Character StylesCreating and applying Character Styles| 00:00 | As we saw in the chapter on paragraph
styles, paragraph styles apply to the
| | 00:05 | whole paragraph as the name will
suggest. If we need to give emphasis to a
| | 00:09 | specific range of text within a
paragraph, then we need a character style. I am
| | 00:14 | in a document called characterstyles1
in the Character Styles folder and here I
| | 00:18 | have dummied up a film calendar listing.
And if I open up my Paragraph Styles
| | 00:23 | panel, we can see that I have got
styles for Date, Title and Body Text.
| | 00:30 | Now if I wanted to call out the movie
names that are within the paragraph,
| | 00:36 | making a paragraph style is not going
to do it for me because that's going to
| | 00:39 | change the formatting of the whole
paragraph, so instead, what I need is a
| | 00:43 | character style.
| | 00:44 | Just as with paragraph styles, probably,
the easiest way to do this is to do
| | 00:49 | one first locally or i.e. coming up
to your character formats and making it
| | 00:55 | look the way you want it to look, and
then saving a character style based upon
| | 00:59 | that. And that's what I am going to do
here. I am going to put this into Italic
| | 01:05 | and come to my Character Styles panel,
which is this one, and choose New
| | 01:11 | Character Style, and I am going to
call that Italic, and I will make sure I
| | 01:17 | have this one checked, Apply Style to
Selection so that this automatically
| | 01:21 | becomes formatted officially with the
character style definition. Click OK, and
| | 01:26 | now to reapply that I just select
the others, right there, and there.
| | 01:35 | Now why do it this way rather than
just choosing Italic from the Character
| | 01:40 | Formats palette? Well, it's a lot
quicker this way, and once you've got it set
| | 01:44 | up, you then have full control
over how you give emphasis within your
| | 01:50 | paragraphs. So if I now decide that
I don't want to use italicizing for
| | 01:54 | emphasis but rather I want to make my
film title stand out with Bold, then I
| | 02:00 | can come and edit this character style,
just by right-clicking on it. I suppose
| | 02:05 | it won't be a bad idea if I change the
name in this context, and then come to
| | 02:10 | my Basic Character Formats and I am
going to change the Font Style from Italic
| | 02:17 | to Bold, and then, we see that
everywhere that the character style was applied
| | 02:22 | the text is updated.
| | Collapse this transcript |
| Understanding “relative” Character Styles| 00:00 | Here's a movie about how character
styles relate to paragraph styles. I am in a
| | 00:05 | document called characterstyles in
the Character Styles folder and we have
| | 00:09 | various film titles emphasized with the
italic character style. Now this italic
| | 00:15 | character style is relative to the
Body paragraph style that it is a part of.
| | 00:21 | Let's take a look at the Italic
character style definition, and we see that the
| | 00:26 | only format described is the Font Style;
everything else is inherited from the
| | 00:31 | paragraph style. And the good thing
about that is that should I decide to edit
| | 00:36 | the paragraph style, which in this case
is called Body. You will see that it's
| | 00:40 | currently Minion Pro, and I am gong to
change that to Chaparral Pro, and I am
| | 00:50 | going to make it 10 point, then click OK.
| | 00:53 | You will see that the Italic character
style is now Chaparral Pro, Italic and
| | 00:59 | it's also 10 points, so it's inherited
those two formatting changes from the
| | 01:05 | paragraph style.
| | 01:06 | All well and good, but this does have
some limitations. If I decide I want to
| | 01:12 | edit the Info paragraph style and I am
going to change this from Myriad Pro to
| | 01:23 | Myriad Pro Bold, and then click OK.
You will see that because the Italic
| | 01:32 | character style is Italic and not
Bold Italic, then the italic character
| | 01:38 | styling in this paragraph remains as
just Regular Italic and consequently looks
| | 01:44 | too light in the context of this paragraph.
| | 01:47 | So in a situation like this, I would
need to create another character style. So
| | 01:53 | I am going to select one of those and
make that into Bold Italic, and then I am
| | 02:01 | going to create a new character style
based on that called Bold Italic, and if
| | 02:09 | we look in the Basic Character Formats,
that value is there. And now I would
| | 02:14 | need to just apply that new character
style where appropriate within my Info paragraph.
| | 02:24 | So the point here being that character
styles are relative to their paragraph
| | 02:29 | styles but only up to a point, only so
far as they use exactly the same Font
| | 02:36 | Style as that paragraph style.
| | Collapse this transcript |
| Using Find/Change to convert local formatting to Character Styles| 00:00 | If you have text that has a lot of
local formatting in it, you can use
| | 00:03 | Find/Change to convert that local
formatting to a character style giving you
| | 00:08 | much more stylistic control.
| | 00:10 | I am in a document called
characterstyles_findchange in the Character Styles
| | 00:13 | folder. This movie listing has the
movie titles emphasized with underlining.
| | 00:20 | This is local formatting that we want
to convert to an italic character style,
| | 00:24 | which I have here set up on my
Character Styles panel. And I am going to come
| | 00:31 | to my Edit menu and choose Find/Change.
I am going to clear any previous values
| | 00:36 | that are in the Find Format and Change
Format. The Find what: and Change to: if
| | 00:43 | I were looking for text strings and
changing to other text strings I am going
| | 00:47 | to leave both of those blank.
| | 00:49 | Find Format, what I am looking for is
anything with an underline. Now what I
| | 00:57 | want to change it to is my Italic
character style, and I want to do one other
| | 01:04 | thing, because rather than just
adding my Italic character style to the
| | 01:08 | underline, in addition to making italic,
I want to remove the underline local
| | 01:14 | formatting. So I am going to check that
box twice to make sure that it's empty,
| | 01:21 | click OK, just check my Search
Parameter, I am looking within my whole
| | 01:26 | document, and now, I am going to
lift dangerously and Change All. 6
| | 01:33 | replacements, click OK, and hopefully
everything that was formally underlined
| | 01:39 | is now italicized, but perhaps, even
more important than that, everything that
| | 01:44 | was locally formatted is now character-
styled. Meaning that if I want to come
| | 01:50 | and edit my character style, I can
very easily do that and have it apply
| | 01:57 | throughout my document wherever that
italicizing occurs, and let's say I want
| | 02:02 | all of my italicizing to be in red,
click OK and then we see all of my
| | 02:09 | italicizing now in red.
| | 02:10 | So local formatting converted to
character styling gives you more control.
| | Collapse this transcript |
|
|
16. Nested and Sequential StylesCreating a run-in head| 00:00 | So we have seen paragraph styles, we
have seen character styles, now let's put
| | 00:04 | the two together to work with nested styles.
| | 00:08 | Nested styles are an absolutely
fantastic feature in InDesign and can really
| | 00:13 | automate your text formatting. They
allow you the capability to take a
| | 00:19 | character style or multiple character
styles and nest them within a paragraph
| | 00:25 | style so that you can apply multiple
formats with a single click. And you can
| | 00:30 | see what I mean, if I select all of
this text on the right-hand side, go to my
| | 00:35 | Paragraph Styles panel and
click on the body_runin style.
| | 00:39 | So not only do we get the paragraph
style applied, we also get the character
| | 00:43 | style, which is in this case, the run-in head.
| | 00:46 | Let's see how this is created. So I am
going to undo that to return this text
| | 00:51 | to its real state, and I am going to
run through the creation of this nested style.
| | 00:57 | So first of all, I need to create my
paragraph style. I am going to click in
| | 01:02 | this paragraph four times Command or
Ctrl+6 to get to my Font menu and I am
| | 01:09 | going to use Chaparral Pro, 10 point
on 12 point leading; I am replacing the
| | 01:17 | auto leading 12 with real 12 points
and that's about as far as I need to go
| | 01:22 | there. So I think I will now save that
as a new paragraph style, and I am going
| | 01:29 | to call this body. Apply
Style to Selection, click OK.
| | 01:35 | I now need to create a character style,
so I am going to select the range of
| | 01:39 | texts that I want the character
styling applied to, and I am going to use the
| | 01:44 | keyboard shortcut for Bold, Apple or
Ctrl+Shift+B, come to my Swatches panel,
| | 01:51 | make that red. Actually, I want
to change the Font as well, so
| | 01:57 | Apple+Alt+Ctrl+6; I want this to be Myriad Pro.
| | 02:01 | Okay, I am now going to create a
character style based upon that. Character
| | 02:07 | Styles panel, New Character Style, I
will call this bold. Apply Style to
| | 02:15 | Selection, actually not relevant in
this instance because I am about to
| | 02:18 | automate this whole process.
| | 02:20 | Click OK, so I've got my paragraph
style, I've got my character style, I now
| | 02:24 | need to put the two together, return to
my Paragraph Styles panel and I want to
| | 02:30 | edit the Body paragraph styles. I am
going to right-click on that and then come
| | 02:35 | down to Drop Caps and Nested Styles.
New Nested Style, so I am going to click
| | 02:43 | on this button and I can now,
choose from the character styles I have
| | 02:47 | available. That is the one that was
already in this document, and the one I
| | 02:51 | just created, that's the
one I want, I want bold.
| | 02:54 | So we are turning on this bold
character style. We need a Delimiter to turn it
| | 03:00 | off, and in this case, that Delimiter
is a colon because all of our run-in
| | 03:05 | heads end with a colon. So bold,
through, 1 -- I am going to just type-in a
| | 03:12 | colon right there and then click OK,
and now to apply that style to these
| | 03:19 | other two paragraphs and also to that
one as well, click on the Body Style and
| | 03:28 | that does it.
| | 03:29 | Now, if I missed something and I did,
I need some space before that, so I'll
| | 03:33 | edit that, indent some spacing, and
let's have 6 points of space before.
| | 03:41 | Now one other point is that when you
are creating a run-in head like this, that
| | 03:46 | mixes two different fonts, try to make
sure that the x heights of those fonts
| | 03:52 | are relatively, evenly matched.
| | 03:55 | If I drove myself a guide at the x
height of the Myriad run-in head, we can see
| | 04:01 | that, that is quite a lot higher than
the body text which follows. So actually
| | 04:06 | what I am going to do now is I am going
to come and edit that character style,
| | 04:12 | right-click on it, Basic Character Formats.
| | 04:16 | Now the character style is relative to
the paragraph style, so the only thing
| | 04:21 | about it that's different is the
Font and the Font Style. The size has
| | 04:26 | inherited from the paragraph style, but
I am going to knock it down 1 point in
| | 04:31 | size to 9 points, and now you'll see
that the x heights of the run-in head and
| | 04:37 | the body text which
follows are more evenly matched.
| | 04:41 | Okay, next, we are going to look at
creating a slightly more complex nested
| | 04:47 | style working with a Contents page.
| | Collapse this transcript |
| Creating a Contents page| 00:00 | I am in the document nested_contents
in the Nested and Sequential Styles
| | 00:06 | folder. A commonly used approach to
contents pages is to have the page number
| | 00:11 | in a different color and to call
out the cover stories or features in a
| | 00:16 | different style. And that's what we
have here in the example on the left and
| | 00:21 | these have been created using nested
styles. So they can easily be applied to
| | 00:27 | the next month's contents
page with just a few clicks.
| | 00:31 | Let's see first of all how easier is
to apply these. I am going to select all
| | 00:35 | of these and I have my finished styles
in a style group called Finished. And I
| | 00:41 | am going to click on the paragraph
style contents, to apply that style and then
| | 00:48 | I'll need to come to the Cover Story
paragraphs, and that's a separate style.
