IntroductionWelcome| 00:00 | Hi there! My name is David Blatner and
if you have any interest in putting text
| | 00:05 | and graphics on a page I would like
to tell you about Adobe InDesign CS4.
| | 00:09 | (Music playing.)
| | 00:15 | Actually, what I really want to do is
tell you a lot about InDesign. I love
| | 00:19 | InDesign. Now InDesign is a high-end
professional designer layout tool used by
| | 00:24 | most graphic designers, magazine
publishers, book publishers, newspapers, and
| | 00:29 | ad agencies around the world. But the
good news is it's not that hard to learn.
| | 00:34 | And my InDesign Essential Training
title covers everything you need to know to
| | 00:38 | get up and running with InDesign.
| | 00:39 | For example, I'm going to teach you
how to create a new document and build
| | 00:43 | strong and flexible master pages,
which can really speed up laying out your
| | 00:47 | file. I'll talk about best practices
for importing text and graphics including
| | 00:52 | Photoshop, Illustrator, and even
Microsoft Word and Excel documents. I'll
| | 00:56 | discuss printing and exporting your
documents to reliable PDF files and I'm
| | 01:00 | going to teach you the most important
keyboard shortcuts and techniques for not
| | 01:04 | just getting the job done,
but getting it done efficiently.
| | 01:09 | InDesign is so rich and deep that every
feature relates to every other feature.
| | 01:13 | And that's why I have recommend that
you watch the Essential Training title
| | 01:16 | once all the way through and then go
back and watch specific videos when you
| | 01:20 | need a review. Plus, as with all the
other lynda.com courses you have the power
| | 01:25 | at your fingertips to stop, start, and
review the movies as many times as you
| | 01:29 | want as well as having
access to these lessons 24/7.
| | 01:33 | Now come with me on an amazing journey
through the essentials of my favorite
| | 01:37 | page layout program, Adobe InDesign CS4.
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| Using the example files| 00:00 | Before we jump in and start learning
about InDesign's features and how to use
| | 00:03 | them? Let me say a quick word about
the exercise files available for you to use.
| | 00:07 | If you are a Premium member of the
lynda.com Online Training Library or if
| | 00:12 | you own this title on disc, you have
access to the exercise files that I'll be
| | 00:17 | using throughout the training.
| | 00:18 | The files have been broken down into
Chapters and some of the Chapters into
| | 00:23 | individual videos. And if you are
following along, it's important to open the
| | 00:27 | correct file for each video. Many of
the files have the same name, but they may
| | 00:31 | be different in order to show off
or discuss particular features in the program.
| | 00:36 | To open this document, simply double
click on it and it opens in InDesign. If
| | 00:41 | you see a dialog box like this that
says there are Missing Link(s) or Modified
| | 00:45 | Link(s) go ahead and click Don't
Update Links, because those files obviously
| | 00:50 | aren't necessary for this particular exercise.
| | 00:53 | Also if you see a dialog box that says
You're Missing Fonts, you can go ahead
| | 00:57 | and replace them with fonts that you
have on your system. One more thing about
| | 01:00 | these files; at the end of each movie,
after we've moved objects around or
| | 01:05 | changed text, you should choose Revert
from the File menu; that's what I do. So
| | 01:10 | you will see a nice clean file at the
beginning of each movie. The reason I do
| | 01:14 | this is so that you can jump right to
any movie you want even if it's in the
| | 01:18 | middle of a chapter and you won't be lost.
| | 01:21 | If you are a monthly or annual
subscriber to the lynda.com Online Training
| | 01:25 | Library, you won't have access to
these files, but you can still learn either
| | 01:29 | by just watching what I do or by following
along using your own text and image assets.
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| InDesign workflow overview| 00:00 | Let's take a quick look at how you can
use InDesign's fundamental features to
| | 00:03 | lay out a whole page and get it ready
to print. This is just a quick overview,
| | 00:08 | so you can see a typical InDesign
workflow. So, I'm not going to stop and
| | 00:11 | explain each feature and how to use it.
That's what all the other movies in the
| | 00:15 | title are for.
| | 00:16 | To start with I have got some raw
materials here in my Exercises folder. I'll
| | 00:21 | launch InDesign and create a New
Document. I'm going to leave all of these
| | 00:26 | settings just the way they are because
it matches what I'm trying to create.
| | 00:29 | I'll click OK.
| | 00:31 | Now I have got a Blank document and I
need to start adding stuff to my page.
| | 00:34 | I'll open my Pages panel and double
click on my Master Page to add some items
| | 00:39 | on to my Master Page. These items are
going to show up on all my document pages
| | 00:43 | that I create. I'll go ahead and get a
rectangular frame and draw it outside
| | 00:47 | the page margins here a little bit.
That looks pretty good, somewhere right in
| | 00:51 | there, and now I need to stroke that.
It currently has 1 point black stroke.
| | 00:56 | I'm going to make it a little bit
thicker, may be a 2 point, Oh! Let's make it
| | 01:00 | a wavy stroke, that's kind of nice. We
can now change the color of this from a
| | 01:05 | straight black to maybe a little
bit lighter, how about a 40% black.
| | 01:10 | Now I'm going to put a new frame on my
page, somewhere around here, and I'll
| | 01:14 | fill that with a red color. Right now,
I'm going to take off the strokes, set
| | 01:18 | the Stroke to None and fill it with a
dark red. I don't have a dark red in my
| | 01:23 | swatches panel. So, I better create
one. Go to New Color Swatch, type in my
| | 01:28 | CMYK values; let's make this little
lighter, around 15% Black and then may be
| | 01:34 | 20% of Cyan, 100% Magenta, and 50%
Yellow. That looks pretty good. I'll go
| | 01:40 | ahead and click OK and it
automatically fills this object with that color,
| | 01:45 | looking very pretty indeed.
| | 01:46 | Now I'm going to deselect everything by
clicking out where there are no objects
| | 01:50 | in my page and I'm going to place one
of my graphics. In this case, it will be
| | 01:55 | this Bliss Logo. I'm going to import
this PDF file on to my page. I'll click
| | 02:00 | Open and then just click where I want
to put that. I'll put that right about up
| | 02:05 | here on this page. I can move it into
position by dragging it over into the
| | 02:09 | upper left corner and then I'm going to
resize this until it snaps against that
| | 02:15 | object there, it looks pretty good.
| | 02:17 | That logo looks a little bit rough;
it's just kind of low resolution. So, I can
| | 02:21 | improve the Screen View by going to
the View menu, Display Performance, High
| | 02:26 | Quality Display; yeah
that looks good, much better.
| | 02:29 | Let's go look at our document page, go
back to the Pages panel, double click on
| | 02:33 | Page 1, and now I better import some
text. So, I'll go to the File menu, choose
| | 02:38 | Place, select the text file that I
want to import. This is an RTF file from
| | 02:44 | Microsoft Word, click Open and then
I'll just drag out the area on my page that
| | 02:50 | I want it to fill. So it creates a
text frame and drops it right there. Why
| | 02:54 | don't I make that a little bit smaller
on the page? That's good. Just put it
| | 02:57 | right down there.
| | 02:58 | Okay, let's go get some more graphics,
why don't we -- I could use the Place
| | 03:02 | command to do that, but in this case
I'm going to use the application switcher,
| | 03:05 | which is Command+Tab on the Mac or Alt+
Tab on Windows. Go back to the Finder
| | 03:10 | and I'm going to just select the images
that I want. That baking chocolate one,
| | 03:14 | I'll hold down the Shift key to grab
those other ones on the Mac. On the
| | 03:17 | windows, I would hold down Ctrl to
select all of those and when I drag them in,
| | 03:22 | I switch back to InDesign with the
application switcher, I can see that the
| | 03:26 | place cursor is loaded; that is, I have
four images in the place cursor that I
| | 03:30 | can put anywhere on my page I want.
| | 03:32 | I don't have to make a graphic frame
first if I don't want to, I could simply
| | 03:36 | drag out an area and it just drops it
right in. So that's pretty cool, or I can
| | 03:41 | just click if I want to and it makes
it for me. So there are three of the
| | 03:45 | images and why don't I put
the fourth one down here.
| | 03:48 | Now I can start placing them where I
want. InDesign CS4's Smart Guides makes it
| | 03:53 | really easy to align all of these. So
I'm going to put that one there, drop
| | 03:57 | this one here, and I'll make this a
little bit smaller using the keyboard
| | 04:00 | shortcut, align this one, make it
smaller. I've a lot of control here over how
| | 04:05 | all of these objects lay out on the page,
and I can very quickly drop them into
| | 04:10 | position and make them look great. Now
I'll select all three of those and move
| | 04:14 | them down to give myself a little bit
more room, looking pretty good, and let's
| | 04:19 | put some more text on the page.
| | 04:20 | Now I have a Snippet File in that
folder as well. So, I'm going to place that
| | 04:25 | Snippet File file. Snippets are great
ways to reuse frequently used items. So I
| | 04:30 | made a Snippet File with some text in
it that I can place on my page and it is
| | 04:34 | all of these separate objects. It's
not just one text file, but it's all of
| | 04:38 | these objects and now I can drag them
around on my page right where I want
| | 04:42 | them. I'll select both of those or
all three of those drop them into place,
| | 04:46 | drop this into place; again, using the
Smart Guides to center this object on
| | 04:50 | the other object behind it. So that's
a very fast way to align things on the page.
| | 04:55 | I'll close my Pages panel here, and
this is starting to look pretty good and a
| | 04:59 | little bit more room at the top here.
So why don't I move these down. I can
| | 05:04 | select all of those and move them down;
obviously, I'm moving quickly here, but
| | 05:08 | you get the idea that I'm
laying out the page in a hurry.
| | 05:12 | I'm going to use the Type tool to draw
out a new frame right at the top here
| | 05:16 | and put some text into it. I'll just
type Our Products, I'll select that with
| | 05:21 | Command+A or Ctrl+A on Windows; jump
up to the Control panel, and I'll change
| | 05:26 | this font to let's say Myriad Pro and
I want this to be Bold. I need a really
| | 05:30 | bold face here, let's make it bigger,
so we can really see it. Let's change its
| | 05:35 | color to fill with that same red that
same red dark color, there we go, that's
| | 05:42 | nice and why don't I space it out. I
want to put extra space between each of
| | 05:46 | those characters. I don't see the
tracking command up here because I'm in the
| | 05:50 | Essentials workspace I better switch
over to the Typography workspace and that
| | 05:54 | gives me a lot more Typographic controls.
| | 05:56 | Now I can come in here and add a whole
bunch of tracking to add spacing between
| | 06:00 | each one of those characters. That is
looking really pretty good, but you know
| | 06:04 | there is something missing here. A drop
shadow. That's what I need. I love drop
| | 06:08 | shadows, I love just putting
drop shadows on everything.
| | 06:10 | So how would I get a drop shadow on
this document? I'll select this text frame,
| | 06:14 | I'll go over to the Effects panel,
and I'll select the Drop Shadow from the
| | 06:19 | Effects pop-up menu. That opens the
Effects dialog box and I can set this up
| | 06:24 | with whatever settings I want; may be
make it a little bit smaller, this is by
| | 06:28 | default too large. I can turn the
Preview checkbox On and see what's going on
| | 06:31 | while I'm working that's always helpful.
Let me make this a little bit smaller
| | 06:35 | and a little bit closer. I'm using the
Tab key or Shift+Tab to move back and
| | 06:39 | forth among all of these fields in
this dialog box. Click OK and now that is
| | 06:44 | really looking just right or I'll
press W to go into Preview Mode and we can
| | 06:49 | see that the page is laid out. It's
not perfect. I probably want to do more
| | 06:53 | fine tuning to get it just right and
increase the design integrity of the page.
| | 06:58 | This is a really quick overview for all
the different things that you can do in
| | 07:02 | InDesign. Adding effects, placing
graphics and text on your page. I'm going to
| | 07:07 | be covering all of these things in
more detail later in the title, but I just
| | 07:11 | wanted to give you a quick sense now
of the workflow that you are going to be
| | 07:15 | going through.
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|
|
1. The WorkspaceUnderstanding the Application window| 00:00 | Before we jump in to actually to
putting text or graphics on the page, we'd
| | 00:03 | better stop and take a look at the
various elements of InDesign's Application
| | 00:07 | Window, because whether you create a
new document or open an already created
| | 00:11 | one, you will see the same things.
| | 00:13 | For example, every application has
menus and InDesign is no exception. All
| | 00:17 | these menus live along the top of the
application, up here. InDesign also has
| | 00:22 | lots of lots of panels;
some people call them palettes.
| | 00:25 | For example, we can see this bar
along the top here. There is another panel
| | 00:29 | right next to it. This is called the
Control panel. The Control panel is
| | 00:33 | probably the most important panel in
InDesign. So, you'll always want to pay
| | 00:36 | attention to that.
| | 00:37 | Next down along the left edge, is the
Tool panel and along the right side there
| | 00:42 | are a bunch of panels likes the Pages
panel and Links panels and so on. And if
| | 00:45 | you click on one of those it opens it.
Click on it again, and it closes. We
| | 00:50 | will be talking a lot more about all
of these panels and how to use them, how
| | 00:53 | to open them, close them, navigate
around them in a later movie. But for right
| | 00:58 | now, I just wanted to point out where they are.
| | 01:00 | Now I do want to point out that,
obviously, I'm using the Mac OS version of
| | 01:04 | InDesign, but the Windows version of
InDesign is almost exactly the same. There
| | 01:08 | are a few little changes, but very,
very minor. Now one of the changes is that
| | 01:13 | on Windows the entire application is
living inside of an application frame,
| | 01:18 | sort of, a window within Windows. On
the Mac, traditionally, the application,
| | 01:24 | kind of, floats above the background
any other applications we could actually
| | 01:28 | see here like the OS Finder, the Mac
Finder is sitting here so that's why I can
| | 01:32 | see that folder sitting there.
| | 01:34 | Now in InDesign CS4, Adobe has
given us Mac users the ability to see an
| | 01:39 | application frame and hide all of the
other applications behind it. And the way
| | 01:43 | you do that on the Mac is you'll
go to the Window menu and you choose
| | 01:47 | Application Frame. That turns on
the application frame and the entire
| | 01:52 | application lives inside that frame and
some people like this; some people hate
| | 01:57 | it. You don't have to use it if you
don't want to, but let me to show you
| | 02:00 | what's going on here. The Application
Bar that we saw before it used to be,
| | 02:04 | kind of, a floating palette.
| | 02:06 | Now is the Title bar for this
application frame and I can click on it and drag
| | 02:12 | the whole window around. I can even
resize this by clicking on the edges of it
| | 02:17 | to make the application window smaller
or bigger and all the other panels and
| | 02:21 | document window resize accordingly. If
I want to fill the entire screen with
| | 02:26 | this application window, I click on
the green plus button, this maximize
| | 02:30 | button and now this fills the
entire screen. This is useful if you have
| | 02:35 | multiple monitors and you want
InDesign to take up like a whole monitor and
| | 02:39 | only be in that monitor, the
application frame might be useful for that, but to
| | 02:44 | be honest, I usually leave it turned Off.
I like the normal version of the Mac
| | 02:49 | OS without the application frame, but
its up to you, I just want to point out
| | 02:53 | that you can have it On or turn it Off.
| | 02:55 | Now inside the application, there is,
of course, a big document window. When
| | 03:01 | you have a document open, the document
window shows you the document in here
| | 03:05 | and let me just tell you a little bit
about what we are looking at here. We see
| | 03:08 | one page and the edge of the page is
this black line around here. The objects
| | 03:14 | on this page actually go out beyond
the edge of the document page in this
| | 03:18 | particular document, you don't have
to do that, but that's what's going on
| | 03:21 | here. But this black line is
the edge of the page itself.
| | 03:25 | Now inside the edge of the page we see
these pink and purple lines and those
| | 03:30 | are the guides, the Margin Guides. The
pink line is the Margin Guide and the
| | 03:35 | purple line is a Column Guide and
there is actually a Column Guide sitting on
| | 03:39 | top of the right edge Margin Guide here,
so that's why you can't see the pink
| | 03:43 | line on the side, but I'm going to be
going into a lot more detail about Margin
| | 03:47 | Guides and Column Guides and all of
that in a later movie. For now I just
| | 03:51 | wanted to point out what all of
these things we are seeing are about.
| | 03:54 | Now outside the document page is this
white area, let me zoom back on this so
| | 04:00 | we can see more of that. I'll be
talking about zooming later on in this
| | 04:03 | chapter, but for now I'll tell you
that if you press Command+Minus or
| | 04:07 | Ctrl+Minus on Windows, it zooms back.
So, I'm going to zoom back a couple of
| | 04:11 | times by pressing that keyboard
shortcut and we can see that there is this big
| | 04:15 | white area outside the document page
or the document spread and that is the pasteboard.
| | 04:21 | The pasteboard is just an area where
you can keep scraps of images or text or
| | 04:26 | whatever; things that you are not
ready to use quite yet. This is just, sort
| | 04:29 | of, a storage area for your document.
So that's what was going on there and
| | 04:34 | each page or each spread has its own
pasteboard. That's different than a
| | 04:39 | program like PageMaker, if you used
to use PageMaker. In PageMaker, the
| | 04:43 | pasteboard is the same for all of your
spreads, but in InDesign it works more
| | 04:48 | like Quark Express every
spread has its own pasteboard.
| | 04:52 | Just a few more things here, I
mentioned panels earlier and InDesign has a lot
| | 04:57 | of panels. We can only see a few of
them open here, but there are like 40
| | 05:01 | different panels that we are going to
be using throughout this title. I want to
| | 05:06 | point out that you can find all of
those panels here under the Window menu.
| | 05:09 | That's what all of these things are and
some of them are actually hiding inside
| | 05:13 | submenu. So there are a lot of panels
that we are going to be covering through
| | 05:17 | this title, but that's where they
all live. If you are ever looking for a
| | 05:20 | panel, go to the Window menu.
| | 05:23 | Now the last thing I want to point out
is the Help menu. And the Help menu is
| | 05:26 | very cool, it's funny, but a lot of
InDesign users just never get up to look at
| | 05:31 | that Help menu, but there are
really important things here.
| | 05:33 | First of all, InDesign Help, of course,
if you are ever trying to figure out
| | 05:37 | how to do something, just go straight
to InDesign Help, it's a surprisingly
| | 05:41 | good help system that Adobe has
created there and you can search for things
| | 05:46 | very quickly. So I just want to
point out that's the fastest way to get
| | 05:50 | InDesign to help.
| | 05:51 | If I click on that you see that it
brings up this Welcome Screen here and this
| | 05:54 | shows recently opened documents, it
lets me create new documents, and my
| | 05:59 | favorite part about it, is it gives
me links to great websites. So, for
| | 06:03 | example, the InDesign User Group. You
can get lots of good information from
| | 06:07 | InDesign User Group website and that's
a nice quick way to link right to it.
| | 06:11 | Let's go ahead and close this window.
And just a couple of more things here,
| | 06:15 | Updates; a really good idea to make
sure that InDesign is updated. Adobe is
| | 06:20 | constantly releasing small little mini
updates to the programs. So, every month
| | 06:25 | or so, you should click on Updates
and make sure that you are up to date.
| | 06:29 | Oh! Right above that is deactivate and
this is an interesting one. If you are
| | 06:33 | ever going to take your version of
InDesign off of this computer and put it on
| | 06:38 | a different computer then you should
deactivate first. A lot of people don't
| | 06:43 | realize that and get themselves in
trouble, because you are only allowed two
| | 06:47 | activations per copy of InDesign.
| | 06:49 | So, you could have one, for example, on
your desktop machine and another one on
| | 06:53 | the laptop, but if you ever need to
take it off the laptop and put in on a
| | 06:57 | different laptop, let's say, make sure
you deactivate that laptop first, then
| | 07:02 | uninstall, and then install on a new
machine. So, that's an important one. So,
| | 07:06 | there are all kinds of good stuffs
in here, there is even a link here, an
| | 07:10 | online support feature that launches
your web browser and it takes you right to
| | 07:14 | Adobe's Technical Support web page and
the information changes on the website
| | 07:18 | from time-to-time. I found it really
helpful to check. Again, every month or
| | 07:22 | two, go check that stuff out.
| | 07:24 | So, now you know your way around the
document page, the document windows, the
| | 07:28 | panels, and so on. Now it's time to
learn about navigation, zooming in and out,
| | 07:33 | changing pages, panning around your
document, and that's just what we are going
| | 07:38 | to cover in the next couple of movies.
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| Navigating pages| 00:00 | You won't get very far in InDesign
just by staring at the first page of a
| | 00:03 | document, no. You need to learn how to
navigate the high seas, zooming, panning
| | 00:08 | around, jumping from page to page. Well
let's start with moving around the page
| | 00:13 | and then look at how to
move from one page to the next.
| | 00:16 | The basic tool for moving around your
page is the Hand tool, down here at the
| | 00:21 | bottom of the Tool panel. But if
you actually select that tool, you are
| | 00:25 | probably not being efficient. Instead,
use the keyboard shortcut; it is a very
| | 00:29 | important one for you to get. That's
Option+spacebar on the Mac or Alt+spacebar on Windows.
| | 00:35 | When you press those down, you get
the Hand tool temporarily. Then you can
| | 00:40 | click and drag your page around. So
Option+spacebar on the Mac or Alt+spacebar
| | 00:45 | on Windows, click and drag, will move
your page. So that's really good. Try
| | 00:51 | that out a bunch of times.
| | 00:53 | In fact, I can even use that Hand tool
to navigate from one page to another.
| | 00:59 | The problem is it just takes a long time;
it's not very efficient at all. So if
| | 01:03 | you want to move from one page to another
in your document, you can use the Layout menu.
| | 01:08 | The Layout menu gives you a bunch of
controls, like First Page, Previous Page,
| | 01:13 | Next Page. But going to the menu all
the time is not very efficient at all.
| | 01:17 | Much better to learn the keyboard
shortcuts. For example, First Page,
| | 01:22 | Shift+Command+Page Up; that's what
that little squiggly symbol is. On Windows
| | 01:27 | it would be Shift+Ctrl+Page Up.
| | 01:30 | If I want to go to Next Page, I would
simply say Shift+Page Down. Or going to
| | 01:35 | the Next Spread is Option+Page Down,
that's what that symbol is, or Alt+Page
| | 01:40 | Down on Windows. I love that one; I
use it all the time. Let me show you.
| | 01:44 | Option+Page Down, in this case, I was
in center of that spread so went to the
| | 01:48 | same spread. Then Option+Page Down
again goes to the next spread, next spread
| | 01:52 | and previous spread or, if I use Page
Up instead, very, very handy keyboard
| | 01:57 | shortcut for moving around your document.
| | 01:59 | There are some other navigation tools
you need to know about. Down here in the
| | 02:03 | lower left corner of the document
window, there are some arrows and those
| | 02:08 | arrows are, as you might guess,
Previous Page, or Next Page. The arrow with a
| | 02:13 | little line next to it means Last Page
or First Page; that's what those buttons
| | 02:18 | are all about.
| | 02:19 | This button with a down arrow one
there lets you go to any page you want. I
| | 02:23 | just simply click on that; it gives me
a list of all the pages in my document
| | 02:27 | and I can simply click on page 4, and
it takes me right to that page. Or this
| | 02:31 | is an editable field in here, so I
can actually type in there, go to page,
| | 02:36 | let's say, 3, hit Enter and
it takes me right to page 3.
| | 02:39 | So, those are important things to
know about as well. Then, one of the best
| | 02:43 | ways to navigate around your document
is the Pages panel. Let's take a look at
| | 02:47 | that. I'll click once on the Pages
panel title. It opens up the Pages panel
| | 02:52 | here and I can move around that Pages
panel with these, scrollbar or even just
| | 02:57 | by clicking in the blank
area outside of these pages.
| | 03:00 | If I click in that and drag, I get
that little grabber hand and I can move
| | 03:04 | around the Pages panel, that's really
handy. But if I want to go directly to
| | 03:07 | page 1, I just double click on page 1.
It takes me right there. If I want to go
| | 03:12 | to a spread, then instead of double
clicking on the Pages icons, double click
| | 03:17 | on the numbers underneath the spread.
Double click on that and it takes me
| | 03:21 | right to the spread page 6 and
7. So those are really great!
| | 03:26 | Now, let me show you one other cool
navigation technique that they built into
| | 03:30 | CS4. This is new in CS4 and its called
Power Zoom. It's really cool! First of
| | 03:36 | all, we need the Hand tool. Remember
the keyboard shortcut? Option+spacebar on
| | 03:41 | Mac or Alt+spacebar on Windows. With
the Hand tool, simply click anywhere you
| | 03:46 | want on the page and hold
it down until it zooms out.
| | 03:51 | It zooms out the whole page like that.
Now I can move this big red rectangle.
| | 03:56 | I'm just moving the mouse cursor over,
moving the mouse over here, and when I
| | 04:00 | let go over the mouse cursor, it will
zoom in on that. So this is a really
| | 04:04 | handy way to navigate from one place to
another with the Zoom tool. You really
| | 04:08 | see it better when you are zoomed in.
| | 04:11 | I'll talk the zooming more in the
next movie, but let me just show you a
| | 04:14 | technique, Command+Plus or Ctrl+Plus on
Windows, lets me zoom in on an area. So
| | 04:20 | let's say, I'm zoomed in on the page
here and I want to go to a different part
| | 04:24 | of my page. How do I do it? The
Power Zoom is an awesome way to do it.
| | 04:29 | Option+spacebar or Alt+spacebar on
Windows, click and hold and it zooms way out.
| | 04:34 | Now I can say, well let's go away down
over to this word over here. Let go and
| | 04:39 | it zooms in. So this is a very
efficient way to do it; Option+spacebar or
| | 04:43 | Alt+spacebar, click, zoom out. Let me
show you one another technique with Power
| | 04:47 | Zoom. I'm still going to hold down the
mouse button, but I'm going to let go
| | 04:51 | off my keyboard shortcut with my other hand.
| | 04:54 | I'm letting go off the keyboard and
I'm going to use the arrow keys on my
| | 04:58 | keyboard; the Up arrow and the Down
arrow or Left and Right, it doesn't matter.
| | 05:03 | But in this case, the Up and Down
or Left and Right will make that red
| | 05:07 | rectangle bigger or smaller. So for
example, if I really want to zoom in just
| | 05:11 | on this number, I'll zoom in by
pressing the Down arrow a few times and then
| | 05:17 | let go, and it zooms right in on it.
| | 05:19 | Come back out and let's say now, I
want to zoom in on this whole area here.
| | 05:24 | Well that red rectangle is too small,
so I'm going to press the Up arrow a few
| | 05:28 | times. Then when I let go over the
mouse button, it zooms in on that. So you
| | 05:33 | have a lot of control over how you
are zooming in and out and where you are
| | 05:37 | navigating on your page.
| | 05:39 | I love that Power Zoom feature. I
could do that all day, zooming out and back
| | 05:43 | in. But we can't stop there; we have
to move on to learn about even more
| | 05:48 | features about zooming in the next movie.
| | Collapse this transcript |
| Zooming and magnifying| 00:00 | Even if you had a super high-
resolution computer screen, you would still
| | 00:03 | sometimes need to zoom in to see
details and zoom out to see the big picture.
| | 00:08 | It's all possible in the InDesign, of
course, once you know where to look.
| | 00:11 | For example, up here in the
Application bar, there is a view percentage and I
| | 00:16 | can click on that little pop-down menu
and choose 100% to go right to 100% or
| | 00:21 | maybe 200% to go to 200%, as simple as
that. Or I can actually change this; if
| | 00:27 | I click inside that field I can type
anything I want. Let's say, go to 46%;
| | 00:33 | press Enter and it zooms back to 46%.
| | 00:37 | By the way, if I close the Application
bar, just something you should know; if
| | 00:40 | you happen to hide that Application bar,
then that same percentage field shows
| | 00:45 | up down in the lower left corner of
your document window hiding way down there.
| | 00:50 | So you can do all the same sorts of
things down in the lower left corner of the
| | 00:53 | window, if you have the Application
bar closed. It's just one of those
| | 00:57 | preferences, something you should know about.
| | 00:59 | Another way to zoom in and out is to
use the View menu. We can see here zoom
| | 01:03 | in, zoom out. We talked about these
keyboard shortcuts in earlier movies;
| | 01:08 | Command+Equals or on Windows it's
Ctrl+Equals. I usually think of that as
| | 01:13 | Command/Ctrl+Plus, because it's the
same key on the keyboard; but it's
| | 01:18 | Command+Equals, technically, or to
zoom out, Command+Minus or Minus or
| | 01:23 | Ctrl+Minus on Windows.
| | 01:25 | So to fit the whole page in the Window,
Command+0 or Ctrl+0 on Windows or to
| | 01:31 | fit the Spread in the window, I use
this all the time, Command+Option+0 or
| | 01:35 | Ctrl+Alt+0 will fit the entire Spread
in the Window, when you are working. Now
| | 01:40 | this one down here, Actual Size, it's
not really actual size technically; it's
| | 01:45 | just 100% view. It will
just zoom you to 100% view.
| | 01:49 | So for example, if I press Command+1,
I go to 100% view and there is also, I
| | 01:55 | should point out, this only says 100%
view here; there is a bunch of other
| | 01:59 | keyboard shortcuts, which InDesign
hides from you. I don't know why they don't
| | 02:03 | put them in this menu; maybe it would
make it too long. But it's very easy, and
| | 02:06 | you should know about them. Command+2
or Ctrl+2 on Windows, zooms to 200% or
| | 02:13 | Command+4 or Ctrl+4 on Windows,
zooms to 400%. Now you can get it really,
| | 02:18 | really close here. Or Command+5 or
Ctrl+5 on Windows, doesn't go to 500%.
| | 02:24 | It goes all the way back to 50%.
| | 02:26 | So Command+1, 2, 4 and 5 or Ctrl on
Windows; those are very important to keep
| | 02:33 | in mind. But, there is one problem
with using those, all of these techniques
| | 02:37 | that I have talked about so far, and
that is, it does not give you any control
| | 02:41 | about where you are zooming. For
example, if I press Command+4 or Ctrl+4 on
| | 02:46 | Windows, it zooms right in on these
chocolates. But that's not where I wanted
| | 02:50 | to go; I wanted to go in the upper left
corner of the page, so that's really frustrating.
| | 02:55 | So let me show you another technique
for zooming that you need to know about.
| | 02:58 | I'll go back to fit the whole page in
the window with Command+0 or Ctrl+0 on
| | 03:03 | Windows, and I want to zoom in, let's
say on this area here. So I'm going to
| | 03:08 | use the Zoom tool down here at the
bottom of the Tool panel. But I'm not going
| | 03:13 | to choose that from the Tool panel,
because to me that would just be too inefficient.
| | 03:17 | So instead, I'm going to use the
keyboard shortcut for that Zoom tool. Now on
| | 03:21 | the Macintosh, I press the spacebar
first and then the Command key, and you can
| | 03:26 | see it turns into a little icon of a
magnifying glass with a + symbol in it.
| | 03:31 | Now that lets me zoom in just by
clicking. On Windows, you can do spacebar+Ctrl
| | 03:38 | or Ctrl+spacebar. It doesn't matter.