| | 00:54 | I'll need to click on those
individually and I am done.
| | 00:58 | So let's see how we kind of create
that from scratch. I am going to press
| | 01:03 | Command or Ctrl+Z a few times to get
back to my starting point. And again, I
| | 01:11 | need to start off with my paragraph
style. So I am going to select that
| | 01:17 | paragraph and I am going to quickly
format this. I am going to get Myriad Pro,
| | 01:23 | Regular, 10 points, 12 point leading,
and let's have some space above. Since I
| | 01:33 | have a tab, now I need to create hanging
indent, so that we can see my hidden characters.
| | 01:40 | I am going to come down here and
change to my Normal View mode, and I want to
| | 01:48 | indent everything by -- let's try, 1p6
points and then a negative indent of the
| | 01:55 | same amount 1p6 points or 18 points if
you are looking in points. Right, that's
| | 02:03 | how I want my paragraph style to look.
| | 02:05 | So I am now going to save that, New
Paragraph Style, and I'll call this
| | 02:13 | Contents. And I can call it that
because it's not going to conflict with the
| | 02:18 | existing style, which is
in a separate style group.
| | 02:23 | I am now going to create my character
styles. So I'll select the number, Apple
| | 02:28 | or Ctrl+Shift+B to make it bold and
I'll change the color and then I will
| | 02:38 | create a character style based upon
that which I will call number. Before I go
| | 02:44 | any further, I think I will create my
first nested style. So I'll go back to my
| | 02:49 | paragraph styles. Edit my contents
paragraphs style. Drop Caps and Nested
| | 02:56 | Styles. So I want a new nested style,
and I want that one to be number not the
| | 03:04 | one that's in the style group, but
the one I just created through one word.
| | 03:09 | That's going to turn off when it sees
a space, and there's a space after the
| | 03:12 | number. And that should be all I need.
| | 03:17 | So I can now select all of that, not
including the head and click on Contents.
| | 03:24 | Okay, so far so good, but we now need
another paragraph style that has this
| | 03:31 | highlighting character style applied
to it. So I need to create that first of
| | 03:35 | all. It's getting a bit bigger, and I
am going to highlight that and I am going
| | 03:42 | to change the font to Bold Condensed,
and I want to underline this, and then I
| | 03:50 | am going to my Underline Options,
where I am going to choose a color for the
| | 03:57 | underline. I am going to make that
Black. Now, I need to differentiate this
| | 04:02 | from the text, so I can't leave it as
Text Color, and I'll make it 40% tint,
| | 04:10 | and let's turn on my Preview, so I can
see what's happening. So we can see that
| | 04:14 | I've just got a very thin role at the
moment, and I want to shift that up, so I
| | 04:18 | need to change the Weight and the Offset.
| | 04:21 | I am going to estimate that the Weight
is going to be 10 points. All right, and
| | 04:29 | now the Offset, I am going to estimate
and this is just from having done a few
| | 04:34 | times. This is a matter of try in
there, involved here. But, I want this to
| | 04:37 | shift up, so I am going to put a
negative offset, and that's a bit too much. So
| | 04:44 | I'll reduce that, reduce it a little bit more.
Thank goodness for the Preview checkbox.
| | 04:57 | Right, so that is how I want my
highlighting style to be. I will click OK, and
| | 05:05 | then I'll come to my Character Styles
dialog box, New Character Style, and I'll
| | 05:12 | call this Highlight, I forgot to turn
the text weight. So that's okay, I am
| | 05:20 | just going to come and edit the
highlight style that I have already created,
| | 05:24 | right-click on it and come to
Character Color where I'll make the character
| | 05:29 | color paper.
| | 05:30 | All right, now I need to return to my
paragraph styles and edit my contents
| | 05:37 | paragraph style or rather not my
contents paragraph style, because I want to
| | 05:42 | duplicate my contents. Now, I'll call
this Contents Cover Story, and I want to
| | 05:48 | make sure that this is based on my
contents, the one we have already created.
| | 05:52 | So it's currently exactly the same as that.
| | 05:55 | When I go to Drop Caps and Nested
Styles, we see the number already there.
| | 06:00 | After the number, I am now going to add
another nested style which is going to
| | 06:04 | be my highlight, and that is going to
be through two words. So just so long as
| | 06:13 | I can be assured that my highlight is
always going to apply to two words and
| | 06:18 | the convention for this magazine is
to use the words cover story, so it's
| | 06:22 | always going to be two words. I can
click OK, and now I can apply that
| | 06:32 | paragraph style right
there and wherever appropriate.
| | 06:36 | Couple of problems, we can see that
when we zoom in. The problem here is that
| | 06:42 | the highlight has also included the
trailing space and we don't want that. So I
| | 06:48 | am going to need to go and modify my
paragraph style. Drop Caps and Nested
| | 06:53 | Styles and rather than this nested
style going Through 2 Words, I want it to go
| | 07:00 | Up To 2 Words, and if I turn on my
Preview, turn it off and turn it back on
| | 07:07 | again, we can see that, that fixes the problem.
| | 07:10 | Now, you maybe thinking that, that
underline around the type looks rather
| | 07:15 | tight, and I'd agree with you.
Unfortunately, I don't know if anyway where you
| | 07:22 | can extend the highlights of the
underline beyond the bounds of the text except
| | 07:29 | to do this which unfortunately is a
rather manual process kind of undermining
| | 07:34 | the how alternation nature of this,
and that's to insert a thin space either
| | 07:39 | side of this and make sure that, that
thin space also gets the right character
| | 07:46 | style, so the keyboard shortcut for a
thin space is Command+Option+Shift+M or
| | 07:51 | Ctrl+Alt+Shift+M. I am going to add
that there and then I want to do that, that
| | 07:58 | doesn't actually take on the
characters style, so I am going to select it and
| | 08:05 | do that. So it gives a little bit
padding either side of the text.
| | 08:09 | Unfortunately, that does go against
the grain of this whole automation groove
| | 08:13 | that we were in. But with that minor
caveat, I am sure you'll agree that nested
| | 08:17 | styles can really speed up your formatting.
| | Collapse this transcript |
| Creating complex Nested Styles| 00:00 | Okay, it's time to geek out and create
some complex nested styles. I am in the
| | 00:05 | document called nested_list, which
is in the Nested and Sequential Styles
| | 00:08 | folder. On the left hand side, I have
my list. Each paragraph in that list
| | 00:13 | contains four formatting attributes.
We have the number in red, then we have
| | 00:20 | the title in bold, we have the
description in Regular and the running time in
| | 00:23 | Red Italic. And we want to be able to
apply all four of those attributes with a
| | 00:29 | single click. I am going to select all
of this text on the right hand side. I
| | 00:33 | come over to my Paragraph Styles
panel and click on that Finished paragraph
| | 00:39 | style, and one-click does it all.
| | 00:42 | So now we want to see how we create that.
I am going to undo that, set it back
| | 00:47 | to its raw state. And I am going
to begin by selecting that paragraph,
| | 00:54 | switching to my Character Formats and
choosing my font point size. I am going
| | 01:04 | to put a space before, and I will now
create a paragraph style based upon that
| | 01:12 | which I will call New List, just so it
don't get confused with the one that we
| | 01:18 | already have, and then click OK.
| | 01:21 | New List, it's going to be a number list.
So I need to create a character style
| | 01:27 | that the numbers can use. I am going to
deselect all my text and just go to my
| | 01:33 | Character Styles panel, where I
will create a new character style.
| | 01:39 | Now, up until now, I have been
creating my character styles by selecting the
| | 01:45 | text and then going to new character
style and placing my new character styles
| | 01:49 | on the selection. Here, I am just
going to go directly to creating the new
| | 01:55 | character styles without actually
seeing what they are going to look like until
| | 01:59 | I get to apply them, but I know what I
want. So this is a slightly quick way of
| | 02:03 | doing things.
| | 02:04 | So my number first of all is going to
be Red and it's going to be bold. So I'll
| | 02:16 | click OK to that. And now, I'll create
another new character style, which I am
| | 02:22 | going to call Title, and this is
going to be Bold, and it's going to be all
| | 02:33 | caps, click OK to that. And now from
my Time character style, and this one is
| | 02:44 | going to be Italic, and
it's going to be red as well.
| | 02:50 | All right, I now have all the components.
I just need to put them together. So
| | 02:57 | coming back to my paragraph styles,
and I am going to edit new list.
| | 03:04 | First of all, before we even get into
the nested styles proper, let's add the
| | 03:09 | numbering. So bullets and numbering,
I want a numbers list, and I want my
| | 03:16 | number list to use my number character
style, and I do not want a period after
| | 03:29 | the number. And I need to come down
now and sort out the tab position. So I
| | 03:35 | want to indent on the left by 1p6 points,
and a negative indent of same amount
| | 03:43 | 1p6 points and my tab position will
then be fixed at 1p6 points. It's that one
| | 03:51 | I want that looks a little bit too big
and I think I want both to be just 1p0,
| | 03:56 | that's more like it.
| | 03:59 | Okay, then I am going to come to my
Drop Caps and Nested Styles dialog box, and
| | 04:03 | let me try and move this box out of
the way, so that we can see things happen
| | 04:10 | as I make the changes, I have my
Preview checkbox Checked. All right, New
| | 04:15 | Nested Style, first of all I want
the title, Nested Style through 1.
| | 04:26 | Now, here's where we are running to
a bit of a problem, because all of my
| | 04:32 | titles are going to be a different
number of words, the specified number of
| | 04:35 | words or characters that I can
identify that will turn off this character
| | 04:40 | style. So actually insert it into that
text is an En space. Right there, that
| | 04:48 | is an En Space. So I am going to
choose through 1 En Space, and turn off my
| | 05:00 | preview, turn it back on
again, works beautifully.
| | 05:04 | Now, I want to come to the end of the
paragraph and just have the number appear
| | 05:10 | in red. So what I want to do now is
revert to the normal for the paragraph
| | 05:16 | style. But, how do I try to turn the
number on at this point? New Nested Style,
| | 05:23 | and I am going to have None through
1 Sentence. Now admittedly, this is a
| | 05:33 | little bit cumbersome because if you
want it to turn off after two sentences or
| | 05:37 | if you have some kind of abbreviation
in your sentence that uses a period,
| | 05:41 | InDesign is going to be very easily trip top.
| | 05:45 | What you can do in such instances is
you can kind of play it a bit fast and
| | 05:51 | loose and put in multiple delimiters
into this field. So I could put in a
| | 05:55 | period or some other punctuation that
may end a sentence like an exclamation
| | 06:01 | point or a question mark. And then
this instruction to apply no nested style
| | 06:09 | will be turned off when it reaches the
first of these delimiters. Now, in the
| | 06:13 | case of the text that we have, it is
just a single sentence. But, bear in mind,
| | 06:18 | as clever as this is, it is also a
bit like a house of cards, if one thing
| | 06:24 | falls out of place, the
whole thing comes tumbling down.
| | 06:27 | Anyway, New Nested Style off to None
and this New Nested Style is the Time,
| | 06:35 | which is also going to go through -- I
think 1 Word will work here. So let's
| | 06:42 | see what we've got going on. Yes,
that works, click OK. So there is my new
| | 06:49 | list, nested style, I can now select
the other two paragraphs, click on that to
| | 06:57 | apply the formatting to those, and
just to hammer harm that point about the
| | 07:01 | delimiter, if I remove the period from
that text then you'll see that things
| | 07:08 | kind of fall out of whack and
interprets this period that's actually part of
| | 07:12 | the Time has been delimited to turn off
the instruction for no character style.
| | 07:19 | With that caveat in mind, you can
usually work around it, but the nested
| | 07:24 | styles, the more complex they are, also
the more fragile they tend to be. But,
| | 07:29 | if your text is consistent, then you
can usually figure out a way of making them work.
| | Collapse this transcript |
| Using Sequential Styles| 00:00 | Combining nested styles with
sequential styles really takes the automation of
| | 00:04 | your formatting to a whole new level.