But I make the point here, because on the
| | 03:42 | Mac OS, if I press Command+spacebar,
well that triggers the Mac OS spotlight
| | 03:48 | feature and that's really annoying to me.
| | 03:51 | So on the Mac, I usually do spacebar
+Command and then that bypasses the
| | 03:56 | spotlight entirely and then I click. On
Windows it doesn't matter; you can do a
| | 03:59 | spacebar first or the Ctrl key first,
either way. Now let's use zoom in, right.
| | 04:04 | How do I zoom out again? I just add
the Option or the Alt key to that. So the
| | 04:09 | spacebar+Command+Option will give me
the magnifying glass with a minus sign in
| | 04:14 | there. That lets me zoom out, or on
Windows, it's Ctrl+Alt+spacebar, will let
| | 04:20 | you zoom out. So that's very, very handy.
| | 04:22 | One more thing I should tell you about
the Zoom tool, and that is, if you want
| | 04:25 | to zoom in on a particular area of
your page, you don't necessarily have to
| | 04:30 | click, click, click to get there. You
can use the keyboard shortcut to get the
| | 04:34 | Zoom tool that you want and then drag
an area around. I'm just dragging up a
| | 04:39 | marquee rectangle around this area.
When I let go over the mouse button, it
| | 04:44 | zooms right in on that.
| | 04:46 | So that's a very fast way to zoom right
in on exactly what you want to look at.
| | 04:50 | It's really worth of time to go over
all these navigation and zoom features a
| | 04:54 | number of times and get them down pat,
because these are the features that you
| | 04:58 | are going to use a 100 or
even a 1000 times each day.
| | Collapse this transcript |
| Managing multiple windows| 00:00 | I almost never work with just one
document open at a time. In fact, sometimes I
| | 00:04 | have a half dozen or more documents
that I need to manage efficiently. So let's
| | 00:08 | see how InDesign handles multiple
windows. Right now, I only have one document
| | 00:13 | open, but I'm going to open a second
one by switching back to the, in this case
| | 00:17 | the Mac OS Finder. Now I'll double
click on this sheet document and I can see
| | 00:21 | that it opens in a new
tab of my document window.
| | 00:25 | I have my original document and this
new one over here. This is a new feature
| | 00:29 | in CS4, the ability to have multiple
documents as tabs within the document
| | 00:35 | window. It's easy to switch back and
forth; simply click on a tab and you go
| | 00:40 | right to that document. Or you can
go to the Window menu and choose the
| | 00:43 | document you want from the
bottom of that Window menu.
| | 00:46 | Tabbed windows are great, but
sometimes it's really nice to have multiple
| | 00:50 | windows, have each of these documents
in its own window. You can do that easily
| | 00:55 | by clicking on the tab and pulling it
out of the document window. Now when I
| | 01:00 | let go, it becomes its own document
window. I can put anywhere I want, even on
| | 01:04 | a second monitor if I had one.
| | 01:06 | If later I decide that I want to
consolidate it into the same document window
| | 01:11 | over here. No problem, click and drag,
and as soon as I see that little blue
| | 01:16 | line highlighting inside the original
document window, I let go over the mouse
| | 01:20 | button and it becomes a tab again.
| | 01:23 | If I had a lot of documents in one
document window, I might want to pull them
| | 01:27 | all apart; but clicking and dragging
would be really slow. So instead, I'll go
| | 01:31 | to the Window menu, choose
Arrange and choose Float All in Windows.
| | 01:37 | This Arrange submenu gives you a lot of
control over your Windows. But in this
| | 01:41 | case if I choose Float All in Windows,
all of the documents show up in their
| | 01:45 | own document windows; or to reverse the
process, go to Window, Arrange and say
| | 01:51 | Consolidate All Windows. Now they
all go into one document window. I can
| | 01:56 | maximize that window by clicking on
the green maximize button here, and that
| | 02:00 | looks much better.
| | 02:01 | Make sure you have few other ways that
you can manage multiple windows. Up here
| | 02:06 | in the Application bar, there is this
unnamed pop-up menu, which gives you
| | 02:10 | various configurations for how you
want your windows to appear on screen.
| | 02:14 | So for example, if I want these to be
tiled vertically 2-Up, I can simply click
| | 02:20 | on that one, and now I get two windows
right next to each other. Or if I want
| | 02:24 | them to be horizontal, I'll choose that
2-Up instead. The more documents I have
| | 02:29 | open at the same time, the more options
it gives me for how to configure those,
| | 02:33 | or lay those out on my document screen.
| | 02:36 | The last thing I want to point out is
the keyboard shortcut for moving from one
| | 02:41 | document to another. This is very
important, of course, because if you want to
| | 02:44 | be efficient in InDesign, you want to
master the keyboard shortcuts. So the
| | 02:48 | keyboard shortcut for moving from one
document to the next, one window to the
| | 02:51 | next, is Command+Minus.
| | 02:53 | That key is the accent that's up
near the 1, the number 1 key on the US
| | 02:59 | keyboards; on international
keyboards it maybe placed differently. But
| | 03:04 | Command+Minus will move from one
document to the next, even if the two
| | 03:09 | documents are tabbed inside of a
single document window. For example, I'll
| | 03:13 | place that one inside of there and
Command+Minus still works if I'm going from
| | 03:17 | one document to the other.
| | 03:19 | Just like the page navigation
techniques that we saw in the previous movies,
| | 03:22 | managing your windows efficiently is
key to being productive in InDesign.
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| Setting rulers and measurements| 00:00 | As scientists like to say, "If you can
measure it, it must be there," but how
| | 00:04 | do we measure things in InDesign? Well,
measurements show up in a number of
| | 00:08 | locations including the Control
panel, up at the top of the screen, for
| | 00:11 | example, if I select an object here,
I can see all kinds of measurements up
| | 00:16 | here. They are all in inches. Here in
the Rulers, on the side of the document
| | 00:21 | window, we also see inches; but
what if you use picas or millimeters.
| | 00:27 | Well, no problem. You can change the
measurement system to anything you want.
| | 00:31 | The way you do that is, right-click on
one of the rulers, or if you are using a
| | 00:35 | Mac with a one-button mouse, then Ctrl
-click on a ruler and then you get a
| | 00:40 | Context menu with all of the different
ruler options here. You have got Inches,
| | 00:45 | and Points, and Picas, Inches Decimal;
Inches Decimal is the same as Inches,
| | 00:50 | except it changes that number of
tick marks in between each of the inch
| | 00:54 | numbers. So instead of getting like
a quarter inch, you get 0.1 inch, 0.2
| | 00:59 | inches and so on; some
people like that kind of thing.
| | 01:02 | You could change it to Millimeters or
Centimeters or Ciceros or even Agates.
| | 01:10 | Agates is a little trivia question.
What is an Agate? An Agate is 1/14th of an
| | 01:16 | inch, which is something you probably
will never need to know, but isn't that
| | 01:20 | nice that you do know that now whenever
you need some publishing trivia, 1/14th
| | 01:25 | of an inch -- anyway, most people use
Picas or Inches or Millimeters; in this
| | 01:30 | case, I'll choose Millimeters.
| | 01:31 | We can see that this ruler changed,
and the Control panel changed, so all my
| | 01:35 | vertical measurements changed into
millimeters. So I'm mixing inches and
| | 01:39 | millimeters. If I want to change the
horizontal ruler, I would do the same
| | 01:43 | thing. right-click on it or Ctrl-click
with a one-button mouse and choose the
| | 01:48 | value. A little secret trick here, if I
want both rulers to change at the same
| | 01:53 | time, then right-click or Ctrl-click
with one-button mouse on the intersection
| | 01:58 | between the rulers; that lets me
change both of them at the same time.
| | 02:02 | Let's say I'll change both of these to
Centimeters. There we go, now I have got
| | 02:06 | centimeters on both rulers at the same
time. Now this change to the measurement
| | 02:11 | systems, to the rulers, only affects
this particular document, because this
| | 02:15 | document was open when I made the change.
If I want to change other documents,
| | 02:19 | I would have to open those documents
and change them or if I want to change all
| | 02:23 | new documents I create, well, there is a trick.
| | 02:26 | I'm going to close all my documents; I
won't save the changes on this one, and
| | 02:31 | then with no documents open, change
InDesign's Preferences. You'll see there is
| | 02:36 | no rulers to click on here, so instead
we are going to go to the Preferences
| | 02:40 | dialog box and on Windows you go to
the Edit menu, but on the Mac they have
| | 02:45 | moved it to a different place; on
the Mac you go to the InDesign menu and
| | 02:48 | choose Preferences and then Units & Increments.
| | 02:52 | So, once you go to Units & Increments
and click on that, it takes you right to
| | 02:56 | the Units $ Increments pane of the
Preferences dialog box and we can see the
| | 03:00 | Horizontal and Vertical Ruler Units. So
here we can change this to Millimeters
| | 03:05 | or whatever you want to change it to,
and as soon as I click OK, it will affect
| | 03:09 | all new documents that I create from now on.
| | 03:12 | InDesign is full of these hidden but
useful features that just makes it more
| | 03:17 | rich and more fun to use.
| | Collapse this transcript |
| Positioning panels| 00:00 | Most of InDesign's features live
inside its panels and there are a lot of
| | 00:04 | panels in this program. They all live
up here in the Window menu. All of these
| | 00:08 | things are different panels in InDesign.
| | 00:11 | Well since you are going to be looking
at these panels a lot, you should know
| | 00:15 | how to manage them efficiently. By the
way, the word panels. Some people call
| | 00:20 | them palettes, some people call them
panels. If you hear me or someone say
| | 00:24 | palette, just smile and know that
panel and palettes are the same thing.
| | 00:28 | Now when you first open InDesign, you
see a list of panels along the right side
| | 00:34 | of the screen. These panels live
inside something called a Dock. You can see
| | 00:39 | it's a dock because this is dark gray
line across the top, and if I click on
| | 00:43 | this double-headed arrow in the Dock,
it changes the view of those panels from
| | 00:47 | just the title to the full view of the
panel. I can actually see what's going
| | 00:51 | in there. To me that's too busy. I
just want to see one panel at a time.
| | 00:56 | So I'm going to click on that panel
again and now I just see the titles. To see
| | 01:01 | one of the panels, I click on it and it
shows me that panel. Click on the title
| | 01:06 | again and it closes. Again click on
the title and it opens this panel, and I
| | 01:10 | can click on this title or I could
also click on this title and that would
| | 01:15 | close it. Or I could click on another
panel because you can only have one panel
| | 01:21 | in a dock open at each time otherwise
the panels would kind of overlap each
| | 01:25 | other and that would be really messy.
| | 01:27 | Now one of the coolest things about
Dock is that you can change their width.
| | 01:31 | I'll close that panel and I'm going to
move my cursor right over the left edge
| | 01:35 | of this dock and I'm going to drag it
this way or this way. And you can see
| | 01:40 | that if I make it really narrow, the
title start dropping out until pretty soon
| | 01:45 | it's just the icons.
| | 01:47 | I like using just the icons. I like the
dock in this view personally because I
| | 01:51 | don't need to see that titles all the
time. Maybe for the first week or so of
| | 01:55 | using InDesign you will need those but
pretty soon you get to know that, okay,
| | 01:59 | that's the Swatches panel and that's
the Color panel and that's the Stroke
| | 02:02 | panel. We are going to be talking about
all of these different panels in later movies.
| | 02:06 | But the important thing now is you get
to know what the icon is and now that is
| | 02:11 | minimized like that, I can maximize
my document window, so I can use better
| | 02:16 | screen real estate, see that's much
nicer, I get lot more space there and just
| | 02:20 | click on an icon and it opens the whole
panel for me. So that's the way I would
| | 02:25 | like to work but you work the
way that is comfortable for you.
| | 02:27 | Now let's say, I want the Links panel
open here. I'm not going to get into the
| | 02:31 | details what the Links panel does, but
let's say I want this Links panel open
| | 02:35 | all the time, I don't what it to keep
closing on me or maybe I want it in a
| | 02:39 | different part of my screen. Well no
problem, I can simply drag the Links title
| | 02:44 | up here, that little tab, drag it out
until it's a free-floating panel. Now
| | 02:50 | it's going to sit right here on the
page instead of over there in the Dock. I
| | 02:54 | could do the same thing with the Pages
panel if I want, just drag it out and
| | 02:57 | now it's not part of the dock
anymore, it's free floating.
| | 03:00 | InDesign also lets me group multiple
panels together into panel groups by
| | 03:05 | dragging that little title bar and
dropping one panel on top of the other. So
| | 03:10 | now I have got two tabs inside one
little panel group. Let's look at some other
| | 03:15 | options for what we can do with panels.
| | 03:18 | See that little dotted line here,
that dotted line means that this a panel
| | 03:23 | group. So I can drag that whole thing
out and I can get in this case, let's
| | 03:27 | say, a little panel group of just one
little panel and it's kind of cute, I can
| | 03:32 | click on that and it extends, I can
click on it again and it minimizes. I'll do
| | 03:37 | the same thing over here with this
panel group and maximize that. So I have a
| | 03:41 | lot of control over panels and panel groups.
| | 03:43 | Now If I want to put these back into a
dock, I simply drag the dark colored bar
| | 03:49 | at the top, drag that all the way over
to the right edge and you can see a blue
| | 03:54 | line. The blue lines in InDesign are
very important, they always give you an
| | 03:59 | indication of what's going to happen
when you let go over the mouse button. So
| | 04:02 | if I let go right now, it create a new
dock and it puts that panel in it, let's
| | 04:07 | go ahead and minimize that so
it doesn't take so much space.
| | 04:10 | I can do the same thing with this
little panel group, it's actually a group of
| | 04:13 | just one panel and if I'll drag this
over here and I let go, see that little
| | 04:18 | blue line and that means it's going to
add it at the bottom of that panel. If
| | 04:23 | instead I moved the cursor the cursor
up a little bit and it highlights that
| | 04:26 | whole panel group that is docked there,
that means it's going to drop this
| | 04:30 | panel group inside that panel group.
So it will merge them, so that's kind of interesting.
| | 04:35 | Let me show you one other option; if I
move to the left a little bit, I see a
| | 04:40 | small blue vertical line. It's a
little bit hard to see, but that little blue
| | 04:44 | vertical line means it's going to
create a new panel dock. Let go there and you
| | 04:49 | see that I have got one dock here and
one dock here, and they act independently
| | 04:54 | of each other. So I can maximize that
one or this one, it's totally up to you.
| | 04:57 | Let's do the same thing with this panel
group over here, I'll drag it over and
| | 05:03 | if I move it here, I'm going to get a
new dock. If I move it here I'll get a
| | 05:06 | new dock in between those docks or I
can put it at the bottom of this one and
| | 05:11 | it will actually add it to this dock.
So you have a lot of control over these
| | 05:15 | panels, where they go, how they
are going to be docked and so on.
| | 05:18 | Let me show you a few other things
that you need to know about panels. I'll
| | 05:22 | open a new panel; let's say the Info
panel, why not. Grab the Info panel and I
| | 05:26 | can move it where I want to by
dragging it's title bar around, and I want to
| | 05:29 | play around out a couple of things.
Most panels let you minimize them, that is
| | 05:34 | make them shorter than they usually
are in case you want to make them almost
| | 05:38 | disappear but not entirely disappear.
| | 05:40 | The way you do that is you click once
on this little double-headed arrow here
| | 05:44 | or double click on the title. It does
the same thing. Double click once and you
| | 05:48 | can see it may gets a little bit shorter,
double click again and it gets really
| | 05:52 | minimized, come like a window shade
rolling up and now I can put it anywhere I
| | 05:55 | want on my page and it stays small. To
make it bigger again, just double click
| | 06:00 | on and it rolls down and I can see
all that information for that panel.
| | 06:05 | The other thing that you absolutely
need to know about is that in almost all
| | 06:09 | the panels, they have these little
menus that sit on the side, I call it as fly
| | 06:14 | out menus, because when you click on
them, they kind if fly out to the side and
| | 06:18 | these fly out menus give you a lot of
features that you might ordinarily not
| | 06:22 | notice. So here there is bunch of cool
information in them, if I do the same
| | 06:27 | thing with the Swatches panel, we can
do a lot on the Swatches panel, this is
| | 06:30 | all the color Swatches, but the fly out
menu here gives me even more controls,
| | 06:35 | like how I want the colors to show up
in the Swatches panel, how to create a
| | 06:40 | New Color Swatch, and that kind of thing.
| | 06:42 | So I'm not going to any of that
right now, I'll deal with that in a later
| | 06:45 | movie, but I just want to point out
that those panel menus are very important,
| | 06:49 | we should always pay attention to
what's hiding inside those menus.
| | 06:53 | Now you will notice that as I'm
working on this document, selecting things,
| | 06:56 | moving them around and so on, this
Swatches panel stays open even though it's
| | 07:00 | docked over here. Well that's a
preference, some people like those just stay
| | 07:04 | open, some people like those panels to
close as soon as they start working on
| | 07:08 | the document again. And you can do it
either way, to change that, you can go to
| | 07:13 | the Preferences dialog box, in Windows
you go to the Edit menu, here on the Mac
| | 07:17 | I'm going to go to the InDesign menu,
but either way you choose Preference,
| | 07:20 | Inter phase, and now here in the Inter
phase pane of the Preference dialog box,
| | 07:26 | there is an option here for Auto-
Collapse Icon panels. So I'll click on that,
| | 07:31 | I'll turn that on, click OK, and now
we can see that this is open even though
| | 07:36 | it is in icon mode, it stays open
until I click anywhere on my document page
| | 07:41 | and now it collapses, it closes again.
| | 07:44 | Same thing with the Pages panel, it
stays open until I click over here on the
| | 07:48 | document page and then it collapses.
It's a preference, however you like to work.
| | 07:53 | Positioning your panels is all
about finding what you need as easily as
| | 07:57 | possible, but you will quickly find
that you need different panels open at
| | 08:01 | different times, for example, when
you are working with text, you will need
| | 08:05 | certain panel open and then you will
need different panels open when you are
| | 08:09 | working with color or images. That's
where workspaces come in and that's we are
| | 08:13 | going to cover in the next movie.
| | Collapse this transcript |
| Saving workspaces| 00:00 | It's great that InDesign lets you put
your panels anywhere you want on your
| | 00:03 | screen, but honestly if you have too
many panels open at the same time, you are
| | 00:07 | going to have no end of frustration.
For example, here I have a taken a moment
| | 00:12 | to open about a half of the panels in
InDesign and move then around so I can
| | 00:15 | see most of them but of course on this
screen, I can only see just a tiny bit
| | 00:20 | of my actual document to do any work on.
So this is crazy. You don't want to
| | 00:24 | get into this kind of mess.
| | 00:26 | So in general, you only want to have
the panels open that need right now. For
| | 00:30 | example, if you are editing text, you
want to only have your text relevant
| | 00:35 | panel opens or if you are changing
images or colors. You want to just have
| | 00:39 | those panels open. So let's go ahead
and start some of these panels and this is
| | 00:44 | just going to take too long to close
all of them. So I wish that I could just
| | 00:48 | switch to work a whole new workspace
that shows me just the panels that I want.
| | 00:53 | Did you notice that what I said? I
said workspace. Workspaces, let's go look
| | 00:57 | for something like that and in fact
up here in the Window menu, there is a
| | 01:01 | Workspace submenu. The Workspace
submenu lists a bunch of different spaces that
| | 01:07 | show different panels. A workspace is
a collection of which panels are open,
| | 01:12 | which ones are closed and where
are the panels are on the screen.
| | 01:17 | So for example, if I choose Typography,
look what happens, that's much nicer,
| | 01:22 | it put away all those panels and it
opens up the panels that are just relevant
| | 01:27 | for Typography. Let's say if I choose
Advanced, well then I get a different
| | 01:32 | setup, so you can choose different
sorts of workspace and notice that there is
| | 01:36 | two places to do that; the Window menu
> Workspace, you can choose it out of
| | 01:40 | here, or the Workspace menu here in
the Application bar at the top of the
| | 01:45 | screen, they do exactly the same thing.
| | 01:47 | So there are different options. Or I
could back to Essentials again, there we
| | 01:52 | go. There are the Essentials. That
doesn't look very essential to me, does it?
| | 01:55 | It's because InDesign remembers
all the changes that you make to a
| | 01:59 | workspace. So for example, Essentials
was actually very basic and pared down,
| | 02:04 | but then I started opening panels and
moving them around and adding new docks and so on.
| | 02:09 | If I want to go back to the way
Essentials was originally, the original
| | 02:13 | definition of Essentials, I can do
that by clicking on that submenu, that
| | 02:17 | little popup menu here and choose
Reset Essentials. And that takes me back to
| | 02:22 | the way it was originally, that's
much cleaner, much easier on the eye, so
| | 02:28 | that's the essential Essentials.
| | 02:30 | Now what if I want certain panel opens
and certain ones closed, for example,
| | 02:34 | maybe I want the Info panel open and
I'll move it over here and I want the
| | 02:40 | Layers panel and I'm going to move it
over here. And I'll choose something else
| | 02:43 | here, maybe I'm just choosing some
random things like the Preflight panel and
| | 02:47 | I'm going to put that over
here and dock it in here.
| | 02:49 | Now let's say this is the way I would
like my panels to be setup. So I have
| | 02:53 | customized it to the way that I work, I
can save exactly this layout as my own
| | 02:59 | custom workspace by going to the
Workspace popup menu and choose New Workspace.
| | 03:05 | I'll call this David's workspace,
there we go and I'll click OK and you will
| | 03:10 | see that now David's
workspace shows up here in this menu.
| | 03:14 | So you see I have customized InDesign
to the way that I work by making my own
| | 03:18 | workspace. Once I have saved my own
custom workspace, it's always there waiting
| | 03:23 | for me in that popup menu. So I can
always choose it, so later I'll choose
| | 03:28 | let's say Printing and Proofing and
it gives me a bunch of print based or
| | 03:32 | output based panels and then later if
I want to go back to David's workspace,
| | 03:36 | there it is, right at the top of the
list, so I really, really like that a lot.
| | 03:40 | Let me point out a couple other
workspaces that you should know about, one is
| | 03:45 | Getting Started. If you are new to
InDesign and you may well be if you are
| | 03:49 | watching this movie, then the Getting
Started workspace is very simple, it's a
| | 03:54 | paired down workspace, it only shows
you a few panels and it only shows you a
| | 03:59 | few menu items. This is an
interesting aspect of workspaces, workspaces can
| | 04:04 | actually hide menu items and I'll be
showing you the trick to how to do that
| | 04:08 | yourself in a later movie, but for
right now you need to know that sometimes
| | 04:12 | when you choose a workspace, it
may hide some of the menu items.
| | 04:16 | When it happens, you will see at the
bottom of the menu something that says
| | 04:19 | Show All Menu Items. So if you are
looking for a feature and you can't find it,
| | 04:24 | pay attention to that little thing at
the bottom, you may need to click Show
| | 04:27 | All Menu Items and as soon as I click
on that you will see that there is a lot
| | 04:31 | more features in there
that I hadn't seen before.
| | 04:34 | There is another way to get that as well,
and that is to instead of clicking on
| | 04:38 | a menu, you hold on the Command key on
the Mac or Ctrl key on Windows and then
| | 04:43 | it shows you all the menu items
automatically without having to click on the
| | 04:47 | Show Menu Item thing. So that's just a
little trick, just in case for example,
| | 04:51 | here is the Edit menu, not much there,
but if I Command or Ctrl-click on it,
| | 04:55 | there is a lot more features in there
that had been hidden. So just be aware
| | 05:00 | that when you are using something like
Getting Started, it's going to hide some
| | 05:03 | of those menu items from you.
| | 05:04 | There is another interesting one in
here as well that you should know about,
| | 05:07 | called What's New, and What's New is
helpful if you were a CS3 user and you are
| | 05:13 | now using CS4. This workspace shows you
all the things that have changed, so it
| | 05:18 | opens up all the panels that have
changed, like the Links panel has changed,
| | 05:22 | the Preflight panel is completely new,
so that one wasn't even there in CS3
| | 05:26 | before. But also in the menus, if you
click on a menu, you will see some items
| | 05:31 | are highlighted and the highlighted
ones are the ones that have changed in some
| | 05:36 | way. Either there is a new item on
here, like right here Page Transitions.
| | 05:39 | That's brand new in CS4. That
wasn't in the earlier versions. So Abode
| | 05:44 | highlights it in that workspace so
that you know something is new there.
| | 05:48 | Workspaces fall into the category of
what I call Blatner's first rule of
| | 05:52 | publishing which is, 'Take time now, to
save even more time later'. If you take
| | 05:58 | a little time now to create your own
custom workspaces, you are going to save
| | 06:02 | yourself a lot of time down the line
and end up a much happier InDesign user.
| | Collapse this transcript |
| Setting view options| 00:00 | 15 years ago, a lot of people talked
about the term WYSIWYG, What You See Is
| | 00:05 | What You Get. But the word fell out of
favor after people realized that really
| | 00:10 | could not trust what they saw on screen.