If you are working with text that follows
| | 00:10 | a very consistent sequence, you can
setup a sequence of styles so that you can
| | 00:15 | apply formatting to all of those
paragraphs with a single click. And that's
| | 00:20 | what I did with this text on the left here.
| | 00:23 | We have the title, we have the body
text, we have the description, repeat for
| | 00:28 | the second block and for the third. So
I selected all and with one-click I was
| | 00:34 | able to apply all of that formatting.
| | 00:36 | Now, I already have my styles setup
here but I don't have the next style
| | 00:40 | parameter setup yet. So I just want
to go through setting that up and then
| | 00:45 | applying a style sequence to a rule
of text. So I am going to go to my
| | 00:50 | Paragraph Styles, and beginning with
title, I am going to right-click on that
| | 00:57 | or Ctrl-Click if you are on a Mac with
a single button mouse, and I am going to
| | 01:04 | come up to the Next Style option here.
| | 01:07 | So the Next style of the title is
going to be Body, click OK, and then I am
| | 01:15 | going to go to my Body style. The next
style of the body is going to be Info,
| | 01:25 | and then I am going to go to my Info
style, and I want to setup a repeating
| | 01:30 | loop, because the next style after
Info is going to go back to Title again,
| | 01:35 | click OK. So if I did that correctly,
I should be able to select all of this
| | 01:41 | text. And going to the first style in
the sequence, title, right-click on that,
| | 01:48 | and come down to Apply Title, then
Next Style, and we get a whole sequence.
| | 01:56 | The caveat here is that like the
nested styles, this type of formatting is
| | 02:02 | rather fragile, and let's see what
would happen if one of our descriptions say
| | 02:09 | ran to 2 paragraphs, so I am going to
put a paragraph break in there, and then
| | 02:15 | go ahead and do exactly the same thing,
apply that style sequence to this text
| | 02:21 | and you can see that everything falls
out of whack. So just bear that in mind,
| | 02:27 | for this to work, you have to work
with absolutely consistent formatting. But
| | 02:37 | style sequences can be a tremendous
aid when you are working with repetitive
| | 02:43 | formatting of text.
| | Collapse this transcript |
| Combining Nested Styles, Sequential Styles, and Object Styles| 00:00 | These next two movies are going to make
your head explode because if we combine
| | 00:04 | nested styles with sequential styles
and object styles, our formatting is going
| | 00:09 | to be so automated and our job's
going to be so easy, so we are just going
| | 00:13 | to have a lot more free time on our hands.
| | 00:15 | I am in a document called Combining,
which is in the Nested and Sequential
| | 00:20 | Styles folder. And here, we see we
have got a paragraph style that has a
| | 00:26 | paragraph rule applied to it. It's
in a gray box, it's followed by this
| | 00:31 | attribution paragraph and it's
surrounded by these quote marks that are in a
| | 00:37 | character style.
| | 00:38 | We want to apply all of that
formatting with a single click. Choose my
| | 00:44 | selection tool, click on my text, and I
am now going to go to my Object Styles
| | 00:50 | panel, and click on my Pull
Quote object style and we are done.
| | 00:57 | So what exactly is going on here? Well,
I don't have time to get into object
| | 01:01 | styles and there are other movies in
the lynda.com Training Library that do. So
| | 01:06 | I suggest that you check those out. But,
I just want to mention for now that
| | 01:10 | object styles are to objects, to items
like boxes, what, paragraphs styles are
| | 01:16 | to paragraphs and character
styles are to text selections.
| | 01:20 | So any attribute that you can apply
to a box, you can incorporate into an
| | 01:25 | object style. And in this case, very
simply all I have done is incorporated the
| | 01:32 | background color and a text insert to
give some padding inside the text frame.
| | 01:38 | Let's just take a look. So these are
your Object Style options and I have a
| | 01:44 | gray fill, and I have in my Text
Frame General Options a text inset.
| | 01:52 | Now in addition to that, what is
formatting the text is this option right here,
| | 01:59 | Paragraph Styles, because I am
saying automatically apply this specified
| | 02:05 | paragraph style to the content of
that box. Furthermore, I am also saying,
| | 02:12 | apply the next style.
| | 02:15 | Let's now go and have a look at my
paragraph styles and dissect these. So if we
| | 02:20 | look at my Pull Quote paragraph style
which is this one here, we can see that,
| | 02:27 | this has been setup as a nested style
where -- and I am just going to try move
| | 02:32 | this out of the way, so that we can
look at the text at the same time. I have a
| | 02:38 | red character style that's called
quote that's being applied to the first
| | 02:43 | character. So that's I am counting for
this here, Quote Through 1 Character,
| | 02:48 | then No Character Style up to 1, and
I've just typed in here the closing quote
| | 02:55 | character and then I return for a
third nested style quote through one
| | 03:01 | character and that is the closing quote.
| | 03:05 | Furthermore, if I come back to my
General Paragraph Style options, we see that
| | 03:10 | the next style for the Pull Quote
is set out to be Attribution, and
| | 03:16 | attribution, is this paragraph style right here.
| | 03:20 | So this is a very handy approach. If
you are working with a magazine or a
| | 03:25 | newspaper where you are using this
device of pull quotes, exerting a piece of a
| | 03:30 | text as a visual teaser to your
reader and you can apply all the necessary
| | 03:35 | formatting with a single click. In the
next movie, we are going to take this
| | 03:39 | even further.
| | Collapse this transcript |
| Combining even more| 00:00 | Back for more? Good. So let's see how
we can take this a step further with that
| | 00:04 | combination of nested styles,
sequential styles and object styles.
| | 00:09 | I am in a document called Combining1,
which is in your Nested and Sequential
| | 00:13 | Styles folder. On the left-hand side,
we see the finished version and on the
| | 00:17 | right-hand side the rule text. And
if we just take a look at the finished
| | 00:22 | version, we can see there is an awful
lot of formatting there going on. We have
| | 00:26 | a subhead that reverses out of a rule.
We have got nested styles with the first
| | 00:31 | word in bold, the name in bold and then
more nested styles here that are making
| | 00:38 | the date up here in bold.
| | 00:40 | Now, what if we were able to apply all
that complex formatting with a single
| | 00:45 | click because this is a catalog
situation, our text is following a rigid
| | 00:51 | structure. So as long as it follows
that rigid structure, we can nail it with
| | 00:56 | just a single click, like so.
| | 01:02 | Now, I have applied the catalog object
style. Let's see exactly what's going on
| | 01:08 | there. I am going to undo that for a
second and we will look first of all at
| | 01:15 | the object style definition for catalog.
| | 01:17 | So edit catalog and the main thing
that's happening here is the Paragraph
| | 01:26 | Styles option. I am applying the 01_
Class paragraph style to the text that is
| | 01:33 | in that text frame. Furthermore, I am
applying the next style which in turn is
| | 01:39 | applying the next style which is
applying the next style and on and on and on
| | 01:43 | until we get to the end of the
sequence, then the last paragraph in that
| | 01:48 | sequence, references the first style in
the sequence and we have a neverending loop.
| | 01:54 | So if we look at the Styles panel, I
have for convince sake, set up my styles
| | 02:04 | in a numerical order just so that I
can see them, just so that I can keep all
| | 02:08 | of this clear in my head. So if I look
at 01_Class, the next style is body, if
| | 02:15 | I look at Body, the next style is
prerequisite etcetera, etcetera and then if
| | 02:22 | all of that works, a single click is enough.
| | 02:25 | There is one new thing here and that is
the Dates. If I turn on my Normal View
| | 02:33 | mode and I have got my hidden
characters shown. So we can see how I am dealing
| | 02:38 | with the issue of the dates. Now,
it's important, for this to work, it's
| | 02:42 | important that these dates be
separated not by a character return, but by a
| | 02:47 | line break because the next style is
only going to apply that style to a single paragraph.
| | 02:54 | So it's important that this block of
text be recognized as a single paragraph
| | 02:59 | in order for it to be recognized as
such we need to have a line break or a
| | 03:03 | Shift+Return there rather than a hard return.
| | 03:07 | One other new thing is if we look at
the definition of 05date, Drop Caps and
| | 03:15 | Nested Styles. Where you can see
that I have got the Bold character style
| | 03:21 | applying Through 1 colon. So that's
easy enough to understand and then, I have
| | 03:27 | got no character style. So we are
reverting to the normal for the paragraph,
| | 03:32 | which is the regular Chaparral Pro,
and then I have this option to Repeat.
| | 03:38 | So that instruction is repeating until
the end of the paragraph, which is how
| | 03:43 | we are able to have a different number
of dates for each entry and still get
| | 03:49 | away with applying a style sequence.
| | 03:54 | Now, while this maybe a bit over the
top perhaps, remember, most documents
| | 04:00 | follow a structure, so if you can
keep that structure consistent which is a
| | 04:05 | good idea for other reasons as well,
then you can take advantage of applying
| | 04:10 | your styles by applying an object style
and then including in the object style
| | 04:16 | definition. The instruction to apply a
paragraph style to the content of the
| | 04:21 | text frame, which can then
set off the style sequence.
| | Collapse this transcript |
|
|
17. Working with Text WrapsApplying a Text Wrap| 00:00 | In this chapter we will be working with
Text Wraps. Text Wraps are very easy to
| | 00:04 | apply, but we are not going to be
going into how to apply a text wrap so much
| | 00:09 | as some of the problems that may result
from putting a picture in the middle of
| | 00:13 | your text and asking your text to run
around it, bad word spacing problems. We
| | 00:18 | are also going to be looking at the
preferences that relate to Text Wraps.
| | 00:22 | I am in a document called Textwrap in
the Text Wrap folder and here I have two
| | 00:27 | columns of text, which I have
finessed to get rid of any bad composition
| | 00:32 | problems. You may remember the H&J
Violations preference from an earlier movie.
| | 00:37 | I have that turned on. Let me
just remind you where that is. In our
| | 00:42 | Preferences. For Windows users, that's under
the Edit menu > Composition > H&J Violations.
| | 00:49 | Now, with this turned on in a Normal
View mode, I am going to see highlighted
| | 00:53 | in yellow any spacing problems. I don't
currently see any. When I go and get my
| | 00:59 | picture here and then drag that into
the middle of my text, we can see it
| | 01:06 | already has a text wrap on it. I am
going to go to my Text Wrap palette now,
| | 01:10 | which is under the Window menu. It has
this third type of text wrap applied,
| | 01:17 | Wrap around object shape, but it's
actually wrapping around the contours of the
| | 01:21 | bounding box rather than the shape itself.
| | 01:24 | So I need to change my contour
options first of all, and I have two options
| | 01:29 | that will work in this instance.