Now InDesign makes WYSIWYG a reality
| | 00:15 | because you can start to trust your
monitor but in order to do that you will
| | 00:20 | have to know how to manage
InDesign's display options.
| | 00:23 | Let me show you what I mean. In this
document I'm going to go to the last page
| | 00:28 | by clicking on the last page button in
the lower left corner of the document
| | 00:31 | window and I'm going to zoom in on this
graphic, so we can really look at this closely.
| | 00:36 | Now this is an Illustrator graphic and
it has some Photoshop images sitting on
| | 00:40 | top of it and it looks kind of rough,
very stare steppe, jaggy, and that just
| | 00:46 | doesn't seem right to me. I think that
that is supposed to be very sharp edged
| | 00:51 | vector images but you wouldn't know
it from Illustrator. However, we can see
| | 00:56 | that, we can see the high-res fine
edges of it, if we go to the View menu,
| | 01:02 | scroll down to Display Performance
submenu and choose High Quality Display.
| | 01:07 | You see Typical is selected right now, but
if we choose High Quality Display, what
| | 01:12 | we are doing is we are turning on
InDesign's built in PostScript interpreter,
| | 01:17 | and what it's doing is it's actually
going in and reading the high-res files,
| | 01:21 | that vector file from Illustrator,
and it's drawing it exactly the way
| | 01:26 | Illustrator draws it.
| | 01:27 | InDesign and Illustrator and Photoshop,
all share the same fundamental drawing
| | 01:32 | engines. But in InDesign, in order to
kick that drawing engine in so you can
| | 01:36 | really see it like you do in
Illustrator or Photoshop, you have to turn on that
| | 01:40 | High Quality Display. So now, we are
looking at high quality display and I'll
| | 01:45 | even zoom in more here, so we can
really see the sharp, shape edges, no matter
| | 01:49 | how far I zoom in, it's
always going to be sharp edges.
| | 01:53 | I have zoomed in here to 4000% and I
can see it exactly the way it looks in
| | 01:58 | Illustrator. Well let's zoom a little
bit here and take a look at this graphic,
| | 02:03 | this is a Photoshop image and you can
barely see the little pixels in there and
| | 02:07 | if I switched and opened this images
up in Photoshop, you know what, it would
| | 02:11 | look exactly like this in Photoshop as
well. When you have High Quality Display
| | 02:16 | turned on, then Illustrator, InDesign
and Photoshop all display their images
| | 02:21 | exact the same, so
that's really a good thing to.
| | 02:23 | On the other hand if you work on a
slightly slower machine, well this might
| | 02:27 | slow you down a little bit and so
because it is calculation-intensive it has to
| | 02:31 | go in there and deal with the high-res.
data. So in that case it would be a
| | 02:34 | good idea to go back to View menu
and choose from the Display Performance
| | 02:38 | submenu, Typical Display, so there
you go. It looks a lot rougher but it's
| | 02:43 | going to speed you up as you are
working, you have a preference.
| | 02:46 | There is a third option there you
may have noticed under the Display
| | 02:49 | Performance submenu called Fast
Display, and that's -- basically just makes
| | 02:53 | everything gray. Let me zoom out here
as you can see what's going on, all of
| | 02:57 | the images whether it's Photoshop
image or Tiff or anything, all of those
| | 03:02 | images get grayed out with a big X in
the middle and that's useful if you are
| | 03:06 | just trying to move through a document
really, really quickly, but in general I
| | 03:10 | don't even bother, it's not really the
worth the hassle unless I was working on
| | 03:14 | it, really slow machine I suppose.
| | 03:16 | Let's switch back to High Quality
Display, so we can see in this beautiful high
| | 03:19 | res. and I'll talk about a few of the
other options that help us change how the
| | 03:25 | display looks on the page. You nay
notice that some of these graphics have no
| | 03:30 | lines around them, or these text
frames have no lines around them and that's
| | 03:35 | kind of strange because we know that
in InDesign, everything has to be in a
| | 03:39 | frame. So where are the edges of the frames?
| | 03:42 | Well, I'll tell you where they are. We
will go to the View menu; I'll scroll
| | 03:46 | down here until I see Show Frame Edges.
Show Frame Edges is what let's you
| | 03:52 | control whether you see the edges of
those frames or not. So I turned it on and
| | 03:56 | all of those frames show up there.
| | 03:59 | Let's look at some other things here.
Those frame edges don't really print of
| | 04:03 | course and in fact the guides don't
print, these margin guides don't print, we
| | 04:07 | know that, and also this little piece
of green that is sticking off the bottom
| | 04:12 | of the page, that's not going to
print either, and I know that because it's
| | 04:15 | outside the document page. It bleeds
off, the word for that is bleeding, so
| | 04:20 | this background color bleeds
off the bottom of the page.
| | 04:24 | Well InDesign typically shows you all
of the stuff that bleeds of the page and
| | 04:28 | it shows you all the guides and so on,
but you can turn that off by going up to
| | 04:33 | the application bar and choosing from
the Screen Mode menu, Preview. When you
| | 04:39 | are in Preview mode, you cannot see
anything that not actually going to print,
| | 04:43 | you see pasteboard gets grayed out, all
of the stuff that is hiding off at the
| | 04:46 | side of the page disappeared off into
the gray as well, all of the frame edges
| | 04:51 | disappear and so on.
| | 04:52 | So preview mode is really nice mode to
give you a sense of what the final look
| | 04:57 | is going to be. You can also get to
preview mode at the bottom of the Tool
| | 05:00 | panel. Down here there is a little
pop out menu that gives you the control
| | 05:04 | between Normal, Preview, Bleed and Slug.
I'll be talking about Bleed and Slug
| | 05:09 | in a later movie, but generally what
you want to use is Normal or Preview.
| | 05:13 | By the way, there is keyboard
shortcut for switching in and out of Preview
| | 05:16 | mode, between Normal and Preview and
that's the W key. As along as you not
| | 05:20 | actually editing text, in which case W
would have type see letter W, but if you
| | 05:25 | are not editing text, you can just hit
W and you go in and out of Preview mode.
| | 05:30 | Now if Preview mode is a little bit too
extreme, it hides too much of the page,
| | 05:34 | well then you just take a look at the
view menu and you can turn on and of the
| | 05:38 | non-printing objects that you don't want,
for example, we already looked at the
| | 05:41 | frame edges, but we can also go to the
Grids and Guides submenu and we can say
| | 05:45 | things like Hide all the Guides, and
when I do that, then the guides disappear
| | 05:50 | including the margin guides
and column guides and so on.
| | 05:53 | I'll go ahead and hide the frame edges
again, and you can see that now those
| | 05:56 | disappear but I still do see some non-
printing feature, like this stuff that's
| | 06:01 | bleeding off the bottom of the page.
As I mentioned, you can control all of
| | 06:04 | that from the View menu, but you can
also control it from the App bar, the
| | 06:07 | Application bar in this
View options pop up menu.
| | 06:10 | Here we go, choosing Frame Edges on
and off, Rulers on and off, Guides, Smart
| | 06:15 | Guides -- we will be talking about
Smart Guides in a later movie, your Baseline
| | 06:18 | Grid which we will also be talking
about in the later movie. So you have a lot
| | 06:21 | of control from the application bar here,
for what you want to see and what you
| | 06:26 | don't want to see. Speaking of things
we might not want to see, sometimes when
| | 06:30 | you are looking your document
especially if you want to look it spread and see
| | 06:33 | how it looks, I'll back to Fit and
Spread View here, Command+Option+0 or
| | 06:38 | Ctrl+Alt+0 to fit spread in window and
maybe I'll go into a Preview mode here
| | 06:42 | so we can see what this is really
going to look like in the final printed
| | 06:45 | version, but these panels oft the
side just dock over here and the Control
| | 06:51 | panel on the top and the Tool panel and
so, those things are really distracting
| | 06:54 | for me right now.
| | 06:55 | So I wish I could just make those go
away and in fact you can, just by pressing
| | 06:59 | the Tab key. Again when you are not
editing text, and all of the panels will
| | 07:05 | disappear, there we go. Now I can click
on the screen maximize button, there we
| | 07:10 | go, now we can see the whole spread
without too much distraction. I better do a
| | 07:15 | Command+R or Ctrl+R on Windows, to
hide those rulers and I get a really nice
| | 07:21 | view of the whole page exactly what it
looked like when this spread prints out.
| | 07:26 | Knowing what you are looking at is key
to being efficient in InDesign and that
| | 07:29 | lets you make the right design choices
without having to print a lot of proofs
| | 07:34 | and there are several other ways to
control what you see on screen such as
| | 07:37 | Color Management, Soft Proofing and I
cover those in the InDesign Beyond the
| | 07:41 | Basics title. Another way to control
what you see is to rotate an entire spread
| | 07:47 | 90 or even a 180 degrees which is
what I talk about in the next movie.
| | Collapse this transcript |
| Rotating spreads| 00:00 | Not all documents are laid out so
that text is right side up. If you are
| | 00:04 | building a calendar for example, you
might want to turn the whole spread
| | 00:07 | sideways so that it opens vertically
instead of horizontally. Or if you are
| | 00:12 | building some cool packing or an ad
that has text sideways or upside down, it
| | 00:17 | would be helpful if you could rotate
the screen view to make it easier to read.
| | 00:22 | In the past, the only way to do that
was to pick up your computer monitor and
| | 00:25 | turn it on its side. Fortunately,
InDesign CS4 now gives you the power to
| | 00:30 | rotate the page view in 90 degrees
increments anytime you want.
| | 00:34 | For example, I have the sheet_v1
document open from the exercise files and I'll
| | 00:39 | open the Pages panel and I'll jump to
page 2 by doubling click on it. I can see
| | 00:44 | that there is bunch of text on here
that is sideways on this flier and I do not
| | 00:49 | want to have to try and edit this
text by turning my head sideways or
| | 00:52 | something; that is just crazy.
| | 00:54 | So, I'll select page 2 in the Pages
panel. I'll go to the Pages panel flyout
| | 00:59 | menu and scroll down to Rotate Spread
View. From here I'll choose 90 degrees CW, which
| | 01:06 | means Clockwise. The whole spread
rotates 90 degrees and I can now read this text just fine.
| | 01:13 | Now it is important to note that this
is only changing the screen view. This
| | 01:17 | will not change how the document will
print, doesn't change how it exports to
| | 01:21 | PDF or anything like that. It just
changes it on screen to make it easier to edit.
| | 01:26 | Also notice in the Pages panel there
is this little Rotate icon here and that
| | 01:31 | lets me know that something has
changed about this document. That is
| | 01:34 | particularly important if you rotate a
page 180 degrees, because it may look the same
| | 01:39 | in the Pages panel; it may even look
more or less the same on your document
| | 01:43 | window. But that little icon will tell
you that no, it actually is rotated on screen.
| | 01:48 | If I save my document and come back to
it later, it will still be rotated on
| | 01:52 | screen, so that is great! But if I save
my document and I'm going to send it to
| | 01:56 | somebody else to work on, they might
get confused if they see some spreads
| | 02:01 | rotated; they might not know what is going on.
| | 02:02 | So, in that case if you are afraid
that someone is going to get confused, you
| | 02:06 | can clear the rotation out and you can
do that from that Pages panel, flyout
| | 02:11 | menu if you want, but instead I'll
click off that. Instead I'm going to
| | 02:15 | right-click on top of that Pages
panel icon there or Ctrl-click with a
| | 02:20 | one-button mouse.
| | 02:21 | So in this case I'll right-click and
I'll choose Rotate Spread View and I going
| | 02:25 | to choose Clear Rotation. Clear
Rotation simply takes that rotation completely
| | 02:30 | off the spread and we are back
to the way it was originally.
| | 02:32 | Of course, standing on your head or
turning your screen on its side may seem
| | 02:37 | like more fun, but I think you will
have to agree that Rotate Spread View is a
| | 02:42 | bit more efficient.
| | Collapse this transcript |
| Using the New Window feature| 00:00 | Scientists and artists have long known
that looking at something from two or
| | 00:03 | more points of view offers a
perspective and an understanding that you simply
| | 00:08 | cannot get any other way. There is
even a word for it, Parallax. Now InDesign
| | 00:13 | has a Parallax feature, but Adobe
calls it New Window and you can find it up
| | 00:17 | here in the Window menu.
| | 00:18 | I'll choose Arrange and then New Window.
When you choose New Window, you get a
| | 00:24 | second document window that looks
exactly like the first, except that Title bar
| | 00:28 | has a little 2 after it. There is the
second one and here is the first one.
| | 00:32 | I'll go into 2-Up View mode so we can
see that they look exactly the same.
| | 00:36 | However, on this one, I'm going to
zoom in so I can actually see the text a
| | 00:40 | little bit more clearly.
| | 00:41 | If I edit the text over here, you will
see that I'm looking over here, but now
| | 00:43 | this updates as well. They update in
synchrony, perfect parallels of each
| | 00:45 | other, but here I'm zooming in to see
the little picture, and here I'm seeing
| | 01:14 | the big picture to see
how the text might re-flow.
| | 01:15 | There are all kinds of ways that you
might use the New Window feature. For
| | 01:16 | example, you might have a long 50-page
document and you want to make edits on
| | 01:18 | page 1 and see how the text will
re-flow all the way to page 50.
| | 01:19 | So open a document, open a new window,
set one of the document windows to page
| | 01:21 | 1, the other document window to page 50,
and as you edit on page 1, you will
| | 01:22 | actually see the changes on page 50
in perfect real time; it is great!
| | 01:24 | It can be incredibly helpful to
work with two or more windows open on a
| | 01:27 | document especially when you have a
large screen or two monitors. But I find
| | 01:31 | that people need to force themselves
to use this features two or three times
| | 01:36 | before they get hooked on it. But once
you do that, once you really start using
| | 01:39 | it, you are going to love it.
| | Collapse this transcript |
|
|
2. Getting to the FeaturesUsing the Tool panel| 00:00 | It doesn't matter whether you are
building a skyscraper or building an InDesign
| | 00:03 | document; either way, you need tools
to do the work and you can find all of
| | 00:08 | InDesign's tools in the Tool panel
over here on the left side of the screen.
| | 00:12 | Let us take a quick tour of our Tool
panel and all of its tools, so that you
| | 00:16 | will be prepared to use them in the
upcoming chapters. This Tool panel really
| | 00:20 | is a floating panel. I can grab its
little title bar at the top and drag it
| | 00:24 | down and put it anywhere I want on my page.
| | 00:28 | Once it is floating on outside of its
dock, I can even make it two columns or
| | 00:32 | one row. I'll do that by clicking on
the little double arrow at the top. There
| | 00:37 | is one row and there are two columns.
So you have a lot of different options
| | 00:42 | for how you want the Tool panel to
appear on screen. That single column method
| | 00:47 | I think is the best, simply because it
saves the most screen real estate. I'll
| | 00:51 | tell you what I like to do with this.
| | 00:52 | I'm going to drag this over to the side
of screen down near the bottom and I'm
| | 00:56 | going to move it over until I do not
see that blue. As soon as I see that blue
| | 01:01 | line, it means it is going to dock
there, but instead I'm going to move the
| | 01:04 | cursor a little bit over to the right,
so it does not dock. I like having this
| | 01:09 | hanging out at the bottom left corner
of my screen and the reason I do that is
| | 01:13 | because I like having the upper
left area for docking more panels.
| | 01:17 | So you're going to see I have got
all these panels docked up in the upper
| | 01:19 | right. I like putting things over in
the upper left as well. For example, I'll
| | 01:23 | grab maybe the Info panel, drag it
over and then dock that into that little
| | 01:28 | blue line there. So now I have got
the Info panel docked up here. I'll make
| | 01:33 | this smaller so it doesn't take too much space.
| | 01:34 | I have got Tool panel directly below it.
If the Tool panel was actually docked
| | 01:39 | against the left side of the screen, I
would not be able to dock anything else
| | 01:42 | against left side of the screen as well.
It is just a limitation in InDesign.
| | 01:46 | So that is a little trick
that is helpful to know about.
| | 01:48 | Now these tools in the Tool panel are
in sort of groups. For example, the first
| | 01:54 | two tools are all about selecting
objects on the page and I'm going to get into
| | 01:58 | much more detail about all of these
tools in later movies. But the quick
| | 02:03 | version is these are for selecting
objects; this one is for drawing Bezier
| | 02:07 | paths. The T is a Type tool for
either editing text or drawing text frames.
| | 02:13 | Notice that a lot of these tools have
little black triangles in a corner there.
| | 02:18 | That means there are more
tools hiding underneath them.
| | 02:21 | So, if I click and hold for a moment,
you can see this little flyout menu that
| | 02:25 | says, the Type tool and right beneath
it the Type on a Path Tool. So whenever
| | 02:30 | you want to put text on a path, you
would use that tool instead of the Type
| | 02:34 | tool. So that is an important thing to
know about. I can also get that if I'm
| | 02:37 | working in a hurry, I can get that
little flyout menu by right-clicking or
| | 02:41 | Ctrl-clicking with a one-button mouse.
As soon as I click on that, it just pops
| | 02:45 | right open here.
| | 02:46 | So, I have got Pencil tool for drawing
more pencil freehand things. If I could
| | 02:50 | actually draw, I might actually use
that. A Line tool lets me draw lines, of
| | 02:54 | course. Now the next set of tools are
for drawing frames and you will notice
| | 02:59 | that there is a Rectangle, Ellipse and
Polygon Frame tool and right below it,
| | 03:04 | there is the Rectangle,
Ellipse and Polygon Tool.
| | 03:07 | Now that seems redundant and in many
ways it is, because both of these set of
| | 03:11 | tools draw frames. They just draw
frames on your page and you can put graphics
| | 03:15 | in them or text in them or pretty much
anything you want in them and we will be
| | 03:19 | going into that in later chapters.
But technically, these ones with an axis
| | 03:23 | through them are for doing graphics
and the other ones are just for like
| | 03:27 | shapes, like if you just wanted a
rectangle on the page or something, just for drawing.
| | 03:32 | Now below those, there are tools for
rotating and scaling and shearing and so
| | 03:38 | on. Skip over this Scissors tool for a
second and point out the Free Transform
| | 03:42 | tool. Those are all for transforming
objects. So again rotating, scaling,
| | 03:48 | moving, shearing things around. There
are a lot of ways that you can transform
| | 03:54 | your objects on the page. The Scissors
tool will let you cut a path right in
| | 03:59 | half if you need to for, just in
case you need to do such a weird thing.
| | 04:02 | Then there are a couple of tools
for dealing with gradients and blends,
| | 04:07 | feathering; we will be covering those
when we talk about Effects and Filling
| | 04:11 | with gradients. Then there are the
tools for adding notes, if you want to add
| | 04:15 | notes on a page. The Eyedropper tool
for copying, formatting from one place and
| | 04:20 | putting it into another then we have
already talked in earlier movies about the
| | 04:24 | Hand tool which lets use a pan around
your page and a Zoom tool for zooming in and out.
| | 04:29 | At the bottom of the Tool panel, we
have a few things that actually are not
| | 04:33 | tools at all; they are ways of
handling the fill or the stroke. These are
| | 04:37 | actually duplicates of features that
show up elsewhere in the program, but
| | 04:41 | Adobe wanted to give us redundancy so
that if our cursor happens to be in the
| | 04:45 | lower left corner of the screen, it is
very easy to use these features. But we
| | 04:48 | would find the same features in other
panels elsewhere in the program as well.
| | 04:53 | At the very bottom, we have the
ability to fill with a color or fill with a
| | 04:57 | gradient or fill with nothing. At the
very bottom we have something we have
| | 05:03 | seen before, the ability to change
from Normal to Preview or Bleed and Slug
| | 05:07 | mode, if we want to see those display options.
| | 05:10 | So that is a very quick overview of all
of those different features in the Tool
| | 05:13 | panel. Again, I'm going to be
getting into the details of those in later
| | 05:17 | movies. But I do want to point out one
more really cool thing about the Tool
| | 05:20 | panel and that is, in fact, to me the
coolest part of the Tool panel; and that
| | 05:24 | is, you can use all of these tools
even if you close the Tool panel entirely.
| | 05:29 | I'll just click on this little button
here and I closed it, it is gone, but I
| | 05:33 | can still get to all of those tools.
How? Well, every tool, every feature in
| | 05:38 | the Tools panel has an
equivalent keyboard shortcut.
| | 05:42 | In the next movie we will not only
explore those shortcuts, but even look at
| | 05:46 | how to make your own.
| | Collapse this transcript |
| Learning keyboard shortcuts| 00:00 | If you are as old as me, you might
just remember the old DOS or CPM days when
| | 00:05 | there was no mouse, no menus, just
text, and you kept your hands on the
| | 00:10 | keyboard at all times. While I'm glad
those days are far behind me, I have come
| | 00:15 | to realize that it is actually
really efficient to keep your hands on the
| | 00:18 | keyboard and to minimize the use of
menus and the mouse. So when I'm trying to
| | 00:23 | move fast in InDesign I turn to its shortcuts.
| | 00:27 | In the last movie I mentioned how
every tool in the Tool panel has its own
| | 00:31 | keyboard shortcut, and that makes it
really easy and efficient to move from one
| | 00:35 | tool to the next. For example, the
Type tool, this big T icon here, you just
| | 00:41 | press the letter T and it jumps
right to the Type tool. Now that is not
| | 00:45 | Command+T on the Mac or Ctrl+T on the
Windows, it is just the letter T. So if
| | 00:50 | you are editing text, it won't work.
But, if you are not editing text, if you
| | 00:56 | are not inside of a text frame,
then you just press the key.
| | 00:59 | V goes to the Move tool or the
Selection tool technically; Selection tool is
| | 01:04 | the black arrow tool. A is Direct
Select tool; R goes to the Rotate tool and so
| | 01:10 | on. You don't need to know the
shortcut for all of the tools, just the ones
| | 01:13 | that you use the most often. There is
even shortcuts for these features down at
| | 01:18 | the bottom of the tool palette, the
once that are not really tools. For
| | 01:20 | example, X will actually reverse the
order here. So right now the Fill is on
| | 01:26 | top and Stroke in on the bottom.
| | 01:27 | We will be talking about Fill and
Stroke in the later movie, but trust me, that
| | 01:31 | is what those icons are for. If you
press the X key, it swaps them. So now the
| | 01:35 | Stroke is on top and the Fill is behind
or you can press W to get in and out of
| | 01:40 | Preview mode, we talked about that in
an earlier movie as well. W will go into
| | 01:45 | Preview mode, hit W again and
it toggles out of Preview mode.
| | 01:48 | Let us go look at the menus for more
keyboard shortcuts. Notice that when there
| | 01:53 | is a keyboard shortcut assigned to a
feature, it shows up in the menu. So Open
| | 01:57 | is Command+O on the Mac or Ctrl+O on
Windows, Place is Command+D or Ctrl+D on
| | 02:03 | Windows and so on. So they all show
up here in the menus, but there are a
| | 02:08 | number of features in these menus that
don't have any keyboard shortcut applied to them.
| | 02:13 | Well, if you use those features a lot,
you need a keyboard shortcut, and the
| | 02:17 | good news is that InDesign will let
you assign any keyboard shortcut to any
| | 02:22 | feature in the program. This is
incredibly useful. You can edit your keyboard
| | 02:27 | shortcuts, you can assign new ones; you
can remove shortcuts, whatever you want to do.
| | 02:31 | The way you do that is by going to
the Edit menu and choosing Keyboard
| | 02:35 | Shortcuts. So we are going to edit
the keyboard shortcuts and you get this
| | 02:39 | really big and confusing dialog box. I
find it really frustrating that Adobe
| | 02:45 | can't come up with a nicer way to do
the keyboard shortcuts, but this is what
| | 02:48 | we have got, so let us see how it works.
| | 02:51 | The first thing you need to know when
you are editing your keyboard shortcuts
| | 02:54 | is you need a new set. You cannot
change your default keyboard shortcut set and
| | 02:58 | you will see if you click on this pop-
up menu that InDesign ships with three
| | 03:02 | different sets, the Default set, Shortcuts
for PageMaker and Shortcuts and for QuarkXPress.
| | 03:08 | I was a QuarkXPress user for many, many
years and I really thought that when I
| | 03:12 | started using InDesign I figured, "
Well I better switch to the shortcuts for
| | 03:15 | QuarkXPress," and it turns out that it
is a real mistake. I think that Adobe
| | 03:19 | shouldn't even ship that anymore
because some of the shortcuts are the same,
| | 03:22 | not all the shortcuts are the same. It
just ended up getting really confusing
| | 03:26 | for me. So I switched pretty much
entirely to the Default shortcut and then I
| | 03:30 | made my own custom shortcuts to the way
that I work and that way I can be more
| | 03:34 | efficient. So I pretty much ignore
these two. Let us just work with Default.
| | 03:38 | Now, you cannot edit the Default, so
you need to create a new set based on
| | 03:43 | Default. So click on New Set. It says
what do you want to base it on? I want to
| | 03:47 | call this David's Keyboard Shortcut
Set, click OK. It shows up here in the
| | 03:54 | pop-up menu now. Now, the second
thing we need to do to edit a keyboard
| | 03:57 | shortcut is to find a feature that we
are trying to edit. Let us say, I want to
| | 04:03 | apply a keyboard shortcut to the Swash feature.
| | 04:05 | I happen to know that InDesign has a
feature that can apply a swash to a
| | 04:10 | character, if the font has swashes
in it. So I'm going to make a keyboard
| | 04:14 | shortcut to apply a swash kind of a
fancy curly character to a capital letter.
| | 04:20 | So let us see how we do that. I need to
find the Swash feature in this list of
| | 04:26 | features and the problem is that there
are all bunch of commands here and there
| | 04:30 | a lot of product areas in here. So the
feature is going to show up somewhere in
| | 04:34 | here. This is going to get really
frustrating to try and find that feature. So,
| | 04:39 | here is a quick trick.
| | 04:40 | Click on the Show Set button. When
you click on Show Set, InDesign actually
| | 04:45 | writes a little text file to disk,
onto your hard drive and then it open that
| | 04:49 | text file in the default text editor,
maybe Notepad on Windows or TextEdit here
| | 04:54 | on the Mac. Now that I have this text
file open, I can scroll through this to
| | 04:59 | find the feature that I want, but I'm
not going to scroll through one page at a
| | 05:03 | time or one line at a time, I'm just
going to search for the feature I want using Find.
| | 05:08 | So I'll do Command+F here on the Mac to
do find. I assume it would be Ctrl+F on
| | 05:13 | Windows and I can say, find me all the
swash; all the commands that have swash
| | 05:18 | in it. Click Next, there it is.
Character: OpenType: Swash. I can see right
| | 05:24 | here it says, none defined. That
means InDesign does not have a keyboard
| | 05:28 | shortcut to find for that. So what
product area does that feature live in?
| | 05:33 | Well, I'll scroll up here until I'll
see the product area listed and I can see
| | 05:37 | that the product area is panel menus.
| | 05:40 | That is the information I needed. So
let us go ahead and close this, go back
| | 05:44 | out to Keyboard Shortcuts in InDesign
and I can see Product Area, panel menus,
| | 05:49 | there it is, panel menus. I know the
feature is living somewhere in this list
| | 05:53 | and if I recall, it was Character:
OpenType: Swash. It was down here, there we go.
| | 06:00 | Character: OpenType: Swash, that
what it is called. Now let us go and find
| | 06:03 | it now, Character. I'll scroll
down here until I find Character: OpenType:
| | 06:08 | Swash, right there. That is the
feature and I can see there is no current
| | 06:13 | shortcut applied to it.
So I'm going to make one.
| | 06:15 | Let us go ahead and click down here
in the New Shortcut field. I'll type a
| | 06:19 | shortcut and I can see that it is
currently assigned to nothing. Well, that is
| | 06:23 | pretty good. Like if I did Command+S,
let us say, or Ctrl+S on Windows, we
| | 06:27 | could see that is currently assigned
to Save. So I don't want to use that, of
| | 06:30 | course. So I'll try this other weird
keyboard shortcut, find something that
| | 06:34 | works, then I click Assign. Do not
forget to click Assign; if you forget to
| | 06:39 | click Assign, it won't work. So click
Assign, it moves it up into the current
| | 06:43 | shortcuts and now I can click OK.
| | 06:45 | I now have a keyboard shortcut for
that feature that I didn't have before,
| | 06:50 | which is very exciting. Let us go ahead
and try it out. So I'm going to use my
| | 06:54 | Type tool. I could have just pressed T,
right, if I were smart I would have hit
| | 06:58 | T to choose that, instead I clicked
on it. I'm going to use my Type tool to
| | 07:02 | drag over this N down here. Let us
zoom into 200% with Command+2 or Ctrl+2 on
| | 07:08 | Windows and I'll move over a
little bit with the Option+spacebar or
| | 07:11 | Alt+spacebar on Windows to pan over. I
have selected that N and I'm going to
| | 07:16 | try my keyboard shortcut. Ready? I'll
press all those modifier keys and hit S
| | 07:21 | and there we go. It made
that character into a swash.
| | 07:25 | So that is pretty cool! Very, very
easy to assign keyboard shortcuts to any
| | 07:30 | feature in InDesign. There are hundreds
of keyboard shortcuts in InDesign that
| | 07:34 | you can apply your own shortcuts to.