Detect Edges because the image is on a flat
| | 01:36 | wide background or Alpha Channel
because the image has been prepared in
| | 01:40 | Photoshop with a Layer Mask or Alpha
channel. I am going to choose this one,
| | 01:46 | and now we see the text wrapping around
the image, and we also see some spacing problems.
| | 01:53 | To avoid bad word spacing like this,
you might just want to design around the
| | 01:57 | problem and by that, I mean rather than
placing your text wrap in the middle of
| | 02:01 | the two columns, what are few words to
place it offset like so, so that it only
| | 02:08 | interferes with one of that two
columns and that's going to be far less of an
| | 02:13 | impediment to reading. And arguably,
more visually interesting as well, because
| | 02:18 | it breaks out of the
rectilinear grid of the two-column layout.
| | 02:23 | Now, we still have bad word spacing
problems as indicated by the yellow
| | 02:28 | highlighting. Let's see how we can
finesse our text wrap and see if we can get
| | 02:32 | rid of, if not all, then at least
most of these. I am going to zoom-in, now
| | 02:40 | using a combination of nudging my
text wrap around, sizing my image holding
| | 02:49 | down Command+Shift or Ctrl+Shift. I am
pulling from one of the four corners of
| | 02:55 | the text frame. I am hoping to at
least reduce the dark-yellow to a
| | 03:03 | light-yellow.
| | 03:03 | Now, if this isn't working, another
line of defense that I have is to reduce
| | 03:17 | the amount of offset. Now, when you
are wrapping around an object shape, that
| | 03:23 | offset amount is uniform around the
shape. I am going to reduce that to 6
| | 03:30 | points, and that definitely helps, a
bit more nudging. When doing this, you
| | 03:37 | will likely find that fixing one
problem creates another, and just a very small
| | 03:43 | nudge can make quite a difference.
| | 03:45 | Now, if we look at the bottom of the
image, it appears that the text wrap down
| | 03:50 | there is substantially larger than
around the rest of the image. Let's look at
| | 03:57 | page in Preview View mode. So I am
going to press W, and it's this space down
| | 04:04 | here I am talking about. I find it
helps to work with the grid on, that way you
| | 04:09 | can see the increments of your
type and move your image accordingly.
| | 04:16 | Although, I have to say it's not
helping me too much at the moment. So what I
| | 04:22 | want to do now is switch to my Direct
Selection tool, I will press A, and then
| | 04:29 | click on my image, and now I want to
manually finesse this text wrap outline
| | 04:36 | and to do that, I am going to use my
Pen tool. And I am going to delete some of
| | 04:43 | these anchor points down here with
the objective of trying to get more type
| | 04:50 | into this space below the duck.
| | 04:54 | Now, what I am doing is deleting and
adding anchor points as necessary. I am
| | 04:59 | going to add one right here. When I
use my Pen tool and click on an area of
| | 05:03 | this path where there is no anchor point,
I add one, and to modify that anchor
| | 05:08 | point, I hold down my Command key or
my Ctrl key if you are on Windows, and
| | 05:15 | then I can pull that anchor point around.
| | 05:17 | Now, these three anchor points here,
I want to delete those. That one, if I
| | 05:26 | were to delete it, I would get a
straight line connecting this one with this
| | 05:30 | one. So instead deleting it, I am going
to just pull it up a bit like so, and I
| | 05:36 | am able to tuck in that type underneath
there, and I think that's about as good
| | 05:41 | as we are going to get it.
| | 05:45 | Let's zoom out, switch to Preview View
mode, deselect the duck, and that looks
| | 05:49 | like a fairly uniform wrap around that
object shape without too many bad word
| | 05:55 | spacing problems.
| | 05:56 | Although, I do have upon reflection two
consecutive hyphens here, and I think I
| | 06:03 | want to avoid that. So I am going to
place my cursor in the story right there
| | 06:09 | and I am going to insert a
discretionary hyphen in front of the word Picture.
| | 06:13 | Command+Shift+Hyphen to prevent that
word from breaking and quite fortunately
| | 06:22 | that seems to solve many of the
problems we are having. I am also going to try
| | 06:26 | the same with this word here
accurately, my cursor in front, Command or
| | 06:31 | Ctrl+Shift+Hyphen.
| | 06:35 | Let's evaluate how many word spacing
problems I have by going back to my Normal
| | 06:41 | View mode. Well, you can't make an
omelet without breaking some eggs, and well
| | 06:46 | I am certainly not crazy about this
here. At least we do not have any word
| | 06:54 | fragments and the spacing around the
object itself is relatively uniform.
| | Collapse this transcript |
| Making items ignore the Text Wrap| 00:00 | What can we do when we have some text
frames that we don't want to be affected
| | 00:03 | by the Text Wrap? I am in the ignore_
textwrap file in the Text Wrap folder and
| | 00:08 | on my pasteboard, I have a caption
that I want to place on top of my image.
| | 00:13 | When I drag my caption over and drop
it on top of the image, we see that it
| | 00:17 | disappears. This is because just like
the other text, this caption is being
| | 00:22 | repelled by the text wrap
that is on the duck.
| | 00:24 | So I am going to zoom-in just to get a
closer look at what's going on. Now, is
| | 00:30 | this is an issue of layering? No, it
could be but it's unlikely and it's not in
| | 00:35 | this case. If I go to my Layers panel,
we see that I have my duck on a separate
| | 00:42 | layer, and that layer is actually
beneath the Layer 1, that contains my text.
| | 00:48 | And we can see from the blue outline
of the frame edge of the caption that,
| | 00:54 | that caption is on the Text Layer.
| | 00:55 | So it is higher in the stacking order
and yet it is still being affected by the
| | 01:00 | text wrap. Well, the solution is this.
We come to the Object menu and we choose
| | 01:06 | Text Frame Options and Ignore Text
Wrap, and then just that particular Text
| | 01:12 | Frame is unaffected by the text wrap.
| | Collapse this transcript |
| Using Text Wrap tricks| 00:00 | This movie is about simple and
effective text wrap tricks. I am in a document
| | 00:05 | called Text Wrap Inverted in the Text
Wrap folder and I have my text wrapping
| | 00:09 | around this Z character. First thing
I want to point out is how uniform the
| | 00:14 | offset is from the character to text,
and this achieved partially by working
| | 00:21 | with my baseline grid turned on.
| | 00:24 | I am making sure that I size my object
to a baseline grid increment. If I just
| | 00:29 | resize this slightly, you can see how
now the offset becomes inconsistent with
| | 00:35 | more space at the top than on the sides.
So I am going to Undo that, Command or
| | 00:40 | Ctrl+Z and let's zoom out, and I am
going to hide my guides by pressing W to go
| | 00:46 | to my Preview View mode.
| | 00:49 | Now, with this shape we can do a
number of interesting things. I am going to
| | 00:52 | open up my Text Wrap palette, Command+
Option+W or Ctrl+Alt+W, and in CS3, we
| | 01:00 | have a few more Text Wrap options than
we did in previous versions because as
| | 01:05 | well as wrapping on Both Left and Right
sides, we can do it on the Right or on
| | 01:11 | the Left. I am going to put it back to
Left and Right, and now I am going to
| | 01:15 | turn on my Layers and I see that I
have my Z character on a separate layer
| | 01:23 | which I can hide, creating that
interesting hole, and the reason it does that
| | 01:30 | is because of the way my layers are behaving.
| | 01:32 | I am just going to double click on the
Layer and we see there is this option
| | 01:38 | Suppress Text Wrap When Layer is
Hidden. If I turn that on and then hide my
| | 01:46 | layer, my text will reflow. Now, the
object around which it was wrapping is no
| | 01:51 | longer there.
| | 01:52 | Typically, you want the text wrap to be
on -- and even though the object is not
| | 01:58 | visible and that allows us to create
this interesting effects. In a similar
| | 02:04 | vein, I can do this. I can select my
text wrap object and then invert the text
| | 02:10 | wrap. Now currently, the text is
running with inside this shape, but we can't
| | 02:15 | see it because the shape is in the way.
But, if I hide the shape, then we do see it.
| | 02:21 | However, I will remind you that text
wrap offset amount was 0p8 or 8 points,
| | 02:28 | which is meaning that it is now
functioning as an inset which is why that Z
| | 02:32 | shape looks so skinny. So I am going to
set that to 0, and then turn it off. We
| | 02:40 | now get the text wrapping in
this rather interesting shape.
| | Collapse this transcript |
| Setting Text Wrap preferences| 00:00 | We will look now at the preferences
relating to text wraps. I am in the same
| | 00:04 | file I was in for the last movie
ignore_textwrap and if you saw that you
| | 00:09 | remember that, the way I managed to put
this caption on top of the duck was to
| | 00:14 | choose Ignore Text Wrap from under the
Object menu > Text Frame Options. But
| | 00:21 | there is another way. I am not sure
it's a good idea, but let me show you anyway.
| | 00:25 | Preferences > Composition or Edit menu
> Preferences > Composition, if you are
| | 00:31 | at Windows. And the preference I am
referring to is this one, Text Wrap Only
| | 00:37 | Affects Text Beneath. Now, when I
check this, things are going to change and
| | 00:44 | they are going to change because my
picture is not above the text in the
| | 00:49 | stacking order.
| | 00:49 | So in order for my text wrap to take
effect, I am going to need to move it from
| | 00:54 | the layer that it's currently on and my
text wrap takes effect once more and if
| | 01:04 | I drag the caption over, that is still
being affected by the text wrap and we
| | 01:08 | don't want it to be.
| | 01:08 | So if I come up to my Object menu and
choose Arrange, I can bring this to the
| | 01:13 | front, in which case it's no longer
being affected by the Text Wrap, because it
| | 01:18 | is above it. Is this a good idea? No,
because by doing this, it's going to
| | 01:23 | require our images be above the text
in the stacking order and typically, we
| | 01:30 | don't want that to be the case. It can
cause some problems with transparency,
| | 01:34 | which is a whole other issue.
| | 01:35 | But, we want to make sure for the
most part that our text exists on a layer
| | 01:42 | above our images, and that's not going
to be possible with this approach. That
| | 01:46 | preference is only there. So that when
you convert a document from QuarkXPress
| | 01:51 | which implements it's -- what it calls
run around in this way that InDesign can
| | 01:57 | honor the settings of the Quark file.
| | 01:59 | I suggest we leave that off and if
you do want something to ignore the text
| | 02:04 | wrap, then you do as we did before.