You might want to avoid keyboard shortcuts
| | 07:40 | if you work by the hour perhaps, but
for those of us who are trying to get our
| | 07:43 | work done faster, who are trying to
become more efficient, it is really worth
| | 07:47 | taking the time now to define as many
shortcuts as you can and then use them as
| | 07:52 | often as we can.
| | Collapse this transcript |
| Using contextual menus| 00:00 | Sure, InDesign has a lot of cool
features up here in the menus, but which
| | 00:04 | features are relevant to what you are
doing right now. For example, if I choose
| | 00:08 | the Type tool and I'm selecting some
text, it would be really cool to get a
| | 00:12 | list of frequently used features that
relate just to text. Can I do that? Sure,
| | 00:18 | I need a Context menu. A Context menu
is what you get if you right-click with a
| | 00:23 | two button mouse or Ctrl on a
Mac with a one button mouse.
| | 00:26 | You just get a little menu that shows
up wherever you clicked and it list all
| | 00:30 | of the different features appropriate
to what you are doing right now. Like
| | 00:33 | changing your font to your size or
going right to Find/Change or doing spelling
| | 00:38 | or things like that.
| | 00:39 | There is context menus all throughout
InDesign, and it is really a good idea to
| | 00:44 | getting a habit of right-clicking on
things. For example, I can go do the Pages
| | 00:47 | menu and right-click on a page and then
I get all sorts of options for things I
| | 00:51 | can do with that one spread or that one page.
| | 00:54 | Same thing here in the Swatches panel.
right-click on a color swatch and I get
| | 00:58 | a bunch of options that are appropriate
for this particular swatch. Almost all
| | 01:02 | the panels in InDesign have Context menus.
| | 01:05 | I'll get into what each of these
features actually do in upcoming movies, but
| | 01:09 | for now the important thing is that you
know where to look. Just like keyboard
| | 01:13 | shortcuts, you don't have to use the
Context menus, but you are sure missing
| | 01:17 | out on a world of good if you don't
get into that right-clicking habit.
| | Collapse this transcript |
| Customizing menus| 00:00 | We saw in our earlier movie that
InDesign lets you edit your keyboard shortcuts
| | 00:04 | and that the more you customize
InDesign to the way that you work, the more
| | 00:08 | efficient you will be.
| | 00:09 | Well, InDesign lets you edit not just
your keyboard shortcuts, but even your
| | 00:13 | menus. For example, let's look at the
File menu. Maybe you never use XML, and
| | 00:19 | if you don't, then why would you want
to clutter up your File menu with this
| | 00:23 | Import XML feature. Or another example
may be you find yourself always looking
| | 00:28 | for the Revert feature, but you can
never see it. It's just for some reason not
| | 00:32 | popping off that menu clearly enough.
| | 00:34 | Well, what if you could colorize it so
that you see it really, really quickly.
| | 00:38 | Well, we can do both of those things
by going to the Edit menu and choosing
| | 00:42 | menus. We are going to edit the menus.
The Menu Customization dialog box is a
| | 00:47 | pretty straightforward dialog box. It
is relatively easy to figure out what is
| | 00:50 | going on here. The first thing we need
to do is create our new set of menus. So
| | 00:54 | I'm going to click Save As and I'll
save this as David's menu Set. You can call
| | 00:58 | it anything you want.
| | 01:00 | Now I'm going to click on the menu
that I want to customize, in this case the
| | 01:04 | File menu, and I can look for the
feature that I want to change. In this case,
| | 01:08 | Import XML. To make that disappear, to
make it so that it doesn't show up in
| | 01:13 | the menu, I simply click on that little
eyeball icon, and when that is gone, it
| | 01:17 | won't appear; that is pretty cool.
| | 01:20 | Now I'm going to change that Revert
feature. That's the one that I always want
| | 01:23 | to find, but I can't for some reason
see it clearly enough in the menu. I don't
| | 01:26 | know if you are like that, but that
happens to me all the time. There are menu
| | 01:29 | items that are right in front of
my face, but I just can't see it.
| | 01:32 | So I'm going to colorize it, by
clicking on the word None. So I get this little
| | 01:36 | popup menu, and then I'll choose a
color, let's say Yellow. Now, when I click
| | 01:40 | OK, and I'll go look at the File menu,
I can see up there it is. It's really
| | 01:45 | easy to see Revert now right, because
it's colorized. And then where is XML, it
| | 01:50 | is not there, it is hidden. Instead,
we see this at the very bottom of the
| | 01:55 | menu, Show All menu Items. If I
select that, then suddenly you will see up,
| | 02:00 | there we go, Import XML just showed up.
| | 02:03 | So that's how you can find the menu
items that are typically missing. Again, if
| | 02:08 | I click on the menu, it's missing, but
I can click on Show All menu Items. We
| | 02:12 | actually saw in an earlier movie a
little shortcut trick there. If I hold down
| | 02:16 | the Command key or the Ctrl key on
Windows and I click on the menu item, it
| | 02:22 | shows up automatically. So I don't
have to take that extra step of choosing
| | 02:26 | Show All menu Items. That modifier
key tells InDesign to show all of the
| | 02:30 | features even if they were supposed
to be hidden. So that's pretty cool.
| | 02:34 | Now, once you have setup your menus to
the way that you like them, it will be a
| | 02:39 | good idea to save that in a workspace.
And as we discussed in the workspace
| | 02:43 | movie, we can do that by going to the
workspace pop-up menu and choose New
| | 02:47 | workspace. Give it a name and then make
sure that menu Customization is turned
| | 02:52 | on. If you don't have this checkbox
turned on, then the menu changes that you
| | 02:56 | made will not be saved in that workspace.
| | 03:00 | Customizing your menus costs a few
minutes of your time, but reducing the
| | 03:04 | clutter you don't need and
streamlining your workflow, that's priceless.
| | Collapse this transcript |
| Using Quick Apply| 00:00 | I love keeping my hands on the keyboard
as much as I can when I work. As I have
| | 00:04 | said before, it's all about efficiency.
So you can just imagine the neurons
| | 00:09 | firing in my brain's pleasure center,
when I saw a feature that just about
| | 00:13 | obliterates any reason to use a menu
at all, and that feature is called Quick
| | 00:17 | Apply, and it is simply life changing.
| | 00:20 | Quick Apply started back in CS2 as a
way to apply character styles, paragraph
| | 00:25 | styles, object styles. Styles are a
way to gather together a bunch of text or
| | 00:30 | object formatting and give it a name,
and then you can apply it quickly.
| | 00:34 | I talk about how to make styles and
apply them elsewhere in this title. But,
| | 00:38 | let me just show you an example, I have
made an object style called Small Drop
| | 00:43 | Shadow and I want to apply it to this
object up here. So I'm going to select
| | 00:47 | that in the upper left corner. I'll
zoom into it, so we can see it better by
| | 00:51 | pressing Command+2 or Ctrl+2 on
Windows, and I'm going to apply that object
| | 00:55 | style to give this a drop shadow. So
here is what I do. I press Command+Return
| | 01:00 | on the Mac or Ctrl+Enter on Windows,
and that opens the Quick Apply Window
| | 01:05 | right up here in the upper right corner.
| | 01:07 | I can actually move this anywhere I
want. It's just a floating panel, but I
| | 01:10 | like having it up there in the right
corner. That is just nice place to put it.
| | 01:13 | So I have this little flashing icon in
the field there, because InDesign wants
| | 01:18 | me to type in the name of the thing
I'm looking for. So I type SMA and it
| | 01:23 | guesses because I have an object
selected on the page, it guesses an object
| | 01:27 | style called Small Drop Shadow, that's
the one I want. So as soon as it guesses
| | 01:32 | the one I want, I hit Return. You don't
have to type the whole thing out, just
| | 01:36 | type enough for it to guess properly.
| | 01:38 | Then I hit Return or Enter, and it
applies that object style to those selected
| | 01:43 | objects. Very, very easy, but Quick
Apply is even smarter than that. You can
| | 01:47 | use it to choose any menu item in the
program, any feature in the program you
| | 01:52 | could apply with Quick Apply.
| | 01:54 | Let's say, I want to apply a Bevel and
Emboss to this object. So it's selected
| | 01:58 | on the page, I press Command+Return
or Ctrl+Enter on Windows to open Quick
| | 02:02 | Apply. Now, notice that it remembered
what I typed there, that SMA and that's
| | 02:07 | not what I want. So I'm going to delete
that, and instead I'm going to type bev
| | 02:11 | because I want Bevel.
| | 02:13 | Now, what's going on here? Nothing is
showing up on my list, and the reason is
| | 02:17 | you can filter what you want to appear
and what you don't want to appear in the
| | 02:21 | Quick Apply menu with this little menu
item here, and right now I have Include
| | 02:26 | Menu Commands turned off. If I want to
see menu commands, I have to have that
| | 02:30 | turned on. So I'll choose that, and we
can see that bev, guesses up, there is
| | 02:36 | the menu item for Beveled Rectangle.
That's not the one I want. Here is the
| | 02:40 | menu item for Bevel and
Emboss, that's the one I want.
| | 02:42 | So I'm going to press the Down arrow
to select it. I can press Down arrow and
| | 02:47 | Right arrow to move through the Quick
Apply list. As soon as I have the one
| | 02:51 | that I want selected Bevel and Emboss,
I simply press Return or Enter, and it
| | 02:56 | up comes the feature. There is the
Bevel and Emboss pane of the Effects dialog
| | 03:00 | box. I'll click OK. I'll just hit
Enter for clicking OK, and you can see it
| | 03:04 | apply the Bevel and Emboss to this object.
| | 03:06 | Let me show you one more thing about
Quick Apply, which is important. Remember,
| | 03:11 | I use this little menu to choose to
filter out what I want to show up and what
| | 03:14 | I don't want to show up, but see this
little code here m: or o: and so on, what
| | 03:20 | that means is I can filter out
everything except for one type of feature and
| | 03:26 | let me show you an example.
| | 03:27 | I'll click on the Type tool, I'll
select this text down here, the word
| | 03:31 | Magazine, and I want to apply a
paragraph style to that text. So I bring up the
| | 03:36 | Quick Apply one more time. I'll get rid
of the bev up there by pressing Delete,
| | 03:41 | and I want to only show paragraph styles.
So what was the code again, the code
| | 03:46 | was for paragraph styles is p: there
we go, p: so I'm going to type p: and
| | 03:53 | there we go. Only paragraph styles now
show up in the Quick Apply window there.
| | 03:58 | So that's a really handy way if you
like using Quick Apply a lot, you can type
| | 04:01 | p: for that or c: for just character
styles or m: for just menu items, things
| | 04:07 | like that. Nice way to move quickly
through with the Quick Apply dialog box.
| | 04:12 | If you bring up Quick Apply and decide
that you don't want to use it after all,
| | 04:16 | no problem, just hit the Escape key and
it disappears. If you want to be super
| | 04:21 | efficient in your work, you are definitely
going to want to make Quick Apply your friend.
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|
|
3. Creating a DocumentCreating new documents| 00:00 | Finally it's time to make a new
InDesign document. The way to make a new
| | 00:04 | InDesign document is to go to the
File menu and choose from the New submenu
| | 00:09 | Document or on the Mac, you can press
Command+N. On Windows you press Ctrl+N.
| | 00:15 | But instead of making a document from
here, right now, I'm going to show you a
| | 00:19 | little trick.
| | 00:20 | You can create a new document from a
Template and you can do that in a number
| | 00:24 | of ways. You can choose Browse in
Bridge or the best way is from here, in the
| | 00:29 | welcome screen, click Create New From
Template. When I click on From Template,
| | 00:35 | it opens Adobe Bridge and it takes me
right to a folder full of cool InDesign
| | 00:40 | templates that Adobe has put together
for you and I know a lot of designers
| | 00:44 | say- oh! I have never used a template.
But really they have done a very good
| | 00:47 | job putting together some cool templates.
| | 00:49 | For example: here inside Brochure.
I'll just click on that, you can see a
| | 00:53 | number of different brochures on here
and when you select one, over here in the
| | 00:57 | Preview area, you can go through one
page at a time to see what that thing
| | 01:01 | looks like and if you like it, go ahead
and open it. We will just double click
| | 01:05 | on it and it launches that inside InDesign.
| | 01:08 | So not only do we have all the
pages here but we also have things like
| | 01:12 | paragraph style and character style,
master pages. They have done a nice job,
| | 01:17 | putting together template that you can
customize. So you can come in here and
| | 01:20 | replace all the images because you
probably don't want cover this guy staring
| | 01:24 | at you from your brochure but you can
replace all the images and replace the
| | 01:27 | text at will. So just a
good thing to think about.
| | 01:30 | In this case, I'm going to go ahead
and close that. I won't save it and I'm
| | 01:34 | going to go ahead hide that other
documents we don't have to look in Bridge
| | 01:38 | anymore and we are going to go ahead
and create a new document and again you
| | 01:42 | can do it from the File menu or you
could say, create new document, just click
| | 01:46 | on the New Document icon here and
it opens the New Document dialog box.
| | 01:50 | So let's take this dialog box one step
at a time so that you know what's going
| | 01:55 | on here because it can be a little
confusing if you don't know what some of
| | 01:59 | these features mean.
| | 02:00 | Let's start here with Number of Pages.
Some people know that they want to have
| | 02:05 | a 16-page document and you could
just type 16 in here and you would get a
| | 02:09 | 16-page document when you click OK. I,
typically, just start with one page and
| | 02:13 | I'll add pages as I go, later on, as
I'm working in InDesign. It doesn't really
| | 02:17 | matter, it's completely up to you
but it's nice to have that option.
| | 02:21 | Facing Pages has to do with what kind
of document you are creating. If you are
| | 02:25 | creating a book or magazine where
there is clearly a left-hand page and a
| | 02:29 | right-hand page then you want to have
Facing Pages turned on. But if you are
| | 02:33 | doing a flyer or an ad, a little
brochure or something, you may not really need
| | 02:38 | Facing Pages and its probably good idea
to leave that turned off. I'll leave it
| | 02:42 | on for right now.
| | 02:43 | Master Text Frame has to do with
whether or not InDesign will place a text
| | 02:48 | frame on your master page automatically.
If fact if you are QuarkXPress user
| | 02:53 | then you know this feature already. In
QuarkXPress it's called Automatic Text
| | 02:57 | Frame and in QuarkXPress you really
needed that most of the time if you doing a
| | 03:02 | book or any kind of long document. But
in InDesign, you almost never need that.
| | 03:07 | Over the past couple of years, I
can't think of a single document I have
| | 03:10 | created with where I had had Master
Text Frame turned on. It's just not that
| | 03:13 | important in InDesign. It's really a
holdover from the old QuarkXPress days but
| | 03:18 | you don't need it. In a later movie,
I'll discuss how to import text and how to
| | 03:22 | create your text frames in a way that
you don't need to use this anymore. So I
| | 03:26 | leave that turned off most of the time.
| | 03:28 | Page Size, this should be your final
page size. You, typically, don't need to
| | 03:32 | add space for, let's say crop marks or
anything else, on the sides, just your
| | 03:37 | final page size. So if you are going
to be printing on Letter size, which in
| | 03:41 | the US is, you know, 8.5" by 11". You
would choose that. But there are lots of
| | 03:46 | other presets in here as well. For
example: You might be printing on A4 pages
| | 03:51 | or may be a Compact Disc size, that's
just sort of build in there for some reason.
| | 03:55 | Also new in CS4 are all of these
interactive sizes. So, for example, if you are
| | 04:00 | making an interactive PDF or a Flash
file, something like that, you might want
| | 04:05 | to choose one of these sizes; 640 x 480
pixels and if you choose that, you will
| | 04:10 | see that it automatically gets changed
in the picas or inches or millimeters or
| | 04:14 | whatever measurement system you are
using, it gets changed here in the Width
| | 04:18 | and Height field. It does that
automatically but don't worry it's still behind
| | 04:22 | the scene, 640 x 480. It's actually 640
x 480 points. It should say points here
| | 04:29 | because when you are doing interactive
document in InDesign, one point equals
| | 04:34 | one pixel in the final document so that
just add a little thing to think about.
| | 04:38 | In this case I'm going to leave
this set to Letter and let's look at
| | 04:41 | Orientation. Orientation is simply, is
it taller than it is wide or wider than
| | 04:46 | it is tall. You can choose one or the
other and it will adjust these numbers
| | 04:49 | appropriately.
| | 04:50 | The Columns and Margins section of the
New Document dialog box enable you to
| | 04:55 | add guides on your pages. I'm going to
be talking about columns and margins in
| | 04:59 | future movies but the main thing I
want to say, right now, is that these are
| | 05:03 | just for guides. They don't mean that
you have to use this number of columns in
| | 05:07 | your document or you have to stay
within the margins or something like that.
| | 05:11 | They are just helpful guides to keep
your documents more consistent. So you can
| | 05:16 | use them or not, it's up to you, but
let's say you wanted to create something
| | 05:20 | with maybe two or three columns, I'll
just click on the up arrow here or you
| | 05:25 | can change the number inside the field
here. Let's say, three columns and each
| | 05:29 | one is going to be, may be one picas
six between each column in the Gutter and
| | 05:34 | then you can change you margins.
| | 05:36 | Now notice that before I change my
margins, look at that little icon here. That
| | 05:40 | chain icon you will see throughout
InDesign. It's all over the place and it
| | 05:45 | means that all four of these fields are
linked together. That means if I change
| | 05:50 | any one of these, let's say make it 5
picas and I'll hit tab to take effect,
| | 05:55 | all of them change to 5 picas. So if
you want to have different margins, you
| | 05:59 | are going to have to unlink it, which
you can do by simply clicking on it. Now
| | 06:03 | they are separate. So I could say, may
be I want the Top margin to be 6 picas
| | 06:08 | and the Bottom margin to be 5 picas.
Inside we will make it, kind of big, may
| | 06:13 | be 10 picas and Outside let'
make it little bit smaller, 3 picas.
| | 06:16 | Now you think that we are done here but
we are not because many dialog boxes in
| | 06:21 | InDesign have this More Options button
and I don't understand that because my
| | 06:27 | feeling is look we paid for the
features, we should get them all, right? So
| | 06:32 | let's go ahead and click More Options
and we can see there is features that
| | 06:35 | InDesign was hiding from us. I do not
like it when it hides features from me. I
| | 06:39 | want to see everything.
| | 06:41 | Now what it was hiding was the Bleed
and Slug features and the folks that Adobe
| | 06:45 | hide that because they think that this
is going to scare you for some reasons
| | 06:49 | because, I don't know, may be you are
afraid of slugs. But I'm very comfortable
| | 06:52 | with Bleed and Slug so I'm
going to leave that open.
| | 06:55 | Now Bleed and Slug is another type of
guide that goes on the outside of your
| | 07:00 | document page, out on the pasteboard
and we will be talking about Bleeds and
| | 07:04 | Slugs in a future movie but I just
wanted to point out this is where you can
| | 07:08 | specify those things. Bleed values so
how far off to the Bleed guides are set
| | 07:14 | on the pasteboard or how far away from
the page are your Slug guides. They are
| | 07:17 | just additional guides for your page
and on your pasteboard and there you go,
| | 07:22 | once again you have got those link or
unlink icons sitting of to the side there.
| | 07:27 | Now once you have set up your New
Document dialog box the way you like it, if
| | 07:30 | there is any chance that you are
going to be doing another document in the
| | 07:33 | future with the same settings, it's a
good idea to click on Save Preset. Save
| | 07:38 | Preset simply grabs all the
information in this New Document dialog box and
| | 07:42 | let's you put into a document preset
which will show up in here in the Document
| | 07:46 | Preset pop-up menu.
| | 07:46 | Also go ahead and save this by clicking
Save Preset and I'll call this David's
| | 07:52 | Happy Preset, you can call that
anything you want. I'll click OK and you can
| | 07:55 | see here it is. It's right there in the
preset. So we can do the Default value
| | 07:59 | or David's Happy Preset and I'll click
OK and up comes my document and it looks
| | 08:05 | very pretty indeed and if you made
something wrong, if something doesn't look
| | 08:09 | right, like right now I am, kind of,
surprise because this is landscape instead
| | 08:13 | of portrait. I thought I
was going to get portrait.
| | 08:15 | So if something is wrong, don't panic.
You don't have to go back. You can
| | 08:19 | always change those values by going
to the File menu and choosing Document
| | 08:23 | Setup. Document Setup takes you right
back to where you can change a lot of
| | 08:28 | those values and in this case, out
there it is. There is the Landscape, I want
| | 08:32 | to make it Portrait so I'll click on
the Portrait button, click OK and there we
| | 08:35 | go. Now it's looking the
way I was hoping it would.
| | 08:38 | Making a new document with the proper
settings is the first step in creating a
| | 08:42 | strong foundation for your publication.
In the next few movies, I'll cover many
| | 08:47 | other settings that you should pay
attention to when building your documents.
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| Saving and reverting documents| 00:00 | Once you have a new document in this
case the new document that I started in
| | 00:04 | the last movie you should save it to
disk and there are three ways to save your
| | 00:08 | documents they all live in the File menu;
Save, Save As and Save A Copy. Let me
| | 00:14 | talk a little bit about how each of
these is different right now because my
| | 00:18 | document has not yet been saved both
Save and Save As do the same thing they
| | 00:22 | both would open up the Save As dialog
box. Let me give it a name to me where to
| | 00:27 | put the file and let me choose a
format. You have two options for format,
| | 00:31 | InDesign document or InDesign template.
| | 00:34 | Generally you are going to be saving
documents but if you are creating a
| | 00:37 | template that somebody else will be
using to fill in text and graphics and so
| | 00:41 | on, you could save it as a template.
When they open the template file it will
| | 00:45 | show up as Untitled so it won't let you
save over at automatically. That is the
| | 00:49 | only difference there. But in this case
we are simply going to save a document.
| | 00:53 | I'll click Save and it saves it to
disk as Untitled1 as one I probably should
| | 00:58 | have given it a little bit more
interesting name but there you go.
| | 01:01 | By the way you might notice in the
background here I'm looking at the Finder
| | 01:05 | and you will see in the name with
this idlk extension. Do not worry about
| | 01:09 | those. That is sort of a hidden
secret file that InDesign uses just to make
| | 01:14 | sure that nobody else works in the
document while you are working on it. For
| | 01:17 | example if you have this on the server
then the idlK file will make sure that
| | 01:22 | no other InDesign user can open that
file off the server while you are working
| | 01:26 | on it. That is all that is. And as
soon as you close the document that idlK
| | 01:29 | file will disappear. Just wanted to
let you know what is going on there.
| | 01:34 | Now that the document has been saved
when I go to the File menu, Save is grayed
| | 01:39 | out because I have not done anything
new to this document but Save As would let
| | 01:43 | me save the document with a new name
let us say I'm working on a brochure and I
| | 01:48 | get to a point where I really have a
big difference between the last version
| | 01:52 | and this version maybe I want to change
it to a new name so I would use save as
| | 01:57 | and I would change the name to Untitled-
1_version 2 and then click Save. Now I
| | 02:03 | have got a second version of it and
this version is the one that is open. The
| | 02:07 | original one the version 1 is no longer
open I'm not working at that one at all any more.
| | 02:13 | Okay what is this third one what is
Save a Copy, that is kind of a mysterious
| | 02:17 | one. Save a Copy says to InDesign take
the current state of this document with
| | 02:22 | whatever text and graphics and changes
I have made and save it off to disc as a
| | 02:27 | copy but do not change the version I'm
working on. That is if I save a copy now
| | 02:33 | I can save this off as radical
change brochure thing whatever.
| | 02:39 | Click Save and notice that, that saved
off to disc here but I'm still working
| | 02:45 | on version 2. So, this is useful when
you have made a big change to a document
| | 02:49 | and you want to save it just in case
you might want to use it, you might not
| | 02:53 | want to use it and then you can always
go back to it if you need to. So Save a
| | 02:58 | Copy is useful but you do not usually
use it that often typically you use Save or Save As.
| | 03:03 | By the way I mentioned earlier about
saving files to a server there is actually
| | 03:07 | an ongoing debate about whether you
should Save To or Open files from a server.
| | 03:13 | I personally believe that people
should copy files to and from the server to
| | 03:17 | their local hard drives and then work
on those files locally it is just more reliable.
| | 03:23 | However to be fair many people work
on file saved directly on their servers
| | 03:27 | with no problems at all.
Ultimately, the choice is yours.
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| Using Multiple Undo and Revert| 00:00 | One of my favorite things about
InDesign is the ability to experiment and never
| | 00:04 | feel like anything I have done is set
in stone. You can always go back to where
| | 00:08 | you were, let me show you an example I
have got the sheet V1 document from my
| | 00:12 | exercise files, now I'm going to start
editing. Let see I move this over here
| | 00:16 | and move this down here, and I'm just
going to play around with my design you
| | 00:20 | should never feel like you are limited
in what you can do. So I'm going to do
| | 00:25 | all kinds of wacky stuff to it, and I
can see that this is looking worse and
| | 00:29 | worse and worse, as I'm moving along
here and I'm saying this is just not
| | 00:33 | really working out for me. I
want to go back to the way it was.
| | 00:36 | Well at this point I have two options
I can go to the File menu and choose
| | 00:41 | Revert and that will revert all the
way back to the last time I saved the
| | 00:46 | document. Everything I have done since
I save the document will be thrown away.
| | 00:50 | The second thing I could do is use
Undo from the Edit menu, of course
| | 00:55 | applications have the undo feature
that is Command+Z on the Mac or Ctrl+Z on
| | 00:59 | windows and if I choose that it undoes
the last thing that I have done. That
| | 01:04 | last way I messed up my document,
and I can keep doing that. I'll use the
| | 01:08 | keyboard shortcut that Command+Z on the
Mac Ctrl+Z on the windows and back and
| | 01:12 | back and back.
| | 01:15 | Unlimited times when I just keep
pressing the keyboard shortcuts until nothing
| | 01:18 | happens anymore all the way back to
the way it was when I started working on
| | 01:23 | this document. Isn't that great? There
are unlimited undo's in InDesign. You
| | 01:27 | can go all the way back, even pass the
last time you saved the document, all
| | 01:32 | the way back to when you first opened
the document to start working on it. Very
| | 01:36 | powerful, unlimited undo's. This can
save you from all kinds of problems.
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| Setting margin and column guides| 00:00 | In an earlier movie we saw that the New
Document dialog box let's you set your
| | 00:04 | documents Margins and Column guides,
but what if you need to change your mind
| | 00:08 | later on, or what if you want to have
a different margins and different parts
| | 00:11 | of your document. No problem! That is
where the Margins and Columns feature
| | 00:16 | comes in from the Layout menu, but do
not choose it yet. Before you choose it,
| | 00:20 | go tell InDesign which pages you want
to effect. I'll go to the Pages panel and
| | 00:26 | I'll double click on Pages 2 and 3 of
my Bliss Magazine exercise file. That
| | 00:31 | takes me to that spread and
selects it in the Pages panel.
| | 00:34 | I'm going to come out of Preview Mode
and go into normal mode so I can see it
| | 00:37 | on my guides, and I'm going to press
Command+Option+0, or Ctrl+0 on Windows to
| | 00:43 | Center my spread in the page. I'll
close the Pages panel, so we can see what is
| | 00:47 | going on little better; and now I'll
go to the layout menu and choose Margins
| | 00:51 | and Columns. This looks just like
the Margins and Columns area of the New
| | 00:55 | Document dialog box and we can choose
a Top-Bottom, Inside-Outside margin and
| | 01:01 | we can link those
together or leave them unlinked.
| | 01:04 | By the way right now this says Inside
or Outside but if it were a single sided
| | 01:09 | document instead of a facing pages
document, this would actually just say Left
| | 01:12 | and Right. Let us go ahead and change
the Top margin to maybe, 1 inch and we
| | 01:17 | can see that immediately it drops down.
We can see that change because the
| | 01:21 | Preview check box is turned On. If I
turn it Off it goes back to the way it was
| | 01:26 | before. If I turn it on I can see it
affected by the changes I have made in
| | 01:30 | this dialog box.
| | 01:32 | So that Preview check box is a
wonderful before and after button as it were.
| | 01:35 | Let us go ahead and change the Columns
as well I'm going to click inside that
| | 01:40 | field and instead of typing 4 I'm going
to use the arrows on my keyboard so the
| | 01:45 | Up arrow moves up to 4, and then click
again it goes up to 5 and so on. I could
| | 01:50 | change the number or I could click on
these buttons. They all do the same thing
| | 01:54 | they can move up and down. I just
personally like using those up and down keys
| | 01:57 | on the keyboard.
| | 01:58 | So, then I'll tab over to the Gutter
field and I'll say let us make that 1p9
| | 02:03 | instead, and you can gutter between
each of these columns has been made larger.
| | 02:09 | Notice that this just change as the
guides on your page, not the object from
| | 02:13 | the page. You can still put guides any
where you want on the page. Guides are
| | 02:17 | just that. They are guidelines for
where you might put objects, but if you do
| | 02:21 | want InDesign to change both the guides
and your page objects at the same time.
| | 02:25 | Let us say I want to change the bottom
margin here and I want that text to move
| | 02:29 | up to well you can do that but you have
to use a Layout Adjustment feature and
| | 02:35 | that is the topic for the next movie.
| | Collapse this transcript |
| Making a layout adjustment| 00:00 | In the last movie we saw that you can
change your Column and Margin guides all
| | 00:04 | day and it won't affect the objects on
your page. But what if you do want those
| | 00:08 | changes to affect your text and
graphics? Well in that case, you need to turn
| | 00:11 | on Layout Adjustment. Let me show you
what I mean. I'm going to go the next
| | 00:15 | spread by pressing Option+Page Down
and then I'll turn off Preview mode by
| | 00:19 | pressing W and I'll center this spread
in my window with Command+Option+0 or
| | 00:23 | Ctrl+Alt+0 on Windows.
| | 00:26 | Now I want to change the lower margin
on this page so that it moves up and I
| | 00:32 | want the text to move up too. So I'll
go to my Pages panel and I'll select just
| | 00:37 | Page 3. In order to do that I'm going
to click once one Page 1 just to deselect
| | 00:42 | this all spread and then I'll click
once on Page 3. Now that selects Page 3 for
| | 00:47 | any changes that I make to Margins and
Columns. So I'll go to the layout menu
| | 00:52 | and I'll choose Layout Adjustment.
| | 00:54 | Now Layout Adjustment is the key to
making Margins and Columns applied to text
| | 00:59 | objects. I'll turn on a enable Layout
Adjustment and now when I click OK I'll
| | 01:04 | go back to Margins and Columns. The
changes I make in this dialog box will only
| | 01:10 | effect Page3 and because Layout
Adjustment is on, it is going to affect both
| | 01:15 | the guides and the objects on this page.
For example, lets go ahead and change
| | 01:20 | the bottom to something bigger; maybe
1 inch. I'll press Tab to go the next
| | 01:24 | field InDesign, says, okay, let us see
what it looks like because the Preview
| | 01:28 | check box is turned on, and we can see
that the margin moved up and the text
| | 01:33 | frame moved up.
| | 01:33 | Let us turn Preview off and you can
see before and after. We can even change
| | 01:38 | the number of Columns I'll change
this from 3 columns up to 4 columns by
| | 01:43 | clicking in here, and pressing the
Up arrow and you can see that InDesign
| | 01:46 | actually changed all three of these
text frames. These are three different text
| | 01:50 | frames and it changed the width and the
height of each of those; and it added a
| | 01:55 | new text frame. It was smart enough to
add a new text frame and automatically
| | 01:59 | link this together when I
added a fourth column. Pretty cool!
| | 02:03 | I'm going to click OK and we can look
at that. There is 1, there is 2, there is
| | 02:06 | 3, and there is 4th column, a new text
frame that InDesign created for me. I'm
| | 02:11 | going to close the Pages panel here
and you can see that two of these images
| | 02:15 | did not get changed. This image got
resized, but these did not, why? Because
| | 02:21 | layout adjustment. And this is very
important to know. Layout adjustment only
| | 02:25 | works when the edges of objects touch
guides. Let me undo and I'll show you
| | 02:31 | what happened.
| | 02:32 | Undo that change of the margins and you
can see that this graphic went all the
| | 02:36 | way to the edge of the Column guides,
but these two graphics did not. They were
| | 02:41 | aligned along their left edge but
not along the right edge so that simply
| | 02:45 | cannot work. It will not stand. So I'm
going to enlarge that text frame to snap
| | 02:52 | against that Column guide, and
enlarge this one to snap against the Column
| | 02:55 | guide, and now I'll try it
again; let us see if it will work.
| | 02:59 | Margins and Columns change the Bottom
Margin to 1 inch; increase the number of
| | 03:05 | Columns to 4. Click OK and we can say,
yes, it did the text frames and the
| | 03:12 | images all of these images. It did not
actually change this text frame though.
| | 03:16 | That one is messed up. So you have to
pay attention to that thing when you are
| | 03:20 | updating your document and prove
carefully but we can see that these objects
| | 03:24 | that were touching the edges of the
columns did change exactly the way we
| | 03:29 | wanted them to.
| | 03:30 | Layout adjustment really relies on
the margins and columns guides to do its
| | 03:33 | magic. But there is another kind of
guide InDesign as well it is called the
| | 03:37 | Ruler guide and that is what we
are going to cover in the next movie.
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| Using ruler guides| 00:00 | Designers love adding guides to
their page to define zones and manage the
| | 00:04 | space. Production folks love adding
guides because it maintains consistency and
| | 00:08 | helps layout pages fast. Whatever the
reason you want to add guides, InDesign
| | 00:13 | lets you do it in a number of
different ways. For example I have my sheet V1
| | 00:17 | document open from the exercise files
and I'm going to jump to the second page
| | 00:21 | by pressing Shift+Page Down. And I can
see that there are number objects that
| | 00:26 | are not really aligned very well here
and I want to try to align them with guides.
| | 00:30 | I'm going to do that by pulling a guide
from one of the rulers. If I pull out a
| | 00:35 | guide from this ruler up at the top, I
get a Horizontal guide and if I let go
| | 00:40 | of it while the cursor is on top of the
page I get a Page guide. The guide just
| | 00:45 | reaches across the single page. But if
I pull out a guide from the ruler and
| | 00:50 | let go of it while it is on the
pasteboard, I get a pasteboard guide. Some
| | 00:54 | people call this a Spread guide, because
it reaches all way across a multi page spread.
| | 00:59 | Another way to add guides to your page
is by double clicking in the ruler. For
| | 01:02 | example if I double click here in the
Ruler right near the 3 inch mark, I can
| | 01:07 | see a guide shows up right there. Now
was that right at 3 inches. I meant it to
| | 01:11 | be right at 3 inches and it wasn't.
It's a little bit off, and I can see
| | 01:15 | exactly how far off it was by
clicking on it this is an important point. In
| | 01:20 | InDesign all guides are objects, i.e.
you can select them simply by clicking on
| | 01:25 | them with the Selection tool. That is
the black arrow tool, and the Control
| | 01:29 | panel will show you exactly
where that guide is. 2.9259 inches.
| | 01:34 | It was not at three inches so that is
frustrating. How do I delete that one?
| | 01:39 | Well I can delete it simply by
selecting it, which I have already done, and
| | 01:43 | then pressing the Delete key. The
Delete key will delete it just like it
| | 01:46 | deletes any object. Now if I want to
add it at exactly 3 inches, let me show
| | 01:51 | you a trick. Hold down the Shift key
when you double click. Shift+Double Click
| | 01:56 | means add a guide here but snap it to
the nearest tick mark, one of the little
| | 02:01 | turning tick marks in the ruler. So
shift double click will add the guide but
| | 02:05 | it will make sure it is right snapped
against that 3 inch mark, if I select it
| | 02:09 | I can say, yes that at 3
inches that is pretty good.
| | 02:13 | I can do the same thing up here in the
Vertical ruler by Shift+Double clicking
| | 02:17 | over here. It goes right at 11/2 inches.
I'll do another one at 4. I could add
| | 02:21 | these all over the place and they
always snap right to those tick marks. So
| | 02:25 | that is very, very efficient, some
people like adding guides right at the edges
| | 02:29 | of pages. But you really do not need
to do that because in InDesign the edges
| | 02:32 | of pages always act as guides by
themselves that is object snapped to them.
| | 02:38 | In general the reason the reason we add
guides in InDesign is to snap things to
| | 02:42 | them so that we get alignment. For
example I want a guide right along the top
| | 02:48 | of this edge but before I do that,
let me clean this up a little bit. It's
| | 02:53 | getting too much. I cannot even see
where my objects are. I want to delete all
| | 02:56 | of these guides and there is a little
thing in CS4 that just does that. By
| | 03:00 | selecting at least one guide on the
page and then right-clicking on it or
| | 03:04 | Ctrl-click with the one button mouse
and down at the bottom of the context menu
| | 03:08 | there is a new feature called Delete
All Guides. So I'll go ahead and select
| | 03:12 | that. That cleans everything up makes
it nice and easy to see where every thing is so.
| | 03:16 | Now I'm going to add guides again but
I'm going to snap them right to the edge
| | 03:20 | of the object. I'll pull this guide
out and it is really cool that guide snap
| | 03:25 | to objects. So it snapped right to that,
and now I can see that one's aligned
| | 03:31 | but this one is not aligned, I need to
change the size of this by selecting it
| | 03:35 | with a Selection tool and then I'm
going to drag this top handle up until it
| | 03:39 | snaps up against that guide. So guides
snapped to objects, and object snapped
| | 03:44 | to guides when you get close to them;
that is, they are kind of sticky they
| | 03:48 | pull things up against them.
| | 03:50 | I'm going to move this image up and
let us say I want to move this up right
| | 03:53 | near that guide but I do not wanted to
snap to the guide. Well, you can disable
| | 03:58 | this snapping feature temporarily by
holding down the Ctrl key on Mac or
| | 04:03 | Windows the ctrl key will let you get
really close to a guide without actually
| | 04:07 | snapping to it. So that is a handy one
to keep in mind when you are trying to
| | 04:11 | do precise work when dragging things around.
| | 04:14 | Okay let me show you a few more tricks
having to do with guides because I just
| | 04:17 | love guides InDesign. I'm going to
pull a guide out here on to the page and
| | 04:21 | just have it selected there and while
it is selected I'm going to choose Edit,
| | 04:27 | Step and Repeat, and I can change
values of this to get duplicates of this
| | 04:32 | guide. So for example I'm going to say
I want to ten new guides and I want each
| | 04:37 | of them to be exactly let us say 10
millimeters apart so ten more down the page.
| | 04:43 | Click OK and boom there you go, so
this is a very fast way to make grids on
| | 04:48 | your page. For example, when I do this
over here Step and Repeat I'll do ten
| | 04:52 | more of these and, yeah, you want to do
these at whatever that value is and now
| | 04:57 | we have a very intense grid over here
on the pasteboard, and I could move those
| | 05:01 | over, if I needed to or whatever I
wanted to do with them. There is a lots of
| | 05:05 | cool things you can do with guides in
InDesign but once you have done all this
| | 05:08 | work to set up your guide what if you
want to use them on another page or on a
| | 05:13 | different document.
| | 05:14 | Well, they are just objects so you
could just select them I'll just drag over
| | 05:19 | them and select these guides and then
I could copy them and paste them. Or in
| | 05:24 | the next movie I'll show you an amazing
way to store pieces of your layout like
| | 05:29 | guides like this so that you
can use them anytime, anywhere.
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| Finding libraries and snippets| 00:00 | InDesign users often need to use the
same object, same text or even the same
| | 00:04 | layout in a number of different
places either within the same document or
| | 00:08 | different documents. Fortunately, you
do not have to recreate that stuff each
| | 00:12 | time, because InDesign offers three
great ways to reuse your content. Let me
| | 00:17 | show you the first one; it is Copy and
Paste but with a little bit a twist. I'm
| | 00:21 | going to reuse this Number 5 Magazine
logo, so I'll select it with the black
| | 00:25 | arrow Selection tool. Now I'll go
to the Edit menu and choose Copy.
| | 00:30 | Now I want to go to the next page so
I'll press Shift+Page Down. I would like
| | 00:34 | it to go right here on the page if I
could but when I choose Paste, it does not
| | 00:39 | show up there it shows up right in
the middle of the page. Actually puts it
| | 00:43 | right in the middle of the screen window,
which happens to be in the middle of
| | 00:45 | the page here. So wherever in the
middle of the screen is that is where the
| | 00:48 | Paste puts the object when you paste.
Let me delete that, just hit the Delete key.
| | 00:53 | Instead I'm going to show Paste in
Place because unbeknownst to you when you
| | 00:57 | copy something, InDesign actually
remembers not just what it is but where it
| | 01:02 | came from, the actual page coordinates.
So when I choose Paste in Place, it
| | 01:07 | shows up on exactly the same place on
the spread, as it was originally. Now
| | 01:11 | notice that I said Spread, not Page.
So I wish that it came here on the page
| | 01:16 | but in fact it came right over here
that was pasted over here, because remember
| | 01:21 | originally it was on the right hand
page, Page 1 is a right hand page, and so
| | 01:24 | here it showed up on Page 3
which is also a right hand page.
| | 01:28 | InDesign remembers the coordinates
based on the spread not the individual page
| | 01:32 | some thing you need to keep in mind
let us go ahead and delete and look at a
| | 01:35 | different way that you can reuse
objects from one place to another. Let me go
| | 01:39 | back to Page 1, so Shift+Page Up and
I'm going to select the same object here
| | 01:45 | and I'm going to create what is called
a Snippet. A Snippet is a way to save
| | 01:49 | one or more objects on spread as a
little file that you can re use over and
| | 01:54 | over again. It remembers the page
geometry, that is the coordinates of where
| | 01:57 | everything was, and all the objects in
that group or if it is just one object.
| | 02:02 | It remembers that one object so how do
you make a snippet. Well, there is two
| | 02:05 | ways you can do it. You can take this
object, I'm just dragging it around, and
| | 02:09 | I'm going to drag it right out of
InDesign on to my desktop and you could do
| | 02:13 | that in Mac or Windows and notice what
you get here is thing called Snippet,
| | 02:17 | there are a bunch of number and letters.
It just makes up a random, I think it
| | 02:22 | is random number of letters and digits
there to make a unique identifier, but
| | 02:27 | you do not need to have it named that
you can name it anything you want later.
| | 02:30 | So that is one way that you can make a
Snippet, let me show you another way to
| | 02:33 | make a Snippet. Here in InDesign I'll
choose File, Export and I'm going to
| | 02:39 | place this up on the Desktop, so I'll
use that little key board shortcut to get
| | 02:42 | to the Desktop. On the Mac it is
Command+D, I think goes to the desktop and
| | 02:47 | then I'm going to name it My_snippet.
Like I said you can call it anything you
| | 02:51 | want. And note that it has an IDMS
extension here. IDMS is the extension here
| | 02:56 | for Snippet because I have the format
set to InDesign Snippet. There is a lot
| | 03:00 | of ways to export your objects or
your files out in InDesign and I'll be
| | 03:04 | covering those in later movies.
| | 03:06 | But right now we are going to focus on
InDesign Snippet so I save that out and
| | 03:10 | you can see there it is, it is exactly
the same thing it is just has as nicer
| | 03:13 | name, so there you go. Now if want to
reuse that Snippet later I'll go back to
| | 03:18 | my second page with a Shift+Page Down.
How do I get it on to my page? Well, you
| | 03:23 | can drag and drop or you can place. For
example I could come out here and I'll
| | 03:27 | click on the Mac OS Finder and this
again works with both Mac OS and Windows Explorer.
| | 03:33 | I can select that Snippet and simply
drag it back in. If I drag it back in here
| | 03:38 | it places that group of objects on my
page but there is another trick that you
| | 03:42 | need to know about. Because notice
that I just dropped it exactly where my
| | 03:46 | cursor was, I'm going to delete that,
I'm going to drag this back in but this
| | 03:51 | time I'm going to hold down the
Option or Alt key when I do it, when you do
| | 03:55 | that it placed it not where the cursor
was over here, but it placed it back in
| | 03:59 | the original position. The actual
page geometry, the original spread
| | 04:03 | coordinates, just the way
the Paste and Place were.
| | 04:06 | So that little Option or Alt key trick
is really good making sure your Snippets
| | 04:10 | get back to the same place they were
originally. I'll go ahead and delete this
| | 04:14 | object and I'll show you the other
way of getting Snippets in, File, Place.
| | 04:18 | I'll choose Place from the File menu
or press Command+D or Ctrl+D on windows
| | 04:23 | and I'll choose my Snippet from the
desktop here. Again does not matter which
| | 04:26 | one you choose these are both the same
and I'll say open, when you do that you
| | 04:30 | get the place cursor. It gets you a
little thumbnail icon of that Snippet which
| | 04:35 | is helpful and once again I can either
click and it will drop it exactly where I clicked.
| | 04:40 | Let us go ahead and place it one more
time and just for a completeness sake
| | 04:45 | here or I can Option-click or Alt-
click windows and that changes the cursor
| | 04:51 | little bit. See the cursor changes a
little bit to identify that when I click
| | 04:55 | it is not going to go where I'm
clicking it is going to go right back where it
| | 04:58 | was originally so once again the page
coordinates are honored, so cool. Let us
| | 05:03 | go and delete that and then I'll
select this and Delete this one and now I'm
| | 05:07 | going to show you a third way to
reuse your content in InDesign and that is
| | 05:11 | with a Library.
| | 05:12 | So we make a library by going to the
File menu, going down to New and choosing
| | 05:18 | library, so it is just going to be a
new library and libraries are actually
| | 05:22 | files on disc just like a document on
disc. So I'll call this David's Library,
| | 05:29 | you can call it anything you want and
we see that we have an INDL extension
| | 05:33 | here. It is very important to have
those setup and library show up as panels in
| | 05:38 | your InDesign document, so right now it
is a blank panel so there is nothing in
| | 05:42 | there how do we get stuff in we
simply drag it in. For example if I want to
| | 05:47 | reuse this chocolate 101 some time in
the future I might want to put it in the
| | 05:51 | library and I get it their by
simply dragging right in to library.
| | 05:55 | Just select it with the Selection tool
the black arrow tool and drag it in. Or
| | 05:59 | I could select this object down here,
and just drag it in or maybe this image
| | 06:04 | over here and drag it in. So you can
fill up your library with all kinds of
| | 06:07 | things. Let us go back to that first
page and drag in that number 5 logo there.
| | 06:12 | So I now have four objects in my
library that I can use anytime I want. Perhaps
| | 06:17 | I wanted this little scoop image
whatever that thing is on my front page. How
| | 06:22 | do I get it out? I simply click on it
and drag right out. Drag it on to the
| | 06:26 | page and there it is. So that is pretty cool.
| | 06:29 | There is another way to get stuff out
on to the page as well though and that is
| | 06:33 | to use the Place command. We have
looked at the Place command in the File menu
| | 06:37 | a little earlier. This is a different
Place command. This is a special Place
| | 06:41 | command inside the library. So if I
select this object down here and go the
| | 06:46 | library flyout menu this little pop
out menu that shows out here and I can
| | 06:50 | choose Place Items.
| | 06:52 | Place Items is different than Place
from the File menu. Place Items means take
| | 06:56 | the object in the library and place
it on to the page and remember the page
| | 07:01 | geometry, remember those coordinates
so it places it on to the page and exact
| | 07:05 | the same location as it was originally
where is it remember, here we are, we
| | 07:09 | are bitten again. It did not show up
here because this is a right hand page.
| | 07:14 | I'm going to have turn off Preview
mode and I'm going to have to scroll way
| | 07:17 | over here to where the left hand page
would have been, if there were a left
| | 07:21 | hand page here.
| | 07:22 | And there it is that is the object
that got placed when I used the place
| | 07:26 | command to take it a little library.
So again you have to be careful when you
| | 07:30 | are using the place because it is going
to remember the page geometry based on
| | 07:33 | the spread not the individual page.
Little things to keep in mind. By the way
| | 07:38 | there are all cool things you can do
at libraries. I'll show you a couple of
| | 07:42 | them you can double click on the
library item and give it a name so I could say
| | 07:46 | this is my chocolate heading, know
that it is a text object and you can even
| | 07:51 | type some description in here if
you want like this is a heading.
| | 07:54 | Something like that and all of that
information to get stored as metadata with
| | 07:58 | this object in here which is kind of
cool and you could say this one is going
| | 08:02 | to be a scoop thing. I don't know what
that is but let us call it scoop and we
| | 08:07 | will call this one logo and then later,
remember you might have hundreds or
| | 08:11 | even thousands of objects in the
library or even multiple libraries and you can
| | 08:15 | go over down here to this little search
icon click, we call it the Show Library
| | 08:19 | Subset, but really is just a search
because those are supposed to be little binoculars.
| | 08:23 | So I can click on that and I could say
search the entire library for anything
| | 08:27 | with the item name contains logo, click
OK and it just shows that one item here
| | 08:33 | which is very, very handy. So this is a
way that you can use a library kind of
| | 08:37 | like an asset manager almost like a
mini bridge so that you can find and keep
| | 08:42 | track of all your important
assets, so you can reuse them later.
| | 08:47 | Using Snippets and Libraries and Paste
and Place feature these are all great
| | 08:52 | ways to save your self a huge amount
of time by reusing those frequently used items.
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| Saving for CS3 with INX| 00:00 | Okay you have an InDesign CS4 file but
you need to send it somebody who only
| | 00:04 | has InDesign CS3. Unfortunately if you
go to the File menu and choose Save As
| | 00:10 | you will notice that there is not Save
As InDesign CS3 feature. What will you
| | 00:15 | do? What will you do? Well the answer
is to Cancel out of here, choose from the
| | 00:21 | File menu, Export and then in the
Export dialog box choose InDesign CS3
| | 00:26 | interchange file format otherwise
known as INX. There is a bunch of different
| | 00:31 | file formats in here but in this case
you want INX. When you save an INX file
| | 00:36 | and send it to a CS3 user they
can open it in their version.
| | 00:40 | Of course not all the feature come
along for the ride any of the new CS4
| | 00:44 | features are stripped out when you open
it in the earlier version. For example
| | 00:48 | conditional text or something where as
InDesign CS3 didn't have that feature.
| | 00:51 | So it can't support it. Now as it
turns out the INX file is useful for other
| | 00:56 | things too. For example every now
and again I find a document that acts a
| | 01:00 | little strangely. Some times the color
shows up in this Swatches panel that I
| | 01:04 | can't delete, or maybe the pasteboard
around my page gets really huge. Often
| | 01:09 | the easiest solution for this kind of
weirdness is to Export the file to
| | 01:13 | INX and then open it back up again InDesign.
| | 01:16 | Yes, you can re-open your INX file in
InDesign CS4, and that seems to clear out
| | 01:21 | any garbage that might have snuck
in along the way, like minor corruption
| | 01:25 | of the document. It is rare that you
need to do this but it can get you out of
| | 01:28 | some weird jams. So I really want to
make sure that you know about this trouble
| | 01:32 | shooting technique. Another option
in to Export the file in the IDML file
| | 01:37 | forma, the InDesign Markup Language file
format, and you can open that in CS4. CS3
| | 01:42 | does not support that. Actually if you
are just going to be exporting to the
| | 01:46 | disc and then reopening at back up in
your version of InDesign CS4 IDML might
| | 01:50 | actually be more robust than INX at this point.
| | 01:53 | But like I said only CS4 supports it.
In the future I expected IDML will
| | 01:57 | probably replace INX as a standard
interchange format but for right now if you
| | 02:02 | need to send files back to
CS3 users you better use INX.
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| Converting QuarkXPress files| 00:00 | If you have been using QuarkXPress or
Pagemaker for a while you probably have
| | 00:04 | files that you want to update or
templates that you want to use and you are
| | 00:08 | dreading having to recreate them in
InDesign. Well, the good new is that
| | 00:11 | InDesign can open QuarkXPress files
from version 3.0 and 4.0 as well as
| | 00:17 | Pagemaker 6.5 and 7.0 files. But the
bad news is that InDesign cannot open
| | 00:23 | files from XPress 5.0, 6.0, 7.0 or 8.0.
It just can't do it, if you have files
| | 00:28 | from one of those later versions of
QuarkXPress you might want to get a plug-in
| | 00:32 | from a company called Markzware. The
plug-in is called Q2ID, and Q2ID is a
| | 00:37 | little plug-in that you install it and
suddenly InDesign can open those later
| | 00:41 | version XPress files.
| | 00:43 | If you do have QuarkXPress 3.0 or 4.
0 document that you want to open in
| | 00:46 | InDesign, let me show you how to do it,
it's very complex. You go to the File
| | 00:51 | menu and choose Open and choose the
QuarkXPress file, here you go, and just
| | 00:56 | click Open, and that's it, it opens it.
It's just as simple as that. You just
| | 01:01 | open the QuarkXPress 3.0 or 4.0
documents, and it converts everything into an
| | 01:05 | InDesign object, and it
does a pretty job at it too.
| | 01:08 | It's not perfect, it doesn't always
get everything but it's 90-95% accurate
| | 01:13 | most of the time, and you have to
understand, Quark didn't exactly go to Adobe
| | 01:17 | and say, here's our file format,
please open our files, take all of our
| | 01:21 | customers. They didn't do that. But
Adobe did figure out how to open those
| | 01:26 | XPress 3.0 and 4.0 documents and do a
pretty good job of it, and color swatches
| | 01:30 | come across just fine, most of the
images come across fine, the text comes
| | 01:35 | across. There are a few things
that you need to watch out for.
| | 01:37 | For example, text might re-flow a
little bit. QuarkXPress and InDesign have
| | 01:42 | different text-rendering engines, text
composition engines, and so the text may
| | 01:47 | re-flow a little bit, it usually does,
not always, but it usually does. That's
| | 01:51 | something to watch out for.
| | 01:52 | Sometimes images come in a little wonky,
but usually it works pretty well, it's
| | 01:56 | just worth proving your document to
make sure that everything is the way you
| | 02:01 | want it to be, it's not a
seamless transition at all.
| | 02:05 | By the way, there is a trick for really
making sure that it opens as well as it
| | 02:08 | possibly can, and that is, if it's
at all possible open your QuarkXPress
| | 02:13 | document back up in QuarkXPress or the
Pagemaker document up in Pagemaker and
| | 02:17 | do a Save As. Well, actually first make
sure all the images are linked properly
| | 02:21 | in QuarkXPress or Pagemaker, make sure
all the fonts are there, sort of make
| | 02:25 | sure it's alright in QuarkXPress and
Pagemaker, then do a Save As which tends
| | 02:29 | to clean out any gunk that has
accumulated in the document, and then open that
| | 02:33 | fresh new file in InDesign.
That usually works best.
| | 02:37 | That said there is a deeper problem
with opening QuarkXPress or Pagemaker
| | 02:41 | documents in InDesign, and that is
this. If you open a legacy document and
| | 02:45 | continue working with it, it's very
unlikely that you are really taking
| | 02:49 | advantage of InDesign's unique
features, such as pasting one master page on
| | 02:53 | another or nested styles or many of the
other things we are going to be talking
| | 02:56 | about in upcoming movies. After all
those are the features that make InDesign
| | 03:01 | more efficient and productive than
those other programs. That's why as tempting
| | 03:05 | as it is just to open the XPress
document or the Pagemaker document in
| | 03:08 | InDesign, I often recommend to clients
that they seriously consider re-creating
| | 03:13 | new templates or new documents in
InDesign being sure to use its special and
| | 03:17 | cool features.
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|
|
4. Managing PagesInserting, deleting, and moving pages| 00:01 | You can use InDesign to design
anything from a one-sided business card to a
| | 00:04 | book, thousand of pages long, but as
soon as you go beyond that business card,
| | 00:09 | you are going to need to learn how to
manage your pages, adding pages, moving
| | 00:12 | them around, deleting them and so on.