Object > Text Frame Options or Command or
| | 02:09 | Ctrl+B, and choose this
option, Ignore Text Wrap.
| | 02:14 | The second text wrap preference I want
to talk about is called Skip By Leading.
| | 02:18 | I am in a file at the same name in the
Text Wrap folder, and I have this red
| | 02:23 | rectangle in column two around which
there is a text wrap and that's causing
| | 02:29 | the text beneath to falloff the leading
increment meaning that we do not align
| | 02:34 | our baselines across columns.
| | 02:37 | So there are two solutions I can adopt
here. One is to change my preference. I
| | 02:42 | am going to come up to my InDesign menu
> Preferences > Composition or if I am
| | 02:48 | on a Windows machine, that's Edit >
Preferences > Composition, and I want this
| | 02:53 | one, Skip by Leading and click OK, and
you will see that, that will knock the
| | 03:00 | text beneath the wrapping object
down to the next full leading increment.
| | 03:07 | Alternatively, I am going to undo that
to set the preference back to the way it was.
| | 03:12 | So as long as I make sure that my
graphic is cropped to a specific leading
| | 03:18 | increment which it currently is and
that my text wrap amount, I am going to
| | 03:25 | leave it on the top because that's fine,
but on the bottom, I am going to set
| | 03:30 | it to my baseline grid increment
which in this case is 9 points. That's the
| | 03:35 | leading of my body text. When I set
that to 9 points, that will force the text
| | 03:41 | down onto the next baseline grid
increment and so aligning our text across columns.
| | 03:48 | A third text wrap preference is
whether or not to justify text next to a
| | 03:53 | graphic that has a text wrap? I am in
a document called Textwrap_justnextto
| | 03:58 | from the Text Wrap folder. I am going
to zoom-in on this. There are two points
| | 04:03 | about this; one is that this
preference applies only to a graphic that has a
| | 04:10 | text wrap that has been placed in a
single column of text which makes this
| | 04:14 | preference in the overall of scheme of
things not that important because it's a
| | 04:19 | very bad idea to do this anyway.
| | 04:22 | We can see here why it's a bad idea
because the I is not going to jump from
| | 04:28 | there to there, but rather carry on
down and you may have looked at this
| | 04:32 | initially and so well this is two
columns of text. It's actually a single
| | 04:36 | column of text. So we are really
compromising the readability here
| | 04:41 | significantly. But, if we really want
to do this, then let's just take a look
| | 04:47 | at the preferences I am talking about.
| | 04:51 | Composition and it's this one,
Justify Text Next to an Object. Now, when I
| | 05:00 | check that, and press Return. Well,
we can't see a tremendous amount of
| | 05:05 | difference. This line here has become
justified, even though the alignment of
| | 05:11 | my text is left aligned, as we can see
from the ragged edge on the right. Let
| | 05:17 | me just move this down a bit and
perhaps we can see more of a difference
| | 05:22 | elsewhere on the line. So there, we
had a smooth right-hand edge, and if I go
| | 05:27 | to that preference again, turn it
off, and now we have a ragged edge.
| | 05:34 | The purpose of this is to make sure
that the integrity of the shape around the
| | 05:40 | object is maintained by justifying
this line right here. But, as I said, it's
| | 05:46 | rare that you would want to do this,
so this preference doesn't really have
| | 05:50 | that much practical use.
| | Collapse this transcript |
|
|
18. Working with GridsUnderstanding column grid strategies| 00:00 | Welcome to the chapter on working with
baseline grids and we are going to begin
| | 00:04 | by looking at how to divide your page
up into columns and some strategies for doing so.
| | 00:09 | So to demonstrate the column grid
strategies, I have three different versions
| | 00:15 | of a magazine layout, each a two page,
facing pages spread. The first example
| | 00:20 | uses three columns of equal width. A
fairly straightforward approach, and when
| | 00:25 | I turn on my guides by pressing W, you
can clearly see the structure of this document.
| | 00:30 | I am now going to switch to a five-
column version where the column divisions
| | 00:36 | are less obvious. When I turn on my
guides, we can see that the outer columns
| | 00:41 | are used on the right-hand page for an
Info box, and on the left-hand page for
| | 00:45 | a byline and they also provide
some visual relief and wide space.
| | 00:53 | In this one, the seven column version,
each of my text frames of the story
| | 00:57 | occupies two of those seven units
and the narrow column which moves in
| | 01:02 | position, it's flexible is used here
just as wide space, also is used to
| | 01:08 | accommodate a portion of
this picture and this picture.
| | 01:12 | Now, I will turn on my grid, and
there we have the seven columns each text
| | 01:16 | frame of the story occupying two of
those seven units. So when you think the
| | 01:21 | only obvious in the number of columns
you choose, you have the flexibility to
| | 01:25 | incorporate wide space into your
document and variation and at the same time,
| | 01:30 | achieve a good degree of
consistency and readability.
| | Collapse this transcript |
| Setting up a baseline grid| 00:00 | While columns divide your page
vertically, a baseline grid will divide your
| | 00:04 | page horizontally into increments that
correspond to the leading value of your body text.
| | 00:10 | Let's take a look at the benefits of
using a baseline grid. A baseline grid is
| | 00:15 | going to ensure that the baselines of
your type align across columns making
| | 00:19 | them most useful when
working with multi column layouts.
| | 00:22 | They encourage consistent spacing
between text and graphical elements. They
| | 00:28 | take the guesswork out of placements
of elements relative to each other and
| | 00:32 | they are going to give you a cleaner
more structured look to your documents.
| | 00:36 | When setting up a baseline grid, it's
very important that you bear in mind that
| | 00:40 | the total amount of spacing for every
paragraph that is going to be aligned to
| | 00:45 | the grid equals the baseline grid
increment or a multiple of the baseline grid
| | 00:50 | increment, and by total amount of
spacing, I mean the Leading Value+Space
| | 00:54 | Before+Space After.
| | 00:54 | So I am in the document Southbank in
the working with grids folder. A six page
| | 01:03 | three facing pages spread document
with a number of spacing problems. Let me
| | 01:10 | zoom-in down here so that we can see
two columns side by side, and when I draw
| | 01:17 | down a guide, we can see that our
baselines are not aligning across columns.
| | 01:22 | That's certainly one of the
things we are going to fix.
| | 01:24 | Now, to set up the baseline grid, there
are three things involved. The first is
| | 01:30 | to turn the toolbar on, the second is
to set your Grid Preferences and the
| | 01:34 | third is to align your text to the toolbar.
| | 01:37 | So I am going to begin by turning the
toolbar on, View menu > Grids and Guides,
| | 01:42 | Show Baseline Grid. Now, if your
toolbar doesn't become visible even though you
| | 01:47 | have turned it on, it's because your
View Threshold is below the stated View
| | 01:52 | Threshold in the Grids preferences.
| | 01:54 | Let's go and see what I mean by that.
Grids and it's this one. This is the size
| | 02:00 | at which your girds will become
visible. Now, it just so happens on this
| | 02:04 | monitor that my fit in window
size is below that Threshold View.
| | 02:08 | So I am going to change that and make
that 70%, so that at Fit In Window view,
| | 02:13 | I will see my baseline grid. I want
my toolbar to start counting off at 0
| | 02:18 | relative to the Top Margin rather
than The Top of the Page, and I want the
| | 02:23 | Increment Note of that toolbar to be
12 points, which is the same as my Body
| | 02:28 | text leading or at least I think it is.
We are going to find out that my Body
| | 02:31 | text is not set to 12 but should be.
| | 02:34 | I am going to change the color of my
toolbar to something that is not too
| | 02:38 | obtrusive. Light gray. There is also
this preference here, Grids in Back. I
| | 02:43 | like to have that unchecked, so that I
see my grids on top of my graphics. I am
| | 02:48 | now going to go ahead and click OK, and
I can see my grids, step number three,
| | 02:53 | I need to align my text to my grids and
this is going to involve redefining or
| | 02:59 | editing the definition of my body style.
| | 03:02 | So I am going to right click on body
in my Paragraph Styles panel and come to
| | 03:07 | Indents and Spacing where I have the
Align to Grid option and I want to align
| | 03:12 | All Lines to the grid, at which point
everything goes completely haywire, and
| | 03:19 | that's because I was mistaken about the
leading of my body text. My leading for
| | 03:24 | my body text is actually 12.5 points,
meaning that it misses the first toolbar
| | 03:30 | increment of 12 points and jumps to
the next; effectively I have body text on
| | 03:35 | 24 point leading because the baseline
grid overwrites my body text leading value.
| | 03:40 | To fix this, I am going to edit my
body style again and make sure that my
| | 03:45 | Leading Value is the same as my
baseline grid and now when I scroll down, I
| | 03:52 | should be able to see that across
columns my baselines align beautifully.
| | 03:56 | Now, there is one other thing I want
to do here. Since we have a grid, I want
| | 04:00 | to crop my images to a specific grid
increment. If we look at the bottom of
| | 04:05 | this image here, we can see that
it's neither a one-grid increment, nor
| | 04:10 | another. So I am going to select the
image and then I am just going to pull
| | 04:13 | that up ever so slightly or down, and I
can feel it snap to that grid increment.
| | 04:21 | Now, that's ensuring that in
combination with my text wrap value, let's just go
| | 04:25 | and check that out, Apple+Alt+W, my
text wrap value, the offset beneath is 24
| | 04:31 | points, twice my baseline grid increment,
a multiple of 12. So that's good, and
| | 04:37 | then I want to do the same for all of
my images. I want to zoom-in and just
| | 04:44 | make sure that they are exactly on a
baseline grid increment, scroll across and
| | 04:51 | I will do the same for this one.
| | 04:54 | So the spacing between my images and
my text is in this case 24 points, a
| | 05:00 | multiple of my baseline grid increment.
I could, if I wanted to make it 12,
| | 05:04 | that will be fine too. I have got
enough space that it's going to work with
| | 05:07 | twice that value of 24.
| | 05:10 | Next, we are going to see how in
certain instances it maybe preferable to use
| | 05:15 | that other option that we caught a
glimpse of in Align to Grid which is align
| | 05:19 | first baseline only.
| | Collapse this transcript |
| Aligning the first line only| 00:00 | A baseline grid is a very rigid
taskmaster. There are certain categories of
| | 00:04 | paragraph that are just not going to
align to your grid easily. So don't even
| | 00:08 | bother trying, but there is the
option to align the first line of such
| | 00:12 | paragraphs to the grid.
| | 00:13 | I am in the document Align First in the
Working With Grids folder, Zoomed-in to
| | 00:18 | the bottom of page four and here we
have a caption paragraph. The leading of
| | 00:24 | the caption paragraph does not meet
our required formula of equaling the
| | 00:30 | baseline grid or a multiple thereof.
It is on 9 point leading and that's
| | 00:36 | because the text is 8 point.
| | 00:37 | So making this 12-point leading is
just going to air it out too much. Let me
| | 00:42 | see what will happen if we choose to
align it to the grid, with All Lines that
| | 00:52 | just opens up too much. So we want to
keep this tightly leaded and if we choose
| | 00:57 | this option Align First Line only, then
that's going to give us the possibility
| | 01:02 | of just making sure that the first
line of that paragraph at least will align
| | 01:06 | with the text in the adjacent columns.