Well that's what we are going to cover
| | 00:15 | here. All of those page features
show up in two places in InDesign.
| | 00:20 | First under the Layout menu there is a
Pages submenu, which that lets you add
| | 00:24 | pages and insert pages and so on. But
all of those feature plus a lot more show
| | 00:28 | up in the Pages panel. So let's focus
on that. When you open the Pages panel in
| | 00:33 | InDesign, the first thing some of you
are going to notice is that it looks a
| | 00:36 | whole lot like the document setup
panel inside QuarkXPress. Let's make this a
| | 00:41 | little bit longer and you can see that
each spread is centered around a central
| | 00:46 | spine right that goes right down the
middle. Just kind of intuitive what's
| | 00:50 | going on there, but it's not a very
efficient use of your space and to me its
| | 00:54 | all about efficient use of a
screen real estate that's important.
| | 00:57 | So I'm going to go to the Pages panel
fly-out menu and I'm going to choose
| | 01:00 | panel Options down at the bottom and
this lets me setup how I want my Pages
| | 01:05 | panel to appear in InDesign. The first
thing I'm going to do is turn off Show
| | 01:09 | Vertically. I don't like that Show
Vertically option here. There is other
| | 01:12 | things we can do as well like specify
how large the icons should be inside the
| | 01:17 | Pages panel. I'm going to make these
little bit larger so we can see them
| | 01:20 | better on the screen and that's up to you,
depends on how big your screen is and so on.
| | 01:25 | Also the Master pages do you want the
Master pages to Show Vertically or what
| | 01:30 | kind of icons do you want up here for
your Master pages and then it shows what
| | 01:34 | kind of icons that you want to show
or not show. I like having it show the
| | 01:38 | icons for all of those different things
that we might be seeing in InDesign. I
| | 01:43 | want to get as much information out
of the Pages panel as I can and then
| | 01:46 | finally it lets me choose what kind of
Layout do I want. Do I want the Masters
| | 01:50 | to be on the top or the Pages to be on
the top and this is really just personal
| | 01:54 | preference. I usually go with Masters
on top, but honestly if you do a lot more
| | 01:59 | with pages and you don't have a lot of
Master pages it might make more sense to
| | 02:02 | make pages on top but again that's up to you.
| | 02:05 | Let's go ahead and click OK and we can
see that now the real estate is being
| | 02:10 | used much better here specially if I
extend this out a little bit more to the
| | 02:13 | right. We can really see the pages a
lot better in here. Like some people
| | 02:18 | really make this very wide, usually
you wouldn't have quite such large
| | 02:21 | thumbnails in here but I wanted you to
see them better in the Pages panel here.
| | 02:25 | So we can see that in the same amount
of space we are now seeing a lot of more
| | 02:29 | of the pages so l like that. That's
really helpful and we see some icons in
| | 02:33 | here like the Transparency icon saying
that there is some transparency on this
| | 02:37 | page. And again we will be covering
details about what transparency is and how
| | 02:40 | to deal with it in later chapters.
| | 02:43 | Okay, now we have our Pages panel
looking the way we want it. How do we insert
| | 02:47 | a page? Well, there is several ways to
do it. There is always more than one way
| | 02:50 | to do it in InDesign I guess and so
we are going to insert a page first by
| | 02:54 | clicking on the Insert Page button
and when you do that InDesign adds an
| | 02:58 | individual blank page right
after the currently selected page.
| | 03:03 | So page one was selected and then it
added page two after it. Let's undo that
| | 03:08 | with Command+Z or Ctrl+z and I'll
show you a way to give you more control.
| | 03:13 | Instead of just clicking on that I'm
going to hold down the Option key or the
| | 03:17 | Alt key when I click on it. The Option,
the Alt key in InDesign is sort of like
| | 03:21 | the make better key it always gives you
a little bit more options in this case
| | 03:26 | adding a page.
| | 03:27 | So Option or Alt-click on that gives
you the Insert Pages dialog box. And
| | 03:31 | that's really helpful because now we
can say we want two pages and we can
| | 03:35 | specify exactly where we want those
pages to show up. After this page before
| | 03:39 | the page, the end of the document and
so on. So we have a lot of control here
| | 03:43 | including what master page we want
applied to those and again we will be
| | 03:47 | covering what master pages
are later on in this chapter.
| | 03:50 | So I'll click OK and now we can see
that two pages have been added right after
| | 03:55 | page one. Now by the way that Insert
Pages feature is also in the fly-out menu,
| | 04:00 | this has a huge fly-out menu in the
Pages panel, Insert Pages, Move Pages, we
| | 04:05 | will be looking at some of these
things but in most of the features that you
| | 04:07 | are going to want are living either in
the fly-out menu here or inside these
| | 04:12 | buttons here.
| | 04:13 | Now here is one other way that you can
add a page and that is by duplicating a
| | 04:18 | current page. I'm going to Undo the
change we have made here. I don't need that
| | 04:22 | blank spread after all. So Command+Z or
Ctrl+Z on Windows to Undo that and I'm
| | 04:26 | going to show you how you can duplicate
a page that you already have laid out.
| | 04:29 | Let's say I want another cover for
some strange reason I can duplicate this
| | 04:33 | cover by holding down the Option or
the Alt key on Windows, Option on Mac and
| | 04:38 | dragging that over and when you hold
down that key that modifier key InDesign
| | 04:43 | knows that you mean to duplicate it.
| | 04:46 | So I now duplicated that over right in
between page one and what was page two.
| | 04:51 | I have an exact duplicate over there,
right next to each other. Let me
| | 04:54 | undo that, Command+Z or Ctrl+Z. If I
drag it way over with the Option Key or
| | 04:59 | the Alt key on Windows, I see a little
hand with a plus sign in it. That means
| | 05:04 | duplicated at the end of the document.
So if I see a big thick line there like
| | 05:10 | this that means place it here,
place the duplicate right here.
| | 05:13 | So I can place it in between these
spreads or between the spreads but over here
| | 05:18 | if I drag it way out to the side, I
see a little plus sign in the hand that
| | 05:22 | means duplicated at the end of the
document. That's used for just in case you
| | 05:26 | can't see the end of the document if
you have a really long document and it
| | 05:29 | doesn't all fit into the Pages panel.
| | 05:31 | Now, that ability to drag and drop is
not just for duplicating, it's also for
| | 05:35 | moving pages around. So for example
if I want to make move page two to some
| | 05:39 | place else, I can simply select it by
clicking on it once and dragging it down.
| | 05:44 | If I drag it down, so I see this big
thick line it means place it between those
| | 05:48 | spreads and everything reflows
appropriately. Let me undo that Command+Z or
| | 05:52 | Ctrl+Z on Windows. If I want to move
this whole spread some place else, I click
| | 05:57 | on the numbers underneath it and
that selects the whole spread and I can
| | 06:00 | actually drag those numbers some place else.
| | 06:02 | So let's move that whole spread down
to the end but before that final cover
| | 06:06 | page here we go. Now it moved down here.
So moving pages typically is as easy
| | 06:11 | as dragging and dropping. But honestly
for some reason dragging and dropping
| | 06:15 | it's a little confusing for me
sometimes especially if you can't see all the
| | 06:18 | pages in your document.
| | 06:19 | So there is another way to move your
pages around and that is Move Pages
| | 06:23 | feature from the Pages panel fly-out
menu. Move Pages gives you more control
| | 06:29 | over where things you are going to move
and you can specify exactly which pages
| | 06:32 | you want to move. Here the pages 8 and 9,
And you can even have more detail in
| | 06:36 | here. You could say pages 8 and 9,
let's say 1, 3, and this means move pages 1,
| | 06:43 | 3 and 8-9 to some place else. And then
you can say where do you want it to move
| | 06:49 | after this page, before the page, same
sort of settings before moving to the
| | 06:53 | end of the document and you can even
tell it to move it to a different document.
| | 06:56 | Of course you have to have another
document open. But if I had another document
| | 07:00 | open right now, I could choose that
document here and then finally I could even
| | 07:03 | say let's delete the pages after moving them.
| | 07:07 | So delete the pages from this
document when you move them into the new
| | 07:10 | document. Again that's only if you have
another document open. I'm not going to
| | 07:14 | do that right now that's kind of crazy.
So let me hit Cancel and instead show
| | 07:18 | you one last thing about pages and
that's how to delete them. If you don't want
| | 07:22 | the pages in your document anymore how
do you get rid of them? You Delete them
| | 07:25 | by first selecting the ones that you
want. This case I'll delete this page 10
| | 07:29 | here and then just clicking on the
Delete Page icon that's that little trash
| | 07:32 | can icon down there. It typically tells you
watch out this page actually has stuff on it.
| | 07:38 | So do you really want to delete it?
And you can say Yes. If this drives you
| | 07:42 | crazy just go ahead and click the
Don't Show Again button and then it won't
| | 07:46 | show up. I like to say that this is the
yes I know what I'm doing button. If I
| | 07:50 | delete it I mean that I'm really deleting it.
So there we go, that one is now deleted.
| | 07:54 | Now what If you want to delete multiple
pages out of your document? Well, then
| | 07:58 | you need to know our trick about how to
select more than one page in the Pages
| | 08:01 | panel. To select contiguous pages.
Pages like from 1 all the way to 5. You
| | 08:07 | select the first one by clicking on it
once and then hold down the Shift key
| | 08:11 | and click on the last one
and this select 1, 2, 3, 4, 5.
| | 08:15 | What if you want to select pages 1, 3,
7 or whatever pages that are not in a
| | 08:20 | row? Well you do that by clicking on
one and then holding down the Command key
| | 08:25 | on the Mac or Ctrl key on Windows and
then clicking on the other pages. So I'm
| | 08:29 | holding down the Command key on the
Mac right now. But you can hold down Ctrl
| | 08:33 | and windows and select non-contiguous
pages through your document. So I now
| | 08:38 | have 1, 3, 5, 7, and 9 and then I can
delete all of those by clicking on the
| | 08:43 | Delete key. Boom! They are gone.
| | 08:45 | If you start adding a lot of pages
to your document like for a book, you
| | 08:48 | probably want to break those pages into
sections and we are going to cover how
| | 08:52 | to do that in the next movie.
| | Collapse this transcript |
| Adding sections and page numbers| 00:00 | Let's say your InDesign document
contains all the pages for a 100 page book and
| | 00:05 | the first 20 pages are supposed to be
numbered with roman numerals or maybe you
| | 00:10 | have a single document but you need to
start it on page 47. In either case you
| | 00:14 | need to define one or more sections in
your Pages panel. So let's open up the
| | 00:18 | Pages panel and see how it's done.
| | 00:21 | In order to set a page number, first
select the page that you want to affect,
| | 00:24 | in this case page 1 and then go to the
Pages panel submenu, its fly-out menu
| | 00:29 | and go all the way to the bottom and
choose Numbering & Section Options. This
| | 00:34 | is control central for adjusting your
numbering. Right now we have it set to
| | 00:38 | Automatic Page Numbering. So it's
starting at page number 1, but if we want it
| | 00:42 | to start this one page 47, we will
change this to Start Page Numbering at and
| | 00:46 | then type in the number we want
to start on. Let's say 47 alright.
| | 00:50 | We can also define what we want the
page numbering to look like here in the
| | 00:53 | Page Numbering section, in the Style
popup menu let's just choose regular
| | 00:58 | numerals that 1, 2, 3 or we can have
zeros before them if we like that kind of
| | 01:02 | thing or use A, B, C or roman
numerals and so on. Let's go ahead and use
| | 01:07 | lowercase roman numerals. So we are
going to start on page 47 in lowercase
| | 01:12 | roman numerals and we are going to
cover some of these other issues like
| | 01:15 | Section Prefix and Section Marker in a
later chapter. I'm going to click OK and
| | 01:19 | we can see that immediately
the Pages panel has updated.
| | 01:22 | So instead of 1, 2, 3 we now have xlvii,
which is page 47 in roman numerals. So
| | 01:29 | we have changed each of those pages.
Now what if we want the first few pages to
| | 01:33 | be in roman numerals but then we want
this page over here to start on regular
| | 01:37 | numbering again. How would we handle
that? Well we do that by again selecting
| | 01:41 | the page that we want to affect, so I
clicked once on this page L there and
| | 01:46 | then I'm going to go back to the
Numbering & Section Options dialog box. Click
| | 01:51 | on that and we can say Start a Section.
| | 01:54 | So we are going to start a new section
here on this page and we are going to
| | 01:58 | start it at whatever number we want to
start it on maybe let's say page 1. We
| | 02:02 | will start right fresh at 1, not in
roman numerals but let's use regular
| | 02:06 | numerals again. Okay, so this is
going to start on page one. Well this is a
| | 02:10 | little tricky because if I click OK,
you are going to see how everything
| | 02:14 | reshuffles around here. All the numbers changed.
| | 02:17 | What happened? Why did this is
become a right-hand page? Well, that's the
| | 02:20 | problem. Page one is always going to
be a right-hand page, not a left-hand page.
| | 02:26 | So we need to start this on an even
number if we wanted to be a left-hand page.
| | 02:30 | I'm going to open up that dialog box
again but this time I'm going to do it
| | 02:34 | using a shortcut. I'm going to double-
click on that little black triangle at
| | 02:38 | the top. When I double-click on that
little black triangle it opens up the
| | 02:42 | Numbering & Section Options dialog
box again, sort of a shortcut instead of
| | 02:45 | going to the Pages panel menu all the time.
| | 02:48 | So now I'm going to change the Start
Page Numbering to page number 2, click OK
| | 02:53 | and everything reshuffles back to the
way it should be. So now we have a left
| | 02:57 | and right-hand page spread here
because page 2 is a left-hand page. There we
| | 03:01 | go. That's a little thing you need to
keep in mind when you are setting up
| | 03:04 | sections in your documents.
| | 03:06 | Alright, I'm going to jump to at the
4th page in our document here which is
| | 03:11 | going to be this open page right 1, 2, 3,
4. I'm going to jump to the 4th page
| | 03:16 | and I'm going to use the keyboard
shortcut for Go To Page, which is Command+J
| | 03:19 | on the Mac or Ctrl+J on Windows. Opens
the Go To Page dialog box and I'll say
| | 03:24 | Go to Page 4, and I'll click OK and the
first thing I notice is that it did not
| | 03:28 | go to this page, which is the 4th page.
It went to page 4, which is this page over here.
| | 03:34 | Well that's not the 4th page, how do
I make InDesign go to the 4th page. I
| | 03:39 | would have to type page 2 to get there.
But there is a little trick and this is
| | 03:43 | a important trick whenever your are
dealing with numbering, that the trick is
| | 03:47 | at add a plus sign to that. For example,
let's say I want to go page 3. How do
| | 03:51 | I go to page 3? The 3rd page here,
Command+J on the Mac or Ctrl+J on Windows
| | 03:56 | and if I type 3, it's not going to go
to 3, right. It's not going to go to the
| | 03:59 | 3rd page; it's going to go to this
page over here, the one that's kind of
| | 04:02 | called number 3, even though it's not
the 3rd page. To go the 3rd page I type
| | 04:07 | plus before it. +3 and that has nothing
to do with mathematics. It's not adding
| | 04:12 | 3 only thing. It's just a symbol
that means go to the 3rd page of the
| | 04:16 | document, click OK and we can see that
it went to page 3 here, so that's really
| | 04:21 | useful to keep in mind.
| | 04:22 | Now it would be really useful to have
page numbers on each of these pages.
| | 04:27 | Maybe a page number in the upper right
corner and upper left corner over here
| | 04:31 | and as we will be learning in the
next few movies anytime that you want
| | 04:34 | something to appear on a bunch of pages
you should put it on a master page. So
| | 04:39 | let's just jump ahead of here, just
for a movement and put something on a
| | 04:43 | master page and then I'll be talking
in future movies about how to get into
| | 04:46 | details about the master page.
| | 04:48 | To add something to a master page you
double-click on it up in the Pages panel
| | 04:52 | and that takes you to the master page
and why don't I scroll over here and I'm
| | 04:56 | going to turn off my Preview mode
just so I can see all of the different
| | 05:01 | objects on the page and I'll choose the
Type tool and click inside this little
| | 05:05 | frame in the upper left corner. I'll
zoom into 200% here with the Command+2 on
| | 05:09 | the Mac or Ctrl+2 on
Windows, so I can see better.
| | 05:12 | To add my page number into this text
frame, I'm going to go to the Type menu
| | 05:17 | and choose Insert Special Character
and then choose from the Markers submenu
| | 05:22 | Current Page Number. It's a long way to
go for this page number but it's worth
| | 05:26 | it. Current Page Number or you
could type Command+Option+Shift+N or
| | 05:30 | Ctrl+Alt+Shift+N on Windows and that
will insert a page number character and we
| | 05:35 | can see that it just says A here
because we are on master page A. We will
| | 05:39 | getting into page
numbering a little bit more later.
| | 05:42 | Let's go ahead and zoom out. I'm going
to use my Power Zoom tool to zoom out.
| | 05:47 | We talked about this in our earlier
movie using the Hand tool feature. I did
| | 05:51 | Option+spacebar and then hold down the
mouse button to go into the Power Zoom
| | 05:55 | mode. Now I zoomed way over here
and I'm going to use the same special
| | 05:59 | character here. This time I'll just
type the keyboard shortcut that we learned
| | 06:02 | just a moment ago and that adds that
special character here. Again it just says
| | 06:07 | A here but when we go back to our
document pages we'll see updated. Let's go
| | 06:11 | ahead and go to pages 2 and 3 by double-
clicking on here in the Pages panel and
| | 06:16 | I'll zoom back, so we can
see this little bit better.
| | 06:19 | Let's go up to the upper left corner
there it is, there is the page 2 right and
| | 06:23 | let's zoom over to the right side and
we can see there it is page 3 because
| | 06:27 | it's in the regular numbering. But if
we come back out here and scroll up to
| | 06:32 | these pages, we can see that it's in
roman numerals. So that's how we can add
| | 06:37 | page numbers to our master pages and
they automatically show up on all of our
| | 06:40 | document pages, just like
they show up in the Pages panel.
| | 06:44 | Now that we have had a little taste of
master pages, it's time to dive in for a
| | 06:48 | feast. In the next few movies cover
everything you need to know to gain mastery
| | 06:52 | over your master pages.
| | Collapse this transcript |
| Creating and applying master pages| 00:01 | As I said in the last movie you should
use master pages whenever you have text
| | 00:05 | or graphics that appears repeatedly
throughout your document such as a page
| | 00:09 | number or a logo. But we saw how to
add a page number to a master page in the
| | 00:13 | last movie. Now let's go a little
deeper and talk about how to create even more
| | 00:17 | master page items and more master pages.
I have my Bliss_Magazine document open
| | 00:22 | from my exercise files and I'll go
ahead and open the Pages panel and we can
| | 00:25 | see that there is one master page
here at the top of the Pages panel.
| | 00:28 | A-master, if you want to change its
name from A-Master which is kind of blend
| | 00:34 | default name you can. Simply click on
it once and then from the Pages panel
| | 00:38 | fly-out menu, choose Master Options for
A-Master. Options is InDesign talk
| | 00:43 | for edit this. So let's go ahead and
edit that and we can see that it has a
| | 00:48 | prefix which is A. I like leaving that
alone you could change it if you want to
| | 00:51 | but I kind of like that A, B, C
standardization because it that makes it easier
| | 00:55 | to arrange things in here. But I'm
going to change the name of the master page
| | 00:59 | from something bland like master
to something descriptive like Doc Pages.
| | 01:04 | You can have lots of different master
pages inside the same document. So it's a
| | 01:08 | good idea to name them descriptively
so you can tell what is what out here in
| | 01:12 | the Pages panel. I'll call this Doc
Pages and in the later movie I'll talk
| | 01:16 | about what Based On is all about. But
right now, we are just going to do a
| | 01:19 | regular two page master page which is
a single left right-hand spread called Doc Pages.
| | 01:24 | So this is going to be showing up as
Doc Pages in the Pages panel now. To edit
| | 01:29 | that master page, just double-click
on it and that takes you right to the
| | 01:33 | master page. We can see it's a
master page by looking a lower left corner
| | 01:37 | because the page number field says A
Doc Pages that's the master page we are editing.
| | 01:42 | I'm going to come out of Preview mode
here so we can actually see the objects
| | 01:45 | on the page and I'll go into fits
spread window with Command+Option+0 or
| | 01:49 | Ctrl+Alt+0 on Windows. Close the Pages
panel so we can see this a little bit
| | 01:53 | more of the page here. We can see that
there are various objects on here. All
| | 01:57 | the objects on a master page show up
with a dotted line. It's just a little
| | 02:01 | indicator that these are master page
items, not regular page items, and there
| | 02:06 | are the text frames that we had used
before to add page numbers in the last movie.
| | 02:10 | Let's go ahead and add those again in
this movie by clicking on the Type tool.
| | 02:15 | Clicking inside the type frame and then
I'm going to use the keyboard shortcut
| | 02:19 | for a Current Page Number which is
Command+Option+Shift+N on the Mac or
| | 02:24 | Ctrl+Alt+Shift+N on the Windows and
that adds that page number there, come over
| | 02:28 | here and click inside this
frame and do the same thing here.
| | 02:31 | So now we have got page numbers on the
left and right side of your page. In a
| | 02:36 | facing pages document, you always have
to be aware of what's a left-hand page
| | 02:40 | and what's the right-hand page because
the left-hand page items will only be
| | 02:43 | applied the left-hand page items in
your document and of course the right-hand
| | 02:47 | page items will show up on the
right-hand pages of your document.
| | 02:50 | Now let's go ahead and add a new
master page element here. I'm going to add
| | 02:54 | snippet file that I have created,
File Place and I'm going to choose the
| | 03:00 | BlissNO5_logo snippet file from the
Links folder inside the exercise files
| | 03:06 | folder click on Open and it places this
right, I put this right here at the top
| | 03:11 | of this column perhaps that
looks pretty good right there.
| | 03:14 | Now I have put it on the left-hand page.
So was it going to show up on any of
| | 03:17 | the right-hand document pages? No.
Only the left-hand page documents, let's
| | 03:22 | see how that looks. Open the Pages panel,
I'll jump right to page number 2 and
| | 03:27 | we can see there it is, there is the
page item, that came right off the master
| | 03:31 | page and it dropped on page 2, but of
course it's no where to be found on the
| | 03:35 | right-hand page number 3, only on the
left-hand page. That's just an important
| | 03:40 | thing that I'm trying instill in
your brain because a lot of people get
| | 03:43 | confused when they start adding master
page items and they may or may not show
| | 03:47 | up on their document pages. I'm going
to go back to the A Doc Pages master page
| | 03:51 | to talk about one more thing, which is
kind of important with master pages in InDesign.
| | 03:56 | A lot of people add text frames that
go all the way from one corner to the
| | 04:02 | other corner or may be fill these
columns with text frames because they are
| | 04:06 | used to the QuarkXPress way of doing
things. You do not need to do that in
| | 04:10 | InDesign. If you have a text frame
like this one which doesn't go all the way
| | 04:15 | to the margins then sure, go ahead and
add that to the master page, but you do
| | 04:19 | not need to go, make text frames that
fill up the whole page or fill up a whole
| | 04:23 | column on a page.
| | 04:24 | You just don't need to do that in
InDesign and in an our later chapter when I
| | 04:27 | talk about Importing text and editing
text, you will see why, you will see how
| | 04:31 | InDesign can create those text frames
for you automatically. So you don't have
| | 04:35 | to have them on the master page. But
you do want to put stuff on the master
| | 04:38 | page which is going to show up
automatically on every page except for those
| | 04:43 | big, big, big text frames
that fill up the margins.
| | 04:46 | So just a little point but it's good
for you to know about that. Okay, what if
| | 04:50 | we want a different master page maybe
we have different types of pages in our
| | 04:54 | documents, some pages are like
sidebars or add pages or something, you might
| | 04:59 | want to have different kinds of pages
in your document. So you want to have
| | 05:02 | different kinds of master pages.
| | 05:03 | How do you do that? Simple, we will
go to the Pages panel and in the Pages
| | 05:07 | panel fly-out menu choose New Master.
The New Master brings up the New Master
| | 05:12 | dialog box. I'm going to say this is
Master Page B. Again, I'm going to stick
| | 05:16 | with that standardization although you
can change it if you want to and I'll
| | 05:18 | give it a descriptive name. I'm going
to say this is Right hand sidebars. I
| | 05:23 | don't know. You can call anything you want.
| | 05:25 | Again, we will talk about the Based On
master page thing in a future movie, but
| | 05:28 | for right now I'm going to click on OK
and you can see that it shows up here in
| | 05:32 | the Pages panel and we can scroll up
and down here but I would rather give
| | 05:36 | myself a little bit more breathing room,
so it's nice to know that if I cover
| | 05:40 | my cursor over this horizontal line
here, I can click and drag that down and
| | 05:46 | now I can give more room to master and
less room for my pages although I could
| | 05:51 | drag this one down too.
| | 05:52 | So now I have got more room for both
of them. There we go. Now I'm currently
| | 05:55 | looking at my B-Right hand sidebar
master page because I can see it selected up
| | 06:01 | here and I can see it in the lower left
corner that tells me that it's sitting
| | 06:04 | there. So let's go ahead and add some
items here. So let's go ahead, I'm going
| | 06:09 | to pan over here to see just the right
hand page and I'm going to use my Frame
| | 06:13 | tool to draw really big frame that
covers the entire page here, while we do
| | 06:18 | that and I'm going to use the SWATCHES
panel. I'll click on SWATCHES and fill
| | 06:22 | that and I'm going to get into the
filling and stroking and how to do that in
| | 06:25 | the later movie but just follow
along here, you will get the idea.
| | 06:28 | I'm going to fill this with Beige, why
not nice little simple Beige thing. Then
| | 06:33 | I'll go back to my Selection tool and
place that snippet file one more time.
| | 06:38 | Grab that little BlissNo5_logo snippet.
Click Open and I'll click right up in
| | 06:43 | the upper left corner here and we
can see that I now have a big Beige
| | 06:46 | background with a logo on it. Now I
need to apply that to some of these pages
| | 06:51 | in InDesign. Right now everything is
applied to master page A and I can tell
| | 06:56 | that because I see an A in the upper
right corner, upper left corner of each of
| | 07:00 | these pages A, A, A, A that means only
master page A is applied to each of these pages.
| | 07:06 | To apply the master page B to some of
these pages, I need to select the page or
| | 07:11 | pages that I want to apply them to.
Well there is actually a lot of different
| | 07:15 | ways that you can apply master pages to
pages. Let me just show you a couple of
| | 07:18 | them, one is I can drag master page B down
on top of the page that I want to apply it to.
| | 07:23 | Boom! You see. I can see a little B
there in the upper corner because master
| | 07:28 | page B is applied to the page number 3
here. Let me show you another way to do
| | 07:32 | it. I can select one or more pages
that I want to apply them to, I'll click
| | 07:35 | here and hold down the Command or Ctrl
key and select over here. So now I have
| | 07:40 | got both of those pages selected and
I can Option-click or Alt on Windows,
| | 07:44 | Option-click on the master page over
here and it automatically adds whatever I
| | 07:49 | Option or Alt-clicked on to those,
it tagged those with master page B.
| | 07:54 | So now pages 3, 5 and 7 have been
tagged with master page B instead of master
| | 07:59 | page A. There is one more way that I
should show you how you can put master
| | 08:04 | page items, apply master page items
to your document pages and that is to
| | 08:07 | choose from the Pages panel fly-out menu,
Apply Master to pages. This is really
| | 08:12 | useful if you have a lot of pages that
you want to apply those master pages to.
| | 08:16 | We could simply say apply
them to 1-100 or 50 and 75-80.
| | 08:24 | You have a lot of control here for
applying master pages to a lot of different
| | 08:28 | master pages and of course you can
choose which master page you want to apply
| | 08:32 | to. Right now it says I can't do that
because these pages are not valid page
| | 08:37 | names. In other words, I don't have
80 different pages in this document. So
| | 08:41 | that's not going to work. I'll Cancel
out of this and I just wanted to show you
| | 08:44 | that one other option for applying
master pages to document pages. Alright
| | 08:49 | let's go ahead and look at page number
3 here. So we can see if it really worked.
| | 08:53 | So I double-click on page number 3,
which takes me right there. We can see that
| | 08:57 | we have got the big Beige
background and the logo right there. I'll
| | 09:00 | double-click on Page 5 and we can see
there it is, there is the logo in the
| | 09:04 | background. So you get the idea.
Anything that's on a master page will show up
| | 09:08 | on the document page as long as the
document page is actually tagged with that,
| | 09:13 | it's applied with that master page.
| | 09:16 | Now when you start using master pages,
there is one thing that will drive you a
| | 09:20 | little bit crazy and that is if I
want to click on this logo and move it
| | 09:24 | somewhere or delete it or something
like that, you can't do it. In fact you
| | 09:28 | can't even select that, I'm clicking
on it I'm dragging it nothing happens
| | 09:32 | because InDesign is keeping these
objects away from me so that you don't
| | 09:36 | accidentally mess them up.
| | 09:37 | But in the next movie, I'll show you
how you can pass this safety net and
| | 09:41 | access those master page items
directly on your document page.
| | Collapse this transcript |
| Overriding master page items| 00:01 | As I mentioned in the last movie,
InDesign protects master page items when you
| | 00:05 | are on a document page. You can't move
them, you can't delete them, you can't
| | 00:08 | even select them. I'll show you what I
mean. I'm back at my Bliss_Magazine file
| | 00:13 | from the exercise files. I'll open up
the Pages panel and double-click on the
| | 00:17 | master page. I'm going to come out of
Preview mode, so I can see my Page Items
| | 00:22 | here and I'm going to double-click on
one of these text frames to add my page
| | 00:27 | numbers back in here. When you
double-click on a text frame, InDesign
| | 00:30 | automatically switches to the Type
tool just a little shortcut trick there.
| | 00:34 | Now I'll use my keyboard
shortcut for adding the page numbers,
| | 00:37 | Command+Option+Shift+N or Ctrl+Alt+
Shift+N on Windows and that adds the page
| | 00:42 | number here. Then I'll use Option+
spacebar to give me the grabber hand, move
| | 00:47 | over the other side, click over here
and type the page number over here as
| | 00:52 | well. So now I have page numbers on
both the left and the right-hand page and
| | 00:56 | I'm ready to go.
| | 00:57 | I'm going to swing back over here to
page 2 by double-clicking on it and I can
| | 01:02 | see that those master page elements,
these page numbers have shown up here at
| | 01:06 | the upper left and the upper right
corner of the pages. So what if I do not
| | 01:10 | actually want a page number to be on
this page, what if I want to delete of
| | 01:14 | this page. No problem, use my Selection
tool and I need to override the master
| | 01:21 | page item and there is two or three
different ways that you can override master
| | 01:24 | page items. The simple way is to
hold down Shift+Command or on Windows
| | 01:30 | Shift+Ctrl and click on it. That's
all you need to do. Command+Shift or
| | 01:35 | Ctrl+Shift click on a object that was a
master page item and it turns it into a
| | 01:39 | document page item.
| | 01:41 | Now I can select it, I can move it and
I could even delete it. I'll just hit
| | 01:44 | that Delete key and it goes away, so
that overrides the master page items and I
| | 01:49 | can do stuff with it. Same thing over
here, I'll scroll over to this side. Let
| | 01:54 | me show you two different other ways
that you can override objects. If you had
| | 01:57 | a lot of different master page items
that you want to override, you might not
| | 02:01 | want do Command+Shift-click on
each one of them. So instead hold down
| | 02:05 | Command+Shift and Ctrl+Shift on Windows
and just draw a marquee and a rectangle
| | 02:09 | around the area that you want to
override and then let go and all of the
| | 02:14 | objects in this case it was just one,
but all of those objects get selected and
| | 02:18 | overwritten.
| | 02:19 | The third way to do it is if you
really want to override everything on your
| | 02:22 | page, let's say you had a 100 different
master page items. You want to override
| | 02:25 | all of them, you could go to the Pages
panel and click on the Pages panel menu
| | 02:30 | and you could choose Override All Master
Page Items and that would override everything.
| | 02:35 | Alright, now once you have master page
overridden as I said you can move it,
| | 02:39 | you can change it, for example I'll
move this over here to the left side here.
| | 02:43 | But I do want to point out even though
I overwrote it, I sort of moved it from
| | 02:48 | the master page, it still has a
little bit of link, it's still kind of
| | 02:52 | associated with the master page.
Overwriting it doesn't completely detach it.
| | 02:57 | Let me show you an example. I'll go
back to the right page of master page A and
| | 03:02 | I'm going to select that to master page
item and I'll choose the SWATCHES panel
| | 03:06 | and while we fill this with let's say
Beige, I don't know which is something
| | 03:09 | silly like that and then I'm going to
go back to document page 3. Double-click
| | 03:14 | on document page 3 and we can see that,
look at that it's Beige. So even though
| | 03:19 | I made the change on the master page,
it is reflected here on the document page
| | 03:24 | because there is kind of a link. It's
overridden, but not totally detached. If
| | 03:30 | you need to detach it totally,
completely remove it, so that nothing you do on
| | 03:34 | the master page will affect it anymore.
| | 03:36 | Well, in that case select it, go to
the Pages panel menu and choose Detach
| | 03:41 | Selection from Master. If you do that
it's completely removed, so that nothing
| | 03:46 | you do on the master page will affect
that object. I'm not going to do that
| | 03:50 | right now because I want to point
out a different feature called Remove
| | 03:53 | Selected Local overrides.
| | 03:56 | This feature is great when you make a
mistake, for example you might say Jeez,
| | 04:00 | I didn't really want to move that,
it should go back to where it was
| | 04:03 | originally. You can choose Remove
Selected Local Overrides and that reverses
| | 04:08 | any mistakes you have done. Reverses
everything you have done to that object
| | 04:11 | and reverts it back to the original
master page item. In this case, exactly the
| | 04:17 | way it looks on the master page today.
So that's a very handy way of getting
| | 04:21 | yourself out of any problems that you
might get yourself into down the road.
| | 04:25 | Okay, let's say you are making a
template and somebody else is going to be
| | 04:28 | using that template to layout a
document. Sometimes you don't want them to be
| | 04:32 | able to override any of your objects.
For example these page numbers here.
| | 04:36 | Maybe you don't want them to remove
them or delete them or something like that.
| | 04:40 | Well, in that case you can go to your
master page, select the object that you
| | 04:44 | don't want them to mess around with
and you can choose from the Pages panel
| | 04:48 | fly-out menu, Allow Master Item
Overrides on Selection. In other words, you
| | 04:53 | turn off this checkbox by selecting it
and now that object looks the same here
| | 04:58 | on the master page but InDesign users
will not be able to mess around with it
| | 05:02 | on their document pages.
| | 05:03 | For example, let me go down to page 6
and I can see that the page number is
| | 05:07 | here, but let's zoom in here so you
can see better. You cannot see even the
| | 05:12 | data outline. It's completely gone,
there is no way to select it, there is no
| | 05:16 | way to move it, there is no way to
override it. It is completely safe on your
| | 05:21 | document pages. So that's a new feature
in CS4, really cool feature if you are
| | 05:26 | making templates and you don't want
people to mess around with those objects.
| | 05:30 | When it comes to building structured
documents such as books and magazines,
| | 05:33 | master pages are a necessity for an
efficient workflow and controlling each
| | 05:38 | master page item is key to making the
final document end up just the way you want it.
| | Collapse this transcript |
| Using parent/child master pages| 00:01 | Catalogs, magazines and books often
have different sections that look similar
| | 00:05 | but aren't exactly the same. That's
easier to manage with multiple master
| | 00:09 | pages, but if you have ten different
master pages and you need to make a global
| | 00:13 | change, you probably need to make that
change ten times. Not so if you have set
| | 00:19 | up your master pages using the Based
On feature. I'll show you what I mean.
| | 00:23 | Let's open the Pages panel, and see
that I have got multiple pages in my
| | 00:27 | document. I'm going to go over to
pages 2 and 3 by double-clicking on it, and
| | 00:31 | then down to 6 and 7 and see, these
are very similar to 2 and 3, but I want
| | 00:37 | this one to look a little bit
different to kind of have a generally different
| | 00:41 | feel about it, maybe sort of a
Sidebar feel to it. So how would I do that?
| | 00:46 | Well, I'm going to create a new master
page and I'm going to base it on master
| | 00:49 | page A. So I'll go up here to say,
give me a New Master. I'll say, this is
| | 00:53 | going to be master page B, I'm going
to call it Sidebar, and I'll say it's
| | 00:58 | based on master page A.
| | 01:01 | So everything that's on A will end up
on B. Here we are looking at master page
| | 01:05 | B. Why don't we come out of Preview
mode by pressing the W key, so we can
| | 01:10 | actually see all the items here and we
can see that there is still master page
| | 01:13 | items that have got the dotted
outline here, but I cannot select them, why?
| | 01:17 | Because they are master page A items,
all of these came from master page A.
| | 01:22 | They don't belong to master page B;
they are just kind of passed through.
| | 01:25 | Now, I can create my own new items on
master page B, maybe I'll grab my Frame
| | 01:30 | tool here, and I'll just dry out some
frames, why not something simple like
| | 01:33 | this, and I'll fill it with maybe
this light gray color. Now, I can make a
| | 01:38 | duplicate of this. I'll be
discussing copying and duplicates in a later
| | 01:42 | chapter, but the quick version is,
I'm going to select it with a Selection
| | 01:45 | tool, the black arrow tool, and I'm
going to hold down Option and Shift or
| | 01:48 | Alt+Shift and just drag it right across.
There we go. I have dragged it from
| | 01:53 | this page to that page, and that
duplicated the object over here.
| | 01:56 | So now I have got this big gray
background on master page B. Now, I don't have
| | 02:01 | any document pages that are based on
master page B right now. So nothing will
| | 02:05 | show up in my document pages. Why
don't I apply it to the 6-7 spread here, by
| | 02:09 | selecting 6 and 7 and then Option or
Alt clicking on B Sidebar and now we can
| | 02:14 | see that B has been applied to these
pages and I'll Double-click on 6 and 7 to
| | 02:19 | go that spread and we can see, there
we go, those gray frames showed up on my
| | 02:24 | document page as well.
| | 02:26 | So I now have two master pages. Let's
make this a little bit bigger, so you can
| | 02:29 | see it better, drag that down, master
page A and master page B, and oh, look at
| | 02:34 | this, this is interesting, A shows up
in this icon here. And that means that B
| | 02:39 | is based on A, that give you that
little visual clue there. So that's kind of
| | 02:43 | cool, and then pages 6 and 7 are based
on B, so you can see the hierarchy. This
| | 02:49 | is based on B, this is based on A.
| | 02:52 | Now, what's interesting about this is,
if I make a change to master page A, it
| | 02:55 | will show up on B and therefore on all
the document pages based on B. So let's
| | 03:00 | go to master page A by Double-
clicking on it and let's maybe put some page
| | 03:04 | numbers on here, we have been
doing this in previous movies.
| | 03:07 | Command+Option+Shift+N or Ctrl+Alt+
Shift+N to add a page number here. And why
| | 03:12 | don't I move this over? Why don't we
just do something crazy like move that
| | 03:16 | over to the inside? I'll do the same
thing over here, I use the Type tool,
| | 03:20 | click in here, type my shortcut for the
current page number, use my Black Arrow
| | 03:25 | Selection tool to drag it
over to the inside page there.
| | 03:29 | So I have made a pretty significant
change to my layout on master page A. As
| | 03:33 | soon as I look at master page B, I can
see that the layout is reflected on this
| | 03:37 | page as well. We now have the page
numbers on the inside instead of the
| | 03:42 | outside, and of course if we look at
the document page 6 and 7, we can see
| | 03:46 | that's reflected here as well.
| | 03:48 | Now, what if I didn't want page
numbers at all on the master page B? Let's go
| | 03:52 | to master page B here, and let's say
I don't want there to be page numbers
| | 03:55 | here, but I can't select them,
because they belong to master page A. Well,
| | 04:00 | remember in the last movie we talked
about over-writing page items. Well it
| | 04:04 | works the same way with over-writing
page items on master pages that are based
| | 04:08 | on other master pages.
| | 04:09 | If I want to get rid of these master
page items, I have to hold down Command
| | 04:14 | and Shift on the Mac, or Ctrl+Shift on
Windows, I'll just drag over them and
| | 04:18 | that over-writes them. It sort of
takes them right off of master page A and
| | 04:22 | puts them on to master page B, over-
writes them. Now, I hit the Delete key and
| | 04:26 | that go away. So I have no master page
items that show page numbers on master
| | 04:31 | page B anymore, and of course that
means that on pages 6 and 7, I don't have
| | 04:35 | any page numbers as well.
| | 04:37 | This whole idea of basing one master
page on another is very, very powerful,
| | 04:42 | because again, you could have ten
different master pages all based on one. And
| | 04:45 | if you make a page in one place, it
changes everywhere else. It's really cool.
| | 04:50 | And let me be honest, the whole point
here is to do as little work as possible
| | 04:54 | when you are laying out a job. Be lazy
and using parent and child master pages
| | 04:59 | does take a little bit of work when you
first create your file. But it saves so
| | 05:04 | much work downstream when those
inevitable changes need to be made, that you
| | 05:08 | will really come out a winner in the end.
| | Collapse this transcript |
| Loading master pages| 00:01 | Okay. So you have built your master
pages, you have made them beautiful, now
| | 00:05 | you start a new document and you need
all those same master pages. Is it time
| | 00:09 | to start over again? No, InDesign lets
you easily copy master pages from one
| | 00:14 | document to another. Let me show you how.
| | 00:16 | I'll create a new document and I'll
just set this up using the default values,
| | 00:21 | click OK. So now, we have got
Untitled 1 over here and sheet_v1 over here.
| | 00:26 | There are three different ways of
moving master pages from one document to
| | 00:31 | another. There is pull, push, and
synchronize. The first one, pull, lets you
| | 00:36 | load master pages from another
document into the new blank document.
| | 00:41 | We will go to the Pages panel, I'll
open the Pages panel menu and I'll choose
| | 00:46 | Load master pages. It asks what you
want to load them from, and I'm going to
| | 00:50 | scroll down here until I get to sheet_
v1, click Open and then it asks me what
| | 00:56 | do you want to do with the master
pages that are the same. In this case, both
| | 01:00 | documents have an A-Master, master
page in them. They are named exactly the
| | 01:04 | same. So what do you want to do? Do
you want to replace the one that's here
| | 01:08 | with the new one? Do you want to
rename the incoming one something different,
| | 01:12 | or do you just want to cancel out of it
altogether? In this case, we are going
| | 01:15 | to replace A-Master with the
one that was in the sheet file.
| | 01:19 | Now, all three master pages show up
here in the new document and A-Master is
| | 01:23 | applied to Page 1 because it was already.
So that's the first way that you can
| | 01:29 | import pull in master pages. Let's
create a new document and try a different
| | 01:34 | way. Now, I would like to get all of
Sheet1's master pages into Untitled 2. How
| | 01:41 | do I do it here, by pushing it,
instead of using Load, I'm going to use the
| | 01:46 | Move Pages feature in the Pages panel
flyout menu lets me move pages from one
| | 01:51 | document into another. I cannot tell it
to move master pages, but I can tell it
| | 01:56 | to move Document Pages. So if I tell it
to move Pages 1 to 2 from this document
| | 02:02 | into Untitled 2, that new document that
I just created, then it's going to move
| | 02:07 | both of those document pages over and
any master pages that happen to be based on those.
| | 02:13 | So if I tell it to move Pages 1 to 2
into that new document Untitled 2, it's
| | 02:18 | going to move those two pages and any
master pages that are actually used by
| | 02:23 | those documents. In this case, B is
used by 1 and C is used by the other. So
| | 02:28 | I'll click OK and those two pages get
moved over to Untitled 2, let's click
| | 02:32 | over Untitled 2, and we can see there's
the two pages, and master pages B and C
| | 02:37 | get moved over as well. So that means I
can select these two pages, pages 2 and
| | 02:41 | 3 and I'll delete them, as its okay. I
really know what I'm doing, I'm deleting
| | 02:46 | those, but the master pages remain. So
that's another way you can get master
| | 02:49 | pages from one document into another.
| | 02:52 | There's a third way to copy master
page items among documents and that's the
| | 02:55 | Synchronize feature, but that's a more
advanced topic. So I'm going to cover
| | 02:59 | that in a long documents chapter of
the InDesign CS4 Beyond the Basics title.
| | Collapse this transcript |
|
|
5. TextUnderstanding text frames| 00:01 | While there are a few people who use
InDesign for pictures only, most of us
| | 00:05 | need to put text on our pages. Well,
you can't have text without a text frame.
| | 00:10 | But the good news is, that InDesign
gives you lots of ways to make text frames.
| | 00:14 | For example, I could use the Type tool.
Just click on the Type tool in the Tool
| | 00:18 | panel, come over here to my page and
I'll look at the Cursor and the Cursor
| | 00:22 | here shows some dotted lines that are
kind of curved, almost like parenthesis
| | 00:27 | around them. You really want to pay
attention to the cursor how it looks when
| | 00:31 | you are working in the InDesign because
it tells you what' going to happen next.
| | 00:34 | This particular cursor means that if I
click, I'm going to start typing inside
| | 00:39 | of a frame that's behind there,
probably that big green frame there. But, if I
| | 00:43 | click and drag, now I get a text frame.
So that's what that cursor means. If
| | 00:49 | you see dotted curved lines, it means
you can click into a frame or drag to
| | 00:54 | make a new frame. Now, I have got my
cursor is flashing in there and I can
| | 00:58 | simply start typing some random text
in there. So you can see that's one way
| | 01:02 | you can make a text frame.
| | 01:03 | Now, if I move over to some other
place to where there is no frames at all, I
| | 01:07 | can see that the cursor has changed
a little bit differently. Now, it's a
| | 01:10 | square dotted line around it and
that means that it cannot click into any
| | 01:15 | frames behind it, it can only click
and drag. So now I have made a text frame
| | 01:19 | out here that I can type in. So that's
a couple of ways that you can make some text frames.
| | 01:24 | InDesign has several other ways of
making frames including the Rectangle,
| | 01:28 | Ellipse and Polygon frame tools and
right below it, the Rectangle, Ellipse and
| | 01:33 | Polygon tools. Now, all six of those
tools make frames and in InDesign, any
| | 01:38 | frame can hold text or graphics. Doesn't
have to be a special kind of Type tool.
| | 01:44 | For example, I can just draw out an
Ellipse here, an oval with this, come over,
| | 01:48 | grab the Type tool and click inside
this frame and start typing, and now I have
| | 01:53 | got text inside of that oval. Similarly,
I can grab this Rectangle with an X
| | 01:58 | through it, and draw out an area, may
be I'll draw it out of the top of this
| | 02:01 | page here. Grab the Type tool, place it
on top of that frame, and look there is
| | 02:06 | our friendly cursor that says if I click,
I'm going to type inside that frame,
| | 02:10 | click once, what it was technically a
graphic frame, gets converted into a text
| | 02:16 | frame and I can type inside of it.
| | 02:18 | Now, some people don't like that. It
really bugs people that graphic frames can
| | 02:22 | get turned into text frames, and I can
understand that especially if you are
| | 02:25 | working on a Template that other
people might be inserting text later and
| | 02:29 | graphics later. You might not want them
to put text where graphics should be and so on.
| | 02:33 | So InDesign CS4 has a new feature. It's
a Preference that controls whether that
| | 02:38 | can happen or not. Let's go ahead and
choose Undo here to go back and I'll Undo
| | 02:43 | again and now it went back to being a
graphic frame with this big X in it.
| | 02:48 | So I'm going to go to the Preferences
dialog box and in InDesign for Windows,
| | 02:53 | it's under the Edit menu, Preferences
live under Edit, but here on the Mac, we
| | 02:56 | go to the InDesign menu, choose
Preferences and I'll choose Type. The Type pane
| | 03:02 | of the Preferences dialog box gives us
lots of control about what is going to
| | 03:06 | happen with various type frames and how
text appears in our document and so on.
| | 03:10 | But, the important one that we are
focusing on now is this second check-box,
| | 03:14 | Type tool Converts Frames to Text
Frames, and this really means the Type tool
| | 03:19 | will convert regular frames and graphic
frames and so on to text frames. And if
| | 03:24 | I turn that off, and click OK, now
these frames are safe. They are just going
| | 03:30 | to be graphic frames. You can see that
with the cursor, I can click and it will
| | 03:34 | not convert that into a text
frame. So that frame is safe.
| | 03:38 | Okay. There is another way that you can
create a text frame in InDesign. Let's
| | 03:42 | go ahead and delete some of these
frames. I'm going to click on that one,
| | 03:45 | Shift-click on this and I'll just Shift
-click on the rest of these and delete
| | 03:49 | them just to go back to where I was
originally, and I'm going to create a text
| | 03:52 | frame now by importing text.
| | 03:55 | Now, unlike some other programs like
QuarkXPress, I do not need to make a frame
| | 03:59 | first before I import text. I can
simply import the text and InDesign will make
| | 04:04 | the frame for me. I'll be covering
placing text, importing text in much more
| | 04:08 | detail later on in this chapter. But
for right now, I'll just do the quick
| | 04:12 | version. Which is you go to the File
menu, you choose Place, and then you
| | 04:16 | choose the text file that you want to
import. In this case, I'm using this
| | 04:19 | BlissText1 file, click Open and
InDesign will actually load up the Place
| | 04:24 | cursor, this means a special kind of
Place cursor with a little sample of the
| | 04:28 | text, kind of a thumbnail of the
text. So I know what I have got there.
| | 04:31 | Now, I could actually just click or
I can click and drag either way. If I
| | 04:36 | click, it would have filled the entire
frame here. Actually it would have gone
| | 04:40 | into a frame there. But, if I click
out here, it would actually make a frame
| | 04:43 | for me, but I clicked and dragged exact
the size of the frame that I wanted, so
| | 04:47 | it made the frame and
imported the text right into there.
| | 04:51 | Now that you know how to get a text
frame on your page, let's take the next
| | 04:55 | step; editing the text inside the frame.
| | Collapse this transcript |
| Typing and editing text| 00:01 | I know people who have put away
Microsoft Word and they use InDesign as their
| | 00:05 | main word processor, really? I mean
that seems a little bit extreme to me. If
| | 00:10 | you need an alternate word processor
that works well with InDesign, you should
| | 00:13 | probably be using Adobe's InCopy
software, and I'll talk more about that
| | 00:17 | software in a later chapter. But that
said InDesign does let you type and edit
| | 00:22 | text pretty efficiently. Let's see how.
| | 00:25 | I want to edit this text down here in
this text frame, and so I need the Type
| | 00:30 | tool. But instead of going all the way
up to the Tool panel to get that Type
| | 00:33 | tool, I'm simply going to double-click
on it. Double-clicking with either of
| | 00:37 | the Selection tools, that black arrow
Selection tool or the white arrow Direct
| | 00:41 | Selection tool. When you Double-
click with one of those, it automatically
| | 00:44 | switches to the Type tool and places
the flashing cursor exactly where you
| | 00:49 | Double-clicked, very clever, very efficient.
| | 00:51 | Now, I'll zoom-in to 200% by pressing
Command+2 or Ctrl+2 on the Windows, and I
| | 00:56 | can edit this text. You probably
already guess that you can use the Type tool
| | 01:00 | to drag over text and delete it or type
more text or whatever you want inside a
| | 01:06 | text frame like this. But, what you
might not know is that InDesign has lots
| | 01:10 | and lots of keyboard shortcuts for
moving through text, and I want to cover
| | 01:14 | some of those. They are very
important if you want to be efficient.
| | 01:17 | One is, holding down the Command key on
the Mac or Ctrl on Windows and pressing
| | 01:22 | the Arrow keys on the keyboard. That
lets you move either one word to the left
| | 01:27 | or one word to the right. If you do
Command+Left Arrow, it will move one word
| | 01:31 | to the left, and Ctrl+Left Arrow on
Windows. Or Command+Right Arrow or
| | 01:36 | Ctrl+Right Arrow on Windows
moves one word to the right.
| | 01:39 | If you replace that with up arrows or
down arrows on the keyboard, well, then
| | 01:43 | you move one paragraph at a time.
Command+Up Arrow or Ctrl+Up Arrow on Windows
| | 01:48 | will move to the beginning of the
paragraph and Command+Down Arrow or Crtl+Down
| | 01:52 | Arrow on Windows moves to the next
paragraph. So that's very handy indeed. So
| | 01:57 | you want to get those sort of things in
your vocabulary of keyboard shortcuts.
| | 02:01 | If you add the Shift key then you will
be selecting while you are moving. So
| | 02:06 | for example, if I do a Command+Shift+
Up Arrow now, or Ctrl+Shift+Up Arrow on
| | 02:12 | Windows, you select from where the
cursor is all the way up to where the cursor
| | 02:16 | is going. In this case, to the
beginning of the previous paragraph, or I'll
| | 02:20 | click right before this word
Collection here, I can do a Command+Shift+Right
| | 02:25 | Arrow to select that one word or
Ctrl+Shift+Right Arrow on Windows.
| | 02:29 | Here are some other shortcuts you need
to know, but these involve the mouse and
| | 02:33 | clicking. Click once and you place
the flashing cursor in that position of
| | 02:37 | course. Click twice, and you select a
word, select three times and you select
| | 02:42 | an entire line, not a sentence but that
one line and then click four times and
| | 02:47 | you get the entire paragraph.
So that's very helpful indeed.
| | 02:50 | If you click five times, lot of people
can't do that, one, two, three, four,
| | 02:55 | five. Click five times in a row, you
get the entire story, but honestly, there
| | 02:59 | is a much faster way of getting the
whole story. I just clicked here for a
| | 03:02 | moment to de-select everything. To get
the entire story, just press Command+A
| | 03:07 | on the Mac or Ctrl+A on
Windows, and that Select All.
| | 03:11 | Okay, a couple of other shortcuts that
you need to know when you are editing
| | 03:13 | text. One is the Delete key or the
Backspace key of course just deletes one
| | 03:18 | letter at a time. If you need to
delete an entire word at a time, press
| | 03:23 | Command+Delete or Ctrl+Delete. Now,
that's the Backspace on Windows; probably
| | 03:28 | it's usually called Backspace.
| | 03:29 | There is a Forward Delete key on both
Mac and Windows and that deletes the next
| | 03:35 | character. I'm just pressing that
Forward Delete key here and again,
| | 03:38 | Command+Forward Delete or Ctrl+Forward
Delete on Windows will delete the next
| | 03:44 | word at a time. So that's also handy if
you are trying to get rid of a bunch of text.
| | 03:49 | There is a text editing feature that a
lot of InDesign users ask for, and that
| | 03:53 | is drag and drop text. The ability to
select some text, I just Double-clicked
| | 03:57 | on that word and dragged over and that
selected the all three words here, and I
| | 04:01 | want to drag that to another
position in the story perhaps.
| | 04:04 | Well, you can do that with InDesign,
but you have to change a preference and
| | 04:09 | you do that by opening the Preferences
dialog box. You can get there quickly by
| | 04:13 | pressing Command+K or Ctrl+K on Windows.
That opens the Preferences dialog box,
| | 04:18 | and then you choose the Type pane. When
you choose Type, you can see that there
| | 04:22 | is a Drag and Drop Text Editing area
here, and currently Enable in Layout View
| | 04:27 | is unselected. It's de-selected here.
If you turn that on, then it will work in
| | 04:33 | the layout view. That is what they
call this. This is the layout view.
| | 04:38 | Now, that that's turned on, now that
that's selected in that Preferences dialog
| | 04:41 | box, I can drag and drop this text. I
don't know if you can see however, the
| | 04:45 | cursor changes to a little T next to a
black arrow. That's the drag and drop
| | 04:50 | cursor. That means, if I click and
drag, I'm going to move the text to some
| | 04:55 | place else. Can you see the vertical
bar there. Wherever that vertical bar goes
| | 05:00 | is where it's going to drop off when I
let go over the Mouse button. There we
| | 05:03 | go, it got moved to the end or I can
click and drag it all way up to the beginning.
| | 05:08 | So drag and drop does work in
InDesign, but you have to turn it on in
| | 05:12 | Preferences. That's why that peoples
like me who actually don't like drag and
| | 05:15 | drop very much, don't get settled with
it. Nothing wrong with drag and drop, I
| | 05:19 | just find myself dragging text to the
wrong place accidentally too often. So I
| | 05:24 | personally like having that turned off,
but if you like drag and drop, that's
| | 05:28 | great. Customize InDesign to the way
that you work, turn the Preference on and
| | 05:32 | then, you will have the feature you like.
| | 05:34 | Editing text right on a document page
is acceptable, but it's not always the
| | 05:38 | most efficient thing to do. Later in
this chapter, we will learn about the
| | 05:41 | Story Editor feature, which often
makes editing text much simpler.