So that's the option of aligning the
| | 01:10 | first baseline of paragraphs where the
spacing in those paragraphs is not going
| | 01:15 | to equal or multiple of your baseline grid.
| | Collapse this transcript |
| Determining the size of your type area| 00:00 | When working with baseline grids, it's
good to keep things nice and tidy and
| | 00:04 | have the last baselines of your
type sit snugly on your bottom margin.
| | 00:09 | The only way to achieve this is to make
sure that the height of your type area
| | 00:13 | is an exact multiple of your baseline
grid increment. I am in a document called
| | 00:18 | setupgrid in the Working With Grids
folder and I have a three-column layout,
| | 00:21 | 10-point type on 12 point leading,
with that type aligned to a 12-point grid.
| | 00:29 | When I zoom in down the bottom here
and I click on any text frame, I see that
| | 00:34 | even though it extends to the bottom
margin, there is not enough room for the
| | 00:38 | last line of type to sit on the bottom
margin. The height of my text area is
| | 00:43 | 645 points. Now, I am going to get a
Calculator and type in 645 points and
| | 00:51 | divide that by 12 and then come up with 53.75.
| | 00:56 | So I have enough height for 53 and
three quarter lines. I can either go to 54
| | 01:02 | lines or 53 lines. I am going to
leave it at 53 lines, which is where we're
| | 01:07 | currently at, and I am going to
bring my bottom margin up to that last
| | 01:11 | baseline. So I need to add three
quarters of a line, remember our leading
| | 01:18 | increment is 12 points. So three
quarters of twelve is 9 points. I need to add
| | 01:23 | three quarters of a line, 9
points to my bottom margin.
| | 01:29 | Now, before I do this, I want to
make sure that my Layout Adjustment is
| | 01:32 | enabled, so that my text frames adjust
accordingly. Then, I am going to go to
| | 01:38 | my Layout menu, to Margins and Columns,
and I want to add 9 to 75 which is I
| | 01:47 | know 84, but I am just going to do it
this way to be fast. Plus nine, click OK,
| | 01:54 | and now my bottom margin grows and the
last baselines of my type sit snugly on
| | 02:00 | that bottom margin.
| | Collapse this transcript |
| Customizing baseline grids| 00:00 | Custom baseline grids allow us to use
more than one baseline grid increment in
| | 00:05 | the same document. I am in the file
custom grid in the working with grids
| | 00:09 | folder, and here we have a layout where
the body text is aligned to a baseline
| | 00:15 | grid of 12 points.
| | 00:16 | I am going to turn on my baseline grid
by pressing W to go to my normal view
| | 00:21 | mode, and we see our baselines aligned
across columns. And then down here we
| | 00:26 | have this informational box, which
has different leading increment. We also
| | 00:31 | want this to align to the grids,
because we want the three columns of type in
| | 00:36 | an information box to align across
the grid, and currently we see if I draw
| | 00:41 | down a guide that they do not.
| | 00:43 | Okay, so how do we make that happen?
Firstly, if I were to try to make my
| | 00:49 | sidebar paragraph style which is
applied to the text in this box, aligned to
| | 00:54 | the grid, then it will align to the 12
point grid, which is going to increase
| | 01:05 | the leading of the sidebar style,
something that I don't want to do. The
| | 01:08 | sidebar is on the leading value of 10,
and baseline grid increment is 12.
| | 01:13 | Now because this is in a separate text
frame, I can apply a custom grid to this
| | 01:18 | specific text frame by coming to my
object menu, and choosing text frame
| | 01:22 | options. Click on the Baseline Options
and choose Use Custom Baseline Grid, and
| | 01:29 | I am going to start at the zero point,
Relative to my Top Insert, and specify
| | 01:35 | the leading value of the Subhead style
which is ten. And we see that that sorts
| | 01:41 | out that problem, and we also have a
grid now indicated at 10-point increments
| | 01:47 | in this text frame.
| | 01:51 | Now here is a reprise of the align
first line only feature working with grids.
| | 01:56 | This picture caption, I want to align
with the baseline of the type in columns,
| | 02:02 | one, two, and the again, the problem
with this one being that if I were to
| | 02:06 | align it, that is going to overwrite
the leading value which is too big. I want
| | 02:12 | to retain the tight leading value on
the caption. So instead, I am going to
| | 02:19 | align, First Line Only, which will put
the first baseline of that paragraph on
| | 02:26 | the leading grid, and then the
subsequent lines will follow.
| | 02:30 | So there we see two more features of
working with baseline grids. The ability
| | 02:35 | to apply a custom baseline grid to a
specific text frame, and the ability to
| | 02:39 | align the first baseline only of a
paragraph, which does not share the body
| | 02:44 | text leading to the grid.
| | Collapse this transcript |
|
|
19. Type EffectsTyping on a path| 00:00 | Welcome to the chapter on text effects and
let's begin with a simple one, type on a path.
| | 00:04 | I am in a document called pathtype in
the Text Effects folder, and here we just
| | 00:08 | want to create a path of type that
follows the shape of the graphic. So I am
| | 00:14 | going to go to my Layers palette, and
turn that off, so that we can recreate
| | 00:19 | it. Now to begin with, I need to draw
the path, and I am going to do this with
| | 00:23 | my pen too. If you have never used the
pen tool before, it is pretty tricky.
| | 00:28 | What I want to do is click, and then
drag, and click and drag to create a curve
| | 00:35 | that replicates the shape
of the London Eye, like so.
| | 00:41 | Alternatively, I could, if I didn't
want to use the pen tool, I could perhaps
| | 00:48 | try working with an ellipse. Such as
this one here, and then may be put the
| | 00:53 | center point of the ellipse at the
center point of the wheel. Hold down my Alt
| | 00:57 | key or my Option key, and drag out
ellipse, and things are going to be little
| | 01:03 | bit crazy there. Then I will use my
free transform tool, and just kind of shape
| | 01:14 | that to replicate the shape of the
wheel, and that's probably good enough I
| | 01:22 | think. And I am now going to choose my
Type on a Path tool, same tool spaces
| | 01:34 | the type tool, or you press Shift+T.
And then you will notice that when I hover
| | 01:41 | over that path. I get a plus symbol
next to the type cursor. When I say that
| | 01:47 | click to locate an
insertion point, and start typing.
| | 01:51 | All right, I'll put in my type, and I
am now going to format my type, exactly
| | 02:03 | the same way as I would format any
type. I am going to make it upper case.
| | 02:12 | Command+Shift+K, or Ctrl+Shift+K.
Let's give it a little bit of tracking as well.
| | 02:19 | Now to move my type around my path, I
want to get this point here. Let me zoom
| | 02:27 | in so we can see clearly what I am
talking about. This point that marks the
| | 02:32 | beginning of my type, I want to slide
that around, and I can chase my type
| | 02:36 | around my shape. And I think I am
going to leave it about there. Let's maybe
| | 02:47 | make it white. So I am going to
come to my Swatches panel, click on my
| | 02:52 | formatting effects text icon, and
then click on Paper. Now you are probably
| | 02:58 | thinking well, we don't want to see
that black line around the ellipse, and you
| | 03:03 | are absolutely right. Of course, we
don't. So I am going to switch to my direct
| | 03:08 | selection tool. This path has now
served its purpose. I am going to select it
| | 03:13 | with my direct selection tool. Come
down here, select the stroke property and
| | 03:18 | then press my forward slash, or from my
swatches panel click on, none, and that
| | 03:23 | is going to go away, and
there is our finished result.
| | 03:36 | So this is definitely challenging
readability, but I have here type wrapping
| | 03:41 | around the shape of an 'S'. To create,
what I think is a fairly interesting look.
| | 03:47 | Okay, so how do we do this? I am going
to select that, and just move that over
| | 03:53 | on to the paste board, and choose my
type tool, and I am going to click and
| | 03:58 | drag. Type in my 'S'. Now my S, I am
going to format in Trajan Pro. I will
| | 04:06 | start off with 36 points. Return to
my selection tool, I am going to fit my
| | 04:18 | frame to my content. That's Command+
Option+C. And now I am going to scale that
| | 04:27 | text frame. Command+Shift or Ctrl+Shift,
and pull from one of its four corners,
| | 04:35 | so we get an S, a nice, big, graceful S.
| | 04:38 | Now so that I can put type around that,
I am going to need to convert this to
| | 04:44 | outlines. Create outlines, and then I
want to see the outline of the S for a
| | 04:55 | while, but the fill is a bit
distracting. So I am going to swap my Fill and
| | 04:59 | Stroke, like so, and now I am going to
come over to my type here. Select that.
| | 05:08 | Command or Ctrl+A, Command or Ctrl+C to
copy that, and then choose my Type on a
| | 05:16 | Path tool, and I want to start about
here, and set my cursor on my path.
| | 05:27 | Command or Ctrl+V to paste, and I am
now going to switch back to my selection
| | 05:35 | tool. And I have got these two markers
here. If I get this one to the right and
| | 05:43 | stop moving that, then it is going to
chase the type around the shape. And this
| | 05:51 | one marks the outer limit of the
story, which is not yet being reached.
| | 05:56 | So actually I want to bring that down,
that's the end of the story. This is the
| | 06:03 | beginning of the story, and I am going
to start it all about there. And I am
| | 06:09 | going to break this up into bite size
chunks, and insert some N spaces between
| | 06:22 | them. So that is Command+Shift+N, and
to move the next path around to there
| | 06:32 | where -- I want to avoid the type
jetting out and white is totally unreadable.
| | 06:37 | Now right now if you don't mind
twisting your head, I think that's fairly
| | 06:45 | readable. I place my cursor there.
Again, separate it with some N spaces, and
| | 06:56 | out there, chase it around to about
that point, and now I realize that I have
| | 07:10 | got over set text, so I need to get
this end marker and drag that out to there,
| | 07:15 | and I will select that. And of course
the last thing I need to do, is I want to
| | 07:28 | select the S again, and make sure that it
has no stroke. And I think I'll call that done.
| | Collapse this transcript |
| Typing on a circle| 00:01 | Also path type, but with its own set of
issues, is type on a circle. I am in a
| | 00:07 | document called type on circle, and
this is our finished product, and what we
| | 00:11 | aim to do here, is recreate his
circular type above a below logo. I have my
| | 00:17 | Layers panel opened, and this circle
type has been added to distinct layers.
| | 00:25 | And if you are working along with me,
you can turn these layers off, or you can
| | 00:30 | throw them away. I am just going to
turn them off, and we are going to recreate
| | 00:34 | them. And I am going to recreate
these circle type elements on new layers.
| | 00:39 | So I am going to create a new layer,
and I am going to call this first layer,
| | 00:45 | top circle. I want to make sure that
that layer is targeted. I am going to
| | 00:52 | select now the gradient layer, so
that I can see the center point of this
| | 01:00 | circle, and making sure that I don't
actually draw on that layer. I am just
| | 01:06 | going to mark that center point with
some guides like that, and then I am going
| | 01:13 | lock about the inner and the gradient
layer. And I am going to do that just so
| | 01:18 | that I can't interfere with the content
of those layers. Coming back to my top
| | 01:22 | circle layer, choosing my ellipse tool,
coming to this marked center point, I
| | 01:27 | am going to hold down my Option key or
my Alt key to draw the circle from the
| | 01:32 | center, and my Shift key to constrain
it to a perfect circle. And then I am
| | 01:38 | going to make it about so big.
| | 01:40 | Now I have got a Fill and a Stroke on
that circle which I don't want. So I am
| | 01:46 | going to press the slash key. It gets
rid of the fill. And then I am going to
| | 01:52 | press my X key, which makes the stroke
property my active property. And I am
| | 01:59 | not getting get rid of it, I just want
to keep it around for a while. But I am
| | 02:01 | going to make it black. Ant then as
soon as we got some type on that circle, we
| | 02:07 | will make the stroke of the circle
none. I am going to come to my pathtype
| | 02:12 | tool, and once again we see that plus
symbol indicating that I am about to
| | 02:17 | enter type on the path, and here is
the text that I am going to insert,
| | 02:27 | superior quality or natural ingredients,
and punch formatting that needs to be
| | 02:37 | done this. It doesn't really matter
in which order you do it. I am going to
| | 02:40 | select the type, Command or Ctrl+6 to
jump up to the font menu. So I changed
| | 02:56 | the point size, I made it all caps,
and I am also going to give it some
| | 03:01 | positive tracking.
| | 03:02 | Now to determine the alignment of
that type, come up over to my paragraph
| | 03:09 | formats, come to center alignment, and
then if this happens, if it goes to the
| | 03:15 | bottom of the circle, come down here
and get this tick mark at the bottom
| | 03:20 | center of the circle, and then chase
it around until you bring it up to the
| | 03:26 | top, like so.
| | 03:29 | Now just in case you run into this
problem, if you pull back tick inside the
| | 03:35 | circle, that's going to happen. So to
go in the opposite direction, just get
| | 03:41 | that tick and pull it outside the
circle. And I am making sure that that tick
| | 03:45 | is exactly on that guideline there,
marking the center point of the circle. And
| | 03:49 | one thing I forgot to do is make type
white or in InDesign terminology, Paper.
| | 04:02 | And I think that's enough for a top
circle. Let's now turn the stroke of that
| | 04:11 | circle to none, or one more thing, I
like it run them regular, I will bold.
| | 04:17 | All right, having done that, to get
this type on the bottom of the circle, I am
| | 04:22 | going to duplicate this, and I am
going to duplicate the whole layer. I am
| | 04:26 | going to come back to my Layers panel,
and choose Duplicate Layer Top Circle. I
| | 04:33 | am going to change the color of it to a
color that is not currently being used,
| | 04:37 | Magenta would be fine, and I
will call it Bottom Circle.
| | 04:44 | Now I'm going to lock the top circle
so that I can't interfere with it. Click
| | 04:51 | on the bottom Circle, and then I am
going to drag that tick down to the bottom
| | 04:57 | and inside the circle, like so. I will
select the type, and now I am just going
| | 05:06 | to type over the real content for the
bottom of the circle. Turn off my guides,
| | 05:23 | and I think we are done.
| | Collapse this transcript |
| Understanding offset outlines and gradients| 00:00 | Here is a popular favorite gradient
type. I am in the file Gradient, and we
| | 00:05 | have two gradients applied to two
pieces of text. Let's recreate one of them.
| | 00:09 | I am going to choose my Type tool and
click and drag, type in my text, select it,
| | 00:22 | put it in the font that I want, which
is Trajan Pro, increase the point size a
| | 00:26 | bit, Command+Shift+>, and then to
scale up quickly, Command+Option+C or
| | 00:35 | Ctrl+Alt+C, and grab one of the four
handles, Command+Shift, click and drag.
| | 00:44 | All right. There is my type. Now let's
go and create my gradient, I'll do that
| | 00:48 | using my swatches panel, new gradient
swatch, and what I see down here reflects
| | 00:56 | what I was last doing in the new
gradient swatch box, and I am going to start
| | 01:03 | out with just a two color gradients. I
am going to drag that third color off
| | 01:08 | from the bottom of the gradient ramp.
Select my starting color, mix it, click
| | 01:15 | on my ending color, mix that one.
Now should I decide that I want a third
| | 01:26 | color? Click down there, and let's see
where am I going, that looks right, okay.
| | 01:40 | Now I am going to add that gradient to
my swatch palette, but before I do that,
| | 01:46 | I am going to give it a nine, and in
doing that I seem to have lost my type for
| | 01:56 | no good reason. I am going to increase
the size of that text frame to get it
| | 02:00 | back. And I am going to remove that
stroke that I managed to put on the text
| | 02:05 | frame by mistake.
| | 02:07 | Now I am going to click on my
formatting effects text icon. I am going to make
| | 02:11 | sure that my fill property is upfront,
and then click the gradient that I just
| | 02:16 | made. To change the direction of the
gradient bar I just made, to change the
| | 02:20 | direction of the gradient, I will
choose my gradient tool and swipe over my
| | 02:23 | selected item in the direction that I
want the gradient to go. Select the side
| | 02:29 | or I will pull down.
| | 02:32 | Now the anything I did different for
this example here, was use a gradient that
| | 02:37 | has six color stops on the gradient
ramp, in addition to which I put a stroke
| | 02:44 | around the type, to give the type
shapes a better definition. I will not that
| | 02:48 | with this one here. Select it. Click on
my formatting effects type icon, click
| | 02:54 | on my stroke icon, and then I am
going to make that black. That's a bit too
| | 02:58 | thick, so I am going to come up to
here, and reduce that to a white of one
| | 03:04 | point. Okay, there we have it, gradient type.
| | Collapse this transcript |
| Creating a custom ligature| 00:00 | In an earlier movie, we talked about
ligatures, and how they are two more
| | 00:04 | characters fused together
to form a single character.
| | 00:06 | Well, using the Pathfinder effects, we
can make our own ligatures in InDesign.
| | 00:13 | This technique maybe useful if you are
working on a business card, and you want
| | 00:16 | to use someone's initials to form a
single character, as I have done here with
| | 00:22 | an H and a B. And as starting point
for this, are these two text frames down
| | 00:28 | here. With each with a letter in them,
H and B, and I am in the file called
| | 00:34 | customligature, which is
in the Type Effects folder.
| | 00:37 | Now I am going to zoom in on these two
letters, and it is important that they
| | 00:45 | be in separate text frames. Now I am
working with Futura Medium here, and for
| | 00:51 | this effect to work in this context,
we need to be working with a very
| | 00:55 | geometric font, so that when we align
them together, we are not going to see
| | 00:59 | any bumps along the edges of the joint.
So I am going to move that over, like
| | 01:06 | so, just slightly overlap it. I think
I am going to put it about there, at
| | 01:12 | which point I am then going to select
both, choose create outlines, and come up
| | 01:18 | to the object menu, Pathfinder, add.
Having done that, that is now one shape,
| | 01:25 | and if I swap my Fill and my Stroke, we
can see there the outline of that shape.
| | 01:36 | So that's making your own custom ligature.
| | Collapse this transcript |
| Creating interlocking type| 00:00 | Here's a core technique to create
Interlocking Letters. I am in the document
| | 00:05 | called intersect in the Type Effects
folder. Here we see the finished version
| | 00:09 | and beneath this is our work in
progress and what we want to do here is we want
| | 00:14 | to make this beautiful ampersand, which is
in Adobe Caslon Bold Italic, is we want to
| | 00:19 | make this interlocked with the are, so
that it goes through the counter of the R.
| | 00:25 | Now in order to make this happen
both the word Despair and the ampersand that
| | 00:30 | interlocks with it need to be
converted into outlines. The word Despair is
| | 00:35 | already converted, I am now going to
do the same to the ampersand, come up here and
| | 00:41 | choose Create Outlines. Then I am
going to select both, and because they are
| | 00:47 | about to disappear when I interlock them,
although vast majority of the letters
| | 00:51 | will, I am going to make a copy,
Command or Ctrl+C and I am copying those to
| | 00:57 | the clipboard. Then I am going to
come back to the Object menu and choose
| | 01:01 | Pathfinder > Intersect and all I am
left with is the intersection of those
| | 01:07 | letters. So that I can work on these
different elements of the intersection
| | 01:14 | individually, I am then going to
comeback to the Object menu and choose Paths >
| | 01:22 | Release Compound Path.
| | 01:24 | Now I am going to paste back my
original copy of the word Despair and the ampersand and
| | 01:29 | I am going to paste in place so that
it goes exactly where it came from and I
| | 01:36 | want to put it behind those intersected
elements. So I am going to come to the
| | 01:39 | Object menu and choose Arrange > Send
to Back. I am going to click outside of
| | 01:46 | that to deselect it and then choose
my Direct Selection tool, zoom in, and
| | 01:50 | click on that, the intersected piece,
and I will choose my Eye Dropper and then
| | 01:59 | click on this the color of the R to
apply that color to that interested piece
| | 02:06 | and there is my interlocked type.
| | 02:09 | Now if for whatever reason when you
get in really close, you find as I am
| | 02:15 | finding there the things don't quite
line-up. Then go to your Direct Selection
| | 02:22 | tool and although this makes theme a
little bit half baked, I am going to
| | 02:26 | select that anchor point and I am going
to pull it down ever so slightly there
| | 02:30 | and there to make sure we have no
areas of white showing behind that. Let's
| | 02:41 | zoom out and take a look at that and
there we have our interlocking ampersand and R.
| | Collapse this transcript |
| Creating see-through letters| 00:00 | Here's a technique that allows us to
knock letter-shaped holes through objects,
| | 00:06 | so that we can see whatever is beneath.
I am in a file called compound, which
| | 00:10 | is in the Text Effect folder and it's
called compound because this involves
| | 00:14 | using a compound path. Here is that
objective, this here. So you see as I move
| | 00:21 | this around we are able to the image beneath.
| | 00:26 | So I am going to go to my pasteboard,
where as luck would have it, I have got
| | 00:34 | these two elements pre-prepared and I
am going to move those over into my image
| | 00:39 | like so. I will now press W to hide my
margins. So I have a letter in a text
| | 00:47 | frame on top of a circle. I need to
select the letter, go to my Type menu and
| | 00:53 | choose Create Outlines. Having done that,
I extend the selection to include the
| | 00:58 | circle and I come out to my Object
menu and down to my Pathfinder options and
| | 01:04 | choose Subtract, and this is going to
subtract the front most shape from the
| | 01:09 | shape that is beneath it, like so. So
now I can move that around and see the
| | 01:15 | sheep through my B.
| | Collapse this transcript |
| Using type as picture frames| 00:00 | Here's an oldie but a goody, using
type as picture frames otherwise known as
| | 00:05 | making a type mask. I am in the file
Typemask in the Text Effects folder and
| | 00:10 | obliviously what I want to do here is
put the picture inside the text shapes
| | 00:14 | and I have each word as a separate
text frame and that's necessary to get my
| | 00:21 | picture into both pieces of type.
| | 00:23 | So I am going to select them and choose
Create Outlines and then I am going to
| | 00:28 | come to the Object menu and choose
Make Compound Path, so the picture will go
| | 00:33 | into both pieces of type and not just
one. Then I am going to choose my Direct
| | 00:38 | Selection tool, select the picture and
Command or Ctrl+X to cut it, switch back
| | 00:44 | to my Selection tool, select the now
empty picture frame, delete that, press I
| | 00:50 | to go back to my Direct Selection
tool, click inside my text which is now
| | 00:55 | actually a picture frame and come up
to the Edit menu and choose Paste Into.
| | 01:00 | I can then click on that picture and
nudge it around to adjust the crop and I
| | 01:08 | might also think about putting a
stroke on the text shapes just to give them
| | 01:17 | some definition. So I am going to
click on Black, come up to my Stroke Weight
| | 01:23 | and let's make that about 3 point in
weight. Deselect that and there's my
| | 01:33 | finished result.
| | Collapse this transcript |
| Using type and transparency effects| 00:00 | There is an infinite number of effects
that you can get working with type and
| | 00:03 | transparency. Here we have just three
examples, which I hope will give you some
| | 00:07 | ideas for many more. I am in the
document Transparency in the Text Effects
| | 00:12 | folder and I am going to
zoom in on this top example.
| | 00:15 | Now this is all about having two
overlapping text frames and if I click on my
| | 00:20 | Effects panel we see that the blend
mode of this top text frame is set to
| | 00:25 | Overlay for the text. If you have
anything other than normal and 100% for any
| | 00:31 | of these properties then you are
considered to be using transparency. New in
| | 00:35 | CS3 is the ability to be able to set
the transparency in blend mode of the
| | 00:40 | Stroke, the Fill and the Text
independently, and we can see that if I move that
| | 00:45 | type around on there, we can get all
kinds of interesting effects where the two
| | 00:50 | pieces of type overlap.
| | 00:51 | I am now going to zoom out and look at
this example down here. If I turn on my
| | 00:57 | guides by pressing W, we see that I
have got a starting point for this file and
| | 01:02 | I am going to drag those on to my page.
| | 01:08 | Now to achieve the transparency effects
we have down here, we need to make this
| | 01:12 | elements overlap and we need to
change the blend mode. Each of these six
| | 01:17 | independent text frames has the same
fill color and the same type color. I am
| | 01:22 | going to press my W key to hide my
guides and then select these six text
| | 01:28 | frames, and I am going to first of
all change the blend mode for the Fill.
| | 01:33 | There's a certain amount of
experimentation involved here basically you try
| | 01:39 | different ones and the ones that you
like, the right ones in that situation,
| | 01:43 | but to quickly run through what they
do, Multiply will typically get you a
| | 01:47 | darker result, Screen a lighter result,
Overlay a more contrasting result, Soft
| | 01:53 | Light, Hard Light or either side of
overlay. Color Dodge is going to make
| | 01:59 | things lighter, Color Burn is going
to make things darker and the rest are
| | 02:03 | somewhat self explanatory, but it's
hard to predict exactly what they are going
| | 02:06 | to do in any given situation without
trying them. The good news there's no
| | 02:11 | penalty for trying them. So try
them if you like them and they work.
| | 02:16 | In addition to making the blend mode
Multiply. I am then going to click on the
| | 02:19 | object and I am going to change that
to Screen, and I happen to know that
| | 02:25 | Screen works because I have to admit
I tried it earlier. I think that works
| | 02:29 | really nicely.
| | 02:30 | Now there's one thing that we need
consider here though. I am going to delete
| | 02:35 | that now and then I am going to go to
my Layers panel and turn on my pic layer
| | 02:40 | because we see when we put some thing
behind this then all hell break loose and
| | 02:45 | we get a completely different result
to what we were expecting. So I need to
| | 02:50 | affect to something else in here and
that is I need to isolate these objects as
| | 02:55 | a group and have them only blend with
each other and not also blend with the
| | 02:59 | picture that is behind them.
| | 03:01 | So I am going to select these different
elements holding down the Shift key and
| | 03:06 | then I am going to come to my
Effects panel again and I am going to check
| | 03:10 | Isolate Blending. Now before I do that
I need to group them. So I am going to
| | 03:14 | come up to my Object menu, I am
going choose Group and then I am going to
| | 03:18 | choose Isolate Blending. That way they
blend only with themselves and do not
| | 03:24 | blend with what's behind them.
| | 03:26 | I am now going to move to my next page,
holding down my Option key and pressing
| | 03:31 | Page Down, and here we see a very
commonly used technique where we have text in
| | 03:38 | a semi-transparent text frame allowing
us to see some of the texture and detail
| | 03:43 | of the image behind, but at the
same time still allowing the text to be
| | 03:47 | readable or readable enough in this context.
| | 03:51 | So I am going to zoom out. I think I
will get rid of that one and grab this
| | 03:56 | one, move this into position right
about there, and going to my Swatches panel,
| | 04:05 | I am going to apply a paper color to
the background there, and then back to my
| | 04:11 | Effects panel. Now this is what's so
nice about this an improvement in CS3, I
| | 04:16 | can do this independently. I can go to
my Fill and say only reduce the opacity
| | 04:21 | of the fill, whereas in CS2 it would
have also reduced the opacity of my type.
| | 04:27 | So I am going to take that down to
about 50%. One more thing I want to do, well
| | 04:32 | two more things I want to do, I am
going to zoom in and then I am going to come
| | 04:36 | to my Object menu and choose Text
Frame options, because I want a bit of text
| | 04:40 | inset on that. I will say I am in
millimeters, so three millimeters I think
| | 04:46 | will do. That's going to require me
to resize my text frame a bit, like so.
| | 04:55 | Maybe I will return to my Text Frame
options and also center that vertically,
| | 05:05 | pull that down a little bit more,
like so and last thing - no not the last
| | 05:12 | thing, last but one thing I am going to
select text, because I want my text to
| | 05:15 | be brown rather than black. I am going
to use my Eye Dropper tool and sample
| | 05:19 | some dark brown from over here in the image.
| | 05:25 | Now I want to fade the edges of my
text frame and that is going to involve
| | 05:30 | coming up to the Object menu >
Effects, and this is going to be a Basic
| | 05:35 | Feather. I will turn on my preview
just to check what I am going to get and
| | 05:41 | that looks fine. Just
softening the edges of the text frame.
| | 05:46 | So there are three of many, many, many
different possible approaches to working
| | 05:52 | with type and transparency.
| | Collapse this transcript |
| Using custom-shaped text frames| 00:00 | So, nowhere is it written that your
text frames have to be rectangular in
| | 00:04 | shape; we can have text
frames of any shape we like.
| | 00:07 | I am in the Shapedbox file of the Text
Effects folder and I am going to select
| | 00:12 | this rectangular text frame and then
come up to my Object menu and choose
| | 00:16 | Convert Shape. Let's just see what
some of this shapes will give me, triangle
| | 00:20 | for example, or a polygon etcetera.
| | 00:29 | Okay. Now what I am going to do is I am
going to convert this to an ellipse and
| | 00:35 | then I am going to switch to my Pen
tool over here, and change the shape of
| | 00:40 | this ellipse and make it into a heart.
So if you are looking for an idea of a
| | 00:44 | Valentine's Day, this could be your solution.
| | 00:47 | So, when I am working with my Pen
tool, when I place my Pen tool over an
| | 00:51 | existing anchor point and click, I will
delete the anchor point; if I place my
| | 00:55 | Pen tool over a segment of the path
where there is no anchor point and click, I
| | 01:00 | will add an anchor point, which I
actually don't want to do here; and if I hold
| | 01:05 | down my Alt key and click on that
point, I will convert it from a curved
| | 01:09 | segment to a straight line segment,
and that's what I want to do to pinch my
| | 01:15 | circle at the bottom.
| | 01:17 | Still remaining in my Pen tool, I am
going to hold down by Command or Ctrl key
| | 01:22 | and click on this anchor point and then
I am going to pull this Bezier curve up
| | 01:25 | and to constrain it - I am also
holding down the Shift key, so I don't wobble
| | 01:33 | from side to side, and then I am going
to do the same thing to about the same
| | 01:38 | height over here.
| | 01:38 | Now I am going to get the center
anchor point, and again I am holding down my
| | 01:46 | Command or Ctrl key, and let's pull
that one down and let's also convert this
| | 01:53 | one, like so. There is my
custom shaped text frame.
| | Collapse this transcript |
| Using effects on type| 00:01 | In InDesign CS3, we now have access
to Photoshop like effects, which we can
| | 00:05 | apply to our type. I am in the document
effects in the Type Effects folder, and
| | 00:11 | the effects I am talking about are here
under the Object menu > Effects and if
| | 00:17 | you are a Photoshop user these
will look very familiar to you.
| | 00:20 | We can also access these from here
the Control panel and we can also access
| | 00:25 | them from the Effects panel. Now I am
going to access them from here and we see
| | 00:30 | that when I select an object through
which effects have been applied, I get
| | 00:34 | this fx symbol here indicating to what
property of the type object the effect
| | 00:40 | is applied, to the Text, to the Fill,
or to the Stroke, and it can be applied
| | 00:44 | to all three. Let me just zoom in here
for a moment. So here we have a simple
| | 00:48 | Drop Shadow applied, and if I wanted
to apply that Drop Shadow to the Fill, I
| | 00:53 | could just drag the Effects icon up and
make it a completely different looking result.
| | 01:01 | So, here we just have a gallery of
the different types of effects, an Inner
| | 01:05 | Shadow, an Outer Glow. If I want to
edit the Effects I just double-click on the
| | 01:16 | property to which the effect has
been applied, and we see we have got the
| | 01:21 | Blending mode that determines how the
color of the effect will combine with the
| | 01:25 | background, the Opacity, the Size of
the Effect, in this case I am applying a
| | 01:29 | seven point Glow, and over
here we have a 30 point Glow.
| | 01:37 | Now the thing about these effects is
they can tend to look little bit generic
| | 01:41 | because you can be assured that
everyone and their dog is using them, but we
| | 01:46 | have an infinite capacity to
combine them to get unique effects.
| | 01:50 | So, Satin, Basic Feather, Directional
Feather, let's have a look at Gradient
| | 01:58 | Feather, which is quite interesting one,
and here I can use my Gradient slider
| | 02:03 | to make my type more or less
transparent coming from a specific angle. If I
| | 02:11 | want to change that angle, I will just
spin this around here, I could also if I
| | 02:15 | wanted to make it Radial Gradient instead.
| | 02:20 | Now, these effects cannot be
incorporated into a paragraph style, but they can
| | 02:25 | be incorporated into an object style.
I have mentioned object styles a few
| | 02:30 | times before. Object styles are to
objects as paragraph styles are to
| | 02:35 | paragraphs of text and
character styles are to text selections.
| | 02:39 | So, let's say I particularly like
this effect and I want to be able to
| | 02:44 | replicate this on other pieces of type.
I am going to select this and then come
| | 02:49 | over with to my Object Styles panel and
make that into a new object style, and
| | 02:55 | I am going to call it inner shadow. Now
we can see that of the attributes that
| | 03:03 | the object style records, one of them
is the effects applied to that object.
| | 03:08 | And we see the inner shadow check box
checked. I am going to click OK. There,
| | 03:12 | on my object styles panel, is my new
object style and I am going to move over
| | 03:21 | here and now I am going to apply that
to this piece of type. We see that it
| | 03:26 | doesn't work, and the reason it
doesn't work is because if we look at the
| | 03:30 | properties of the inner shadow, we see
that the color of the inner shadow is
| | 03:38 | black, and the color of my type is
black so of course it's not going to work.
| | 03:42 | So, I need to come over to my Swatches
panel and choose a different color for
| | 03:48 | my type. I am going to choose my
Formatting Effect Text icon and then make sure
| | 03:56 | I have my Fill property active and then
choose a different color and now we see
| | 04:02 | the inner shadow.
| | 04:03 | It's important to bear in mind here
that while the effect is an object style
| | 04:09 | property, the color of the type and the
stroke of the type, that's a paragraph
| | 04:13 | style property, so if we want this
type to be the same color as this type, I
| | 04:18 | need to have the same stroke, then we
need to save this type as a paragraph
| | 04:23 | style which I will do quickly. Then if
we apply that paragraph style there, we
| | 04:39 | get not only the effect, but also the
Fill color of the type and the Stroke
| | 04:43 | color of the type. But when using
effects I advise you to combine the effects
| | 04:49 | to create a unique look.
| | Collapse this transcript |
|
|
ConclusionGoodbye| 00:00 | Thanks for viewing this title. I hope
that it's been useful to you; I hope that
| | 00:04 | you are able to take these typographic
techniques and improve your typography;
| | 00:08 | I hope that you are able to apply them
in your work and perhaps in your play too.
| | 00:13 | Bye for now.
| | Collapse this transcript |
|
|