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| Filling with placeholder text| 00:01 | Sometimes you need some dummy text to
fill a frame, just to complete a mock up
| | 00:04 | of your design. Traditionally,
designers have typed some Latin text called
| | 00:09 | Lorem Ipsum to stand in position for
the text that they may not have yet. If
| | 00:13 | you need some Placeholder Text, you
will be pleased to hear that InDesign can
| | 00:16 | type it all for you.
| | 00:18 | First, get the Type tool and place it
inside of a text frame. Then, go to the
| | 00:21 | Type menu and choose Fill with
Placeholder Text. The text frame is immediately
| | 00:27 | filled with text in the current font,
size, style, and so on of that text
| | 00:32 | frame. We can do the same thing over
here. I'll click in this empty frame, but
| | 00:36 | this time instead of going to the
Type menu, I'll use the Context menu.
| | 00:40 | right-click with a two-button mouse or
Ctrl-click with a one-button mouse, and
| | 00:44 | I choose Fill with Placeholder Text,
there we go. We have got all that random
| | 00:48 | text in here as well.
| | 00:49 | Now, if you don't like that Latin text,
you can replace it with your own type
| | 00:53 | of text, whatever text is most
appropriate for you. For example, I'll delete
| | 00:57 | that, do a Command+A or Ctrl+A on
Windows, select it all, hit Delete to delete
| | 01:01 | it, and I'm going to show you how you
can put your own placeholder text in here.
| | 01:05 | I'm going to use the Application
Switcher to switch back to the Mac OS Finder
| | 01:09 | here, and I'll see that there is a
file called placeholder text inside the
| | 01:13 | exercise files. If I take that and drag
that down into my InDesign folder, then
| | 01:20 | it will be used instead. Any file,
if it's a text file, and it's called
| | 01:24 | placeholder.txt, any file that you
put here, will be used instead of the
| | 01:30 | default Latin text in InDesign.
| | 01:32 | So I'll switch back to InDesign, I'll
go back up to Type, I'll choose Fill with
| | 01:37 | Placeholder Text, and you will see,
it's now a new kind of text. This is text
| | 01:41 | that I had just simply put inside of a
text file. I zoomed-in here to 200% by
| | 01:46 | doing Command+2 on the Mac or Ctrl+2 on
Windows, just so you can see that it's
| | 01:50 | not Latin text at all, it's just some
random sort of Shakespeare like text.
| | 01:54 | However, I need to warn you that there
is a very important rule when you use
| | 01:58 | placeholder text. Don't forget to
replace it with the final text later, unless
| | 02:03 | you think this Lorem Ipsum stuff is
better than what the copy editor wrote of
| | 02:07 | course. In that case, it's your responsibility.
| | Collapse this transcript |
| Using special characters| 00:01 | Quick, tell me what the keyboard
shortcut is to type the registered trademark
| | 00:04 | symbol or how about an em dash? Well
if you don't use these characters very
| | 00:09 | often, there is just no reason to
clutter up your head with trying to remember
| | 00:12 | the shortcuts. Besides, InDesign has a
couple of features that make inserting
| | 00:17 | special characters like
these a breeze. Let me show you.
| | 00:19 | I'm going to switch to the Type tool
and place the cursor right after the Spicy
| | 00:24 | Bliss word by double-clicking on
it. I just double-click right there, it
| | 00:27 | switches the Type tool and inserts the
cursor here. Now I'm going to zoom into
| | 00:31 | 400% by pressing Command+4 on the Mac
or Ctrl+4 on Windows and it centers where
| | 00:36 | the cursor is. I'll go to the Type
menu, scroll down to Insert Special
| | 00:40 | Character and then I'll look through
this submenus. There are all kinds of
| | 00:44 | really cool characters in here that we
can choose from including right indent
| | 00:48 | tabs and quotation marks, special kinds
of hyphens, but the one I'm looking for
| | 00:53 | is in the Symbols dropdown menu, the
little pop-out menu here, right there
| | 00:57 | registered trademark symbol. And if I
click on that, it inserts the symbol
| | 01:01 | where I want it, right where the cursor is.
| | 01:04 | Let's insert another character. I'm
going to select that space character
| | 01:08 | because I'm going to replace it with an
Em Dash. So I'll go up to Type - well,
| | 01:11 | maybe I won't go all the way up to the
Type menu there. Let's use it with the
| | 01:14 | Context menu. Context menus are much
cooler I think, for inserting special
| | 01:18 | characters because you just have to
right-click anywhere on your screen. Now
| | 01:22 | you place your text cursor where
you want it to go and then right-click
| | 01:25 | anywhere on the screen or Ctrl-click
with a one-button in mouse, scroll down
| | 01:29 | here to the bottom and we see the same
Insert Special Characters submenu. So
| | 01:34 | I'll come down here and say I would
like an En Dash right there and boom, there
| | 01:39 | it is. I'd love that ability to insert
thing quickly right where I want them.
| | 01:43 | Now there are other sorts of special
characters as well. Such as inserting
| | 01:46 | White Spaces, there are various size
spaces that you can insert here or even
| | 01:50 | inserting Break characters like Break
to next column or Break to the next page.
| | 01:55 | These are very important special
characters and we are going to be covering
| | 01:58 | these in more detail in a future title.
| | 02:01 | The second way to find uncommon
characters is the Glyphs panel, which you can
| | 02:05 | find under the Type menu by choosing
Type > Glyphs. The Glyphs panel shows
| | 02:11 | every character in a font and you can
make each of these characters larger or
| | 02:14 | smaller by clicking in these little
buttons in the lower right corner. Now
| | 02:18 | that's supposed to mean make it smaller
like the mountains are farther away and
| | 02:22 | this is make things bigger by kind of
like the mountains are closer. I think
| | 02:27 | that's what those icons are supposed to
be. Once you see those, let's make this
| | 02:30 | little bit bigger so we can we see
more characters, once you see all those
| | 02:34 | characters the way you want them to you
can scroll through these and find just
| | 02:38 | the character you are looking for. Now
notice that in some fonts, there is all
| | 02:41 | kinds of weird characters
that you might not expect.
| | 02:44 | This font here, Adobe Caslon Pro is
chuck full of cool characters and sometimes
| | 02:49 | it's hard to find just the ones that
you want. So fortunately InDesign has a
| | 02:54 | Show pop-up menu here. Right now
it's set to Show Entire Font but you can
| | 02:58 | change this to a sub set of the font,
for example just show me the symbols in
| | 03:03 | the font. So it shows me all, like the
dollars and pounds and yen and so on. Or
| | 03:08 | just show me the math symbols and here
is all the math symbols in this font. Or
| | 03:12 | maybe just show me the old style figures,
so these are the old style numbering figures.
| | 03:18 | You can dial in exactly what you are
looking for and then how do I get one of
| | 03:22 | these characters? Maybe I want this
old style yen symbol just for whatever
| | 03:27 | reason I need that. How do I get it
into this position? I just double-click on
| | 03:30 | it. Place the cursor where you want it,
maybe I'll put just before that B and
| | 03:34 | then I'll double-click on it and it
inserts the character right there, very,
| | 03:38 | very easy. Now each time you do that
that character shows up in the recently
| | 03:42 | used Glyphs as well. A Glyph is
basically a character. It's just a individual
| | 03:47 | character of a font. That's what a
Glyph is. And so the recently used Glyphs
| | 03:51 | are the characters that you have
recently used in the Glyphs panel.
| | 03:55 | As I said this particular font has
lots of special characters in it but
| | 03:58 | whatever font you are using check it
out with the Glyphs panel. Just choose a
| | 04:03 | little bit of text that's in that font
and it shows up in the Glyphs panel or
| | 04:07 | alternately you can choose the font
in the lower left corner of the Glyphs
| | 04:11 | panel. For example, I might want to
see what's in Times, what's in Times
| | 04:16 | Regular and you can see that all the
characters are in here and it's set to
| | 04:20 | Entire Font. Look at that, there are
fractions inside this font. You may not
| | 04:25 | have even know that this font
has fraction characters in them.
| | 04:28 | So definitely check out your fonts
with the Glyphs panel and you can find all
| | 04:31 | kinds of treasures
| | Collapse this transcript |
| Importing text| 00:01 | Okay you have some text file such as a
Microsoft Word document and you need to
| | 00:05 | get into InDesign. There are two basic
methods for importing text. First you
| | 00:09 | could go to the File menu and choose
Place. Now choose the document in this
| | 00:14 | case an RTF file from a word processor
but it could be a Microsoft document,
| | 00:18 | then I'll click Open.
| | 00:20 | If I would had a text frame selected
when I did this, the text would flow right
| | 00:24 | into it but in this case, I had nothing
selected, so it gives me a Place cursor
| | 00:29 | and that place cursor has a little bit
of a text attached to it almost like a
| | 00:32 | thumbnail of it.
| | 00:33 | Now notice that when I get near an
edge, that the little white arrow turns
| | 00:38 | white. Over here it's kind of black
arrow attached to it but over it's a white
| | 00:43 | arrow. That means it's going to snap
to that guide. So if I click with it,
| | 00:48 | InDesign creates a text frame for me,
from where I clicked on the top to the
| | 00:53 | bottom margin and then from the left
column to the right column. So it makes a
| | 00:59 | text frame for me to fill that
space and it places the text into it.
| | 01:03 | There is no text that can fit into
that frame so I get a little red plus sign
| | 01:07 | and that's all about overset text. I'm
going to be covering overset text and
| | 01:11 | how to thread frames in a later movie
but for right now, I just want to show
| | 01:15 | that I can import the text into a
frame but I have some other options. Let me
| | 01:20 | undo that, Command+Z on Mac or Ctrl+Z
on Windows and I want to show you my
| | 01:24 | other options.
| | 01:25 | Instead of simply clicking, I can Shift
-click. Shift-clicking, if I hold down
| | 01:31 | the Shift key, you see the cursor
change a little bit kind of to a little
| | 01:34 | sneaky S shape. Well if I Shift-click,
it actually inserts the entire story
| | 01:40 | from beginning to end and it will make,
in this case, make three text frames.
| | 01:44 | Because it fills the column, gets to
the end says oh, there is more text there!
| | 01:48 | So it goes to the next column, fills
that column and gets to the end and says,
| | 01:52 | well there is even more, so it then
goes to the third column and it will keep
| | 01:56 | adding text frames. In fact it will
keep adding pages to my document if it
| | 01:59 | needs to until the entire story is added.
| | 02:03 | So that's an important one. Shift-
click with the Place cursor will
| | 02:06 | automatically add pages, add frames,
until the whole story is added. Now I'm
| | 02:11 | going to undo that with a Command+Z or
Ctrl+Z on Windows and show you one more
| | 02:15 | option which is the Option-click or Alt
+ Click on Windows, and if I do that I'm
| | 02:20 | holding the Option key or the Alt key
and it's a slightly different icon on
| | 02:24 | that place cursor. This is the Semi-
automatic Place cursor. In this case, it
| | 02:29 | will, if I click, build me a text frame,
flow it in and it says oh, there is
| | 02:35 | too much text. So it automatically
reloads that place cursor and waits for me
| | 02:39 | to click again. So I can go over here
and I can click which will just make a
| | 02:43 | frame and I'm done or Option-click or
Alt-click to create the frame, fill it up
| | 02:49 | and reload the Place cursor.
| | 02:51 | Now I have got one more to go so I'm
just going to click in this case. I'm not
| | 02:54 | going to Option-click or Alt-click
because I happen to know that there is only
| | 02:58 | a little bit more text on here. So I'll
simply click and it makes the frame and
| | 03:02 | ends and I'm done. So there are lots
of options for placing with the place cursor.
| | 03:07 | Now I'm going to be talking about
paragraph styles and character styles in a
| | 03:11 | later chapter but I do want to
point out now that if your original word
| | 03:15 | document has styles in it,
paragraphs styles, characters styles, when you
| | 03:19 | import that document, all of those
styles come with it and in fact if your Word
| | 03:24 | Document uses the same names as your
InDesign styles, exactly the same naming,
| | 03:30 | then InDesign will throw away the
definition of the Word Document and use the
| | 03:34 | definition in the InDesign document and
that's typically what you want. So make
| | 03:39 | sure that you have the same names in
both your Word Document and the InDesign document.
| | 03:43 | Okay let me show one more way that you
could import text into InDesign through
| | 03:49 | drag and drop. So I'm going to switch
over to the Finder, the Mac OS Finder.
| | 03:54 | Same thing with Windows Explorer.
Either way. And I'm going to grab this RTF
| | 03:58 | file, this chocolate101_head, and I'm
going to drag it into this frame over
| | 04:03 | here. Now InDesign is still showing
in the background. So you can see the
| | 04:07 | cursor change. Right now I have got a
little document cursor with kind of a
| | 04:12 | rounded parenthesis, kind of icon
around it and that means if I let go over the
| | 04:16 | mouse button right now, the text is
going to go into a frame that's there,
| | 04:22 | there is an empty frame and
the text is going to go into it.
| | 04:24 | If I move the cursor up here, can you
see how that cursor changes a little bit?
| | 04:28 | There are kind of straight lines
around that cursor and that means that it is
| | 04:31 | going to create a new text frame and
it's going to place the text into that
| | 04:36 | frame. But in this case, I actually
want it to go into that empty frame. So I'm
| | 04:40 | just going to let go right on the top
of that frame and you can see the text
| | 04:43 | drops right into it. Let's click back
on InDesign and you can see that the text
| | 04:47 | shows up right there.
| | 04:48 | That drag and drop works from the Mac
OS Finder or Windows Explorer or even
| | 04:53 | from Bridge. You can just drag right
from Adobe Bridge into InDesign as well,
| | 04:57 | really, really cool method of
importing text through drag and drop.
| | 05:00 | There is one other method for getting
text into InDesign of course and that's
| | 05:04 | copy and paste. You can just copy and
paste from any other program and while
| | 05:08 | that often works fine I really don't
recommend it for anything more than may be
| | 05:13 | a paragraphs or two. I certainly would
not use copy and paste for text that was
| | 05:17 | formatted or included foreign languages
or special characters. After seeing too
| | 05:22 | many problems over the years with
texts showing up well wrong after you paste
| | 05:27 | it, it's just wrong. And the Place
command is just much more reliable when you
| | 05:31 | are trying to get into InDesign.
| | Collapse this transcript |
| Threading text frames| 00:00 | It's time to talk about threading text
frames together. If I select this text
| | 00:05 | frame in the bottom of the bottom
right corner of this frame, you will see a
| | 00:09 | little red plus sign. That's the
overset marker. That means there is more text
| | 00:15 | in this story than can fit into this
one frame. Well we could make the frame
| | 00:19 | bigger of course, but in this case we
want the text to flow from this page all
| | 00:23 | the way to this page. The trick is how
to thread two frames together. It all
| | 00:29 | has to do with the in-port and the out-port.
| | 00:32 | Every text frame that is any frame
that has text in it has an in-port in the
| | 00:36 | upper left corner and has an out-port
in the lower right corner. The out-port
| | 00:41 | here has the red plus sign in it and
if I click on that with the Selection
| | 00:45 | tool, by the way this will not work
with the Type tool, you have to have the
| | 00:49 | Selection tool selected in order to
thread frames together but if I click on
| | 00:53 | that little output with the Selection
tool, it loads my place cursor and if I
| | 00:59 | place that cursor on top of this text
frame over here, the cursor icon changes
| | 01:04 | to a little linked chain and that means
if I click, it's going to thread these together.
| | 01:10 | If I move it up here, I get a
different icon. That's the, it's going to make
| | 01:14 | new frame icon. Well that's not what I
want, I want to move down here until I
| | 01:18 | see that little linked chain and then
click and it threads these together. I
| | 01:24 | know it's hard to see this on the
screen but the upper left corner here, the
| | 01:28 | in-port of this text frame now has a
small green arrow in it, kind of like
| | 01:33 | triangle arrow in there and that means
there is text flowing into this frame.
| | 01:39 | If I click on this frame, now the
lower right corner out-port has a triangle
| | 01:44 | saying there is text flowing out of
this frame. The in-port of this is blank
| | 01:49 | meaning this is the beginning of the
text thread. There is no text flowing in here.
| | 01:55 | If we want to see the thread, we can
see the thread that is we can see the link
| | 02:00 | between the two frames. If we go to the
View menu and choose Show Text Threads,
| | 02:05 | that green line is the line that says
these frames are connected. We can thread
| | 02:10 | frames together even if there is
already text in them. For example, this story
| | 02:14 | goes from the heading to the sub head
and I can link from that sub head to the
| | 02:19 | main story by clicking on the output
of the sub head and then clicking on the
| | 02:24 | main story over here. Now there is a
small thread line showing that the thread
| | 02:29 | continues from the head to the sub
head all the way through the story.
| | 02:32 | What if I want to un-thread this
frames that is I made a mistake and I don't
| | 02:36 | actually want this one link to this one.
How do I do that? Well just click once
| | 02:42 | on the in-port here and then click on
the frame itself. It's hard to see with
| | 02:47 | this icon there, I'll move down here.
It looks like a broken chain icon. So if
| | 02:51 | I click anywhere on the top of
this frame, it breaks the link.
| | 02:55 | Let's link them together again by
clicking on that out-port and then clicking
| | 02:59 | on this frame because that's
the layout that I really like.
| | 03:02 | By the way, some people call this
linking text frames but linking means
| | 03:06 | something different in InDesign. It
means maintaining a link to files on your
| | 03:10 | hard drive so that if they change,
InDesign changes too. And I'll talk about
| | 03:15 | that in detail in a later chapter but
in this case, when I talked about text
| | 03:19 | flowing from one frame to
another, I always say threading.
| | 03:23 | In the next movie we will look at a new
feature in InDesign CS4, one that will
| | 03:28 | automatically thread frames
together as you edit or type.
| | Collapse this transcript |
| Auto-flowing text| 00:01 | Earlier in this chapter we looked at
how you can flow a bunch of text in
| | 00:04 | automatically adding pages and
threaded text frames with a single click. But
| | 00:09 | that feature only works with the Place
cursor. What if you're typing or editing
| | 00:14 | text right in InDesign and you want the
program to automatically add pages for
| | 00:18 | you. Well, new in CS4 comes a Smart Text
Reflow feature. Let's see how it works.
| | 00:25 | In this document from the exercise
files, I can see that the text flows from
| | 00:29 | page 1 down to page 2, it ends here.
But what I would like is add this
| | 00:35 | additional text at the end of the
story and have it add pages automatically.
| | 00:40 | InDesign is never been able to do
that before, but now in CS4 we can.
| | 00:44 | However, it won't do it right now,
because the default settings for InDesign,
| | 00:49 | right out of the box are that Smart
Text Reflow will only work with master text
| | 00:54 | frames, that is, text frames that live
on the master pages and as I mentioned
| | 00:58 | in an earlier movie I don't use those,
I almost never put text frames on my
| | 01:03 | master pages.
| | 01:04 | So we need to change the
preferences a little bit. I'll go up to the
| | 01:07 | Preferences dialog box, which I can get
there on the Mac from the InDesign menu
| | 01:11 | and in Windows from the Edit menu and
I'll jump right to the Type pane. At the
| | 01:16 | bottom of the Type pane we see the
controls for Smart Text Reflow and we can
| | 01:20 | see that it's currently enabled. Down
here, the first check box under that is
| | 01:24 | Limit to Master Text Frames and if I
turn that off, it will start working for
| | 01:29 | regular text frames as well. Now
I'll click OK and see how it works.
| | 01:34 | I'm going to grab all of this text
with a Type tool. I'll double-click inside
| | 01:39 | this text frame, press Command+A on the
Mac or Ctrl+A on Windows to select the
| | 01:43 | entire story from that frame and I'll
cut it to my clipboard with Command+X or
| | 01:48 | Ctrl+X on Windows. Click over in this text
frame and paste, Command+V or Ctrl+V on Windows.
| | 01:55 | We can see that almost immediately,
InDesign actually added another page and
| | 02:00 | drew a text frame and threaded these
frames together. It's like magic. It's
| | 02:05 | great to be able to have it add pages
when I edit just like pasting text in
| | 02:11 | instead of doing it with a Place command,
so that's great. In fact, let's move
| | 02:16 | this over a little bit and we can see
that there is another frame over here,
| | 02:21 | way over on the side, I can drag this
image over here and we can see that, this
| | 02:25 | is causing text reflow and the text
reflow as soon as this flows over, it
| | 02:30 | forces InDesign to draw a new page,
draw a new text frame and link those
| | 02:36 | together. So it's on the fly adding frames,
adding pages just the way I want it to.
| | 02:41 | Let's go look at that Preferences again.
I'll just open the Preferences dialog
| | 02:45 | box with a Command+K or Ctrl+K on
Windows and I'll press Command+3 or Ctrl+3 to
| | 02:51 | jump to the third pane of that
Preferences dialog box. But I'll trick there to
| | 02:55 | jump to that Type pane and I'm going
to turn on the Delete Empty Pages check
| | 03:01 | box. This is really cool, because not
only can InDesign add pages, but it can
| | 03:06 | also delete them when you don't need them
anymore. Now I'll click OK and let's try it out.
| | 03:12 | I'm going to scroll back up here with
my Option+spacebar grabber hand trick and
| | 03:16 | I'm going to move this graphic out of
the way. I'll grab the graphic and then
| | 03:20 | I'll just drag it off the page again.
Now the text will fit on to only three
| | 03:24 | pages again. So what happen to page 4?
Well it's gone; it's not there anymore.
| | 03:29 | We can see in the Pages panel that
it's been deleted automatically. We can
| | 03:33 | actually delete even more text, when I
go ahead and just delete a bunch of this
| | 03:37 | text. I double-clicked on that text
frame to switch to the Type tool, I dragged
| | 03:41 | over a bunch of text to delete it and
now I'll hit Delete and we'll save that.
| | 03:45 | Oh! I didn't delete quite enough, let's
go ahead and delete even more, delete a
| | 03:48 | bunch of that text and boom! That whole
page disappears and we are back down to
| | 03:52 | two page document.
| | 03:54 | When you have this Smart Text Reflow
feature turned on, does that mean you will
| | 03:58 | never see an overset text frame again?
No, it doesn't. It's only starting text
| | 04:02 | frames that will be affected. For
example, let's go back to page 1 here. Okay,
| | 04:07 | I'm just going to start typing in this
text frame and we can see that this text
| | 04:11 | is actually threaded to the next story
down and it pushed that other text out
| | 04:15 | and I still see an overset there. So
why am I not getting an additional page
| | 04:21 | created for me? Why is it not doing
the auto text flow, the Smart Text Flow?
| | 04:25 | The answer is, there have to be two
conditions met in order for the Smart Text
| | 04:30 | Reflow to kick in. One is you have to
have at least two frames in the thread;
| | 04:37 | it won't happen it all if you only
have a single frame. Here we do have two
| | 04:42 | frames in our thread, but it's still
not going because of the second condition.
| | 04:45 | The second condition is the thread
must go over at least two pages. So, for
| | 04:51 | example, if I grab this frame, when
I zoom back with the Command+Minus or
| | 04:56 | Ctrl+Minus key and I'm going to drag
this story with the Selection tool over
| | 05:01 | onto my second frame. Now suddenly
when I do that, I've met both conditions.
| | 05:07 | I've got a story that goes from up
here to another frame down here and it's
| | 05:11 | over two pages. Now it's going to
start adding pages for me, but it doesn't
| | 05:17 | start doing it until I start actually
editing the text. So I'm just going to
| | 05:20 | click it in there with a double-click,
place a cursor and just press the
| | 05:23 | spacebar and as soon as I do that and
it's overset, then it adds another page,
| | 05:28 | it draws a frame and it fills
it and links it automatically.
| | 05:32 | Now it's on two different pages and
it's threaded together and as soon as I
| | 05:37 | edit the text in anyway, I'm simply
going to double-click in here and press the
| | 05:41 | Space key just to add a little bit of
text there. As soon as I do any kind of
| | 05:45 | editing to that story, it will add a
new page and draw a new text frame and
| | 05:51 | thread it together. So both of those
conditions have to be met, it has to be a
| | 05:55 | text frame that is linked to another
text frame, so at least one thread and it
| | 05:59 | has to move from one page to another
page. Now the Smart Text Reflow features kicks in.
| | 06:06 | In my personal opinion Smart Text
Reflow isn't nearly as useful, or flexible,
| | 06:10 | or even powerful as I wish it were.
But it's a pretty good first step and I'm
| | 06:14 | really glad Adobe added it.
| | Collapse this transcript |
| Setting text frame options| 00:01 | If you've ever framed some artwork to
hang on your wall, you know that there
| | 00:04 | are all kinds of ways to present an
image inside of our frame. Well, the same
| | 00:08 | thing goes for a text inside of our
text frame. The key is the Text Frame
| | 00:13 | Options dialog box, which you can get
to by choosing a Text Frame going to the
| | 00:18 | Object menu and choosing Text Frame Options
or pressing Command+B or Ctrl+B on Windows.
| | 00:24 | The Text Frame Options dialog box
contains a bunch of different features,
| | 00:28 | including Columns, Inset Spacing,
Vertical Justification. Let's take each of
| | 00:32 | one of those in turn.
| | 00:34 | First, Columns. If we want to make a
multi-column text frame we simply increase
| | 00:39 | the number of columns in this field.
I'll click the up arrow to set it to 2 and
| | 00:44 | I'll make sure the Preview check box
is turned on and I can immediately see
| | 00:47 | that this text frame now has two
columns. Now I'll press the up arrow on my
| | 00:52 | keyboard to set it to 3 and
we see it has three columns.
| | 00:55 | We can also set the Gutter amount,
that's the amount of space in between each
| | 00:59 | of those columns. I'll press Tab
twice to jump over to the Gutter field and
| | 01:03 | I'll set this to let's say 1p6 and
then hit Shift+Tab to move back. You know
| | 01:08 | the Tab key is great for moving one of
these fields to the other and Shift+Tab
| | 01:12 | moves back. It's a little shortcut
for moving through this dialog boxes.
| | 01:16 | So I've now set a 3 Column text frame
with a 1p6 Gutter and it automatically
| | 01:23 | figured out the Width of each of those
columns for me. But now if I wanted to
| | 01:27 | have a very specific size for my
Columns, I could if I wanted to specify it
| | 01:31 | right here. I could say let's make
sure each one of these is 12 picas. Now
| | 01:35 | watch what happens down here in the
text frame when I hit Tab, Tab is a just a
| | 01:40 | way like I said to jump to a different
field, but it's also a way for InDesign
| | 01:44 | to see that I'm finished typing in
there and make the effect take place.
| | 01:48 | So as soon as I hit Tab, we can see
that it changed the size of my text frame,
| | 01:53 | it made it wider so that I could get
three columns, each of them being 12 picas
| | 01:58 | wide and with the Gutter of 1p6. So it
does all of that math for me, so I don't
| | 02:04 | have to worry about it. But here is a
problem, let me click OK here and show
| | 02:08 | you one issue.
| | 02:10 | Let's say I'm working on this
document and I've set up a three column text
| | 02:13 | frame and then I accidentally come
over here and I change it. Well all of a
| | 02:18 | sudden, my Columns are totally wrong,
I wanted those 12p wide column and it's
| | 02:23 | all messed up now and that would make
a lot of art directors very upset. So,
| | 02:27 | InDesign has instituted a very cool
feature. Now let me go back to Text Frame
| | 02:32 | Options, Command+B or Ctrl+B on Windows
and I'll set this up again. 3 Columns,
| | 02:37 | 1p6 wide and I believe that was 12 picas.
Yup, 12 picas wide. And it added this
| | 02:43 | feature called Fixed Column Width and
Fixed Column Width will make sure that
| | 02:48 | you'll never get anything
accept a 12 pica wide column.
| | 02:52 | Now when I click OK, I'll try and
change this, but it doesn't take, I'm
| | 02:56 | dragging it shorter, but it doesn't
take. If I actually drag it all the way
| | 03:00 | over here until it's just two columns
wide, well now I get a two column wide
| | 03:05 | text frame. But as soon as I make it
even a little bit wider, it snaps to make
| | 03:10 | three columns, make it a little bit
wider and it snaps to four columns. So it
| | 03:15 | will always make sure that I always
have 12picas per column. Very, very handy,
| | 03:19 | especially when you are making a
template for somebody else to layout.
| | 03:23 | Okay, let's zoom in on this, I'll
press Command+Plus a couple of times or
| | 03:27 | Ctrl+Plus a couple of times, so I
can see it a little bit better. Then
| | 03:30 | Command+B or Ctrl+B on Windows to
open up for Text Frame Options dialog box
| | 03:34 | again and let's look at the next item
down, Inset Spacing. This is simply how
| | 03:38 | much space do you want InDesign to add
inside the text frame. So if I want to
| | 03:43 | add a little bit more space at the top,
I can simply change the Top value, but
| | 03:48 | watch out because this Linked icon is
turned on. So I need to click on that, so
| | 03:53 | that I can change each one of these
values independently. So let me go ahead
| | 03:57 | and select Top and I'll change it to
let's say 3 picas down. It added 3 picas
| | 04:02 | from the top of the frame to the bottom,
it's almost as though I just moved the
| | 04:06 | whole top of the frame down
but it added it a space instead.
| | 04:09 | Let's change it on the left side. Let's
make maybe 1 pica of space on the left
| | 04:14 | side. So now there is a little bit of
space on the left side as well. It won't
| | 04:18 | affect this column but it does affect
the left column over here. So you can set
| | 04:22 | your Inset Spacing in all kinds of
ways to fit the text inside that frame and
| | 04:27 | just the way you want it to show up.
| | 04:29 | Let set this back to 1 Column, I don't
need the Column Width anymore, so make
| | 04:33 | this wider about 30 picas so we can
see this feature a little bit better and
| | 04:37 | I'm going to make this little bit
smaller, fitting this all just the way I want
| | 04:42 | to and I want to talk about the
Vertical Justification feature.
| | 04:45 | Vertical Justification is how you
want InDesign to fit the text inside this
| | 04:50 | frame from top to bottom and usually
its set to Align to Top, in fact you can
| | 04:56 | really see this best of I set the Top
Inset to 0. So, it's starts at the top
| | 05:00 | and flows the text down into like to
the end of the text, that's a typical way
| | 05:04 | that text frames work. Start at the top,
fill as much text as can fit and then stop.
| | 05:10 | But if we change the Vertical
Justification, Align pop menu from Top to let's
| | 05:14 | say Center, then it takes that
whole block of text and it centers that
| | 05:19 | vertically inside the text frame that
could be very handy. We can also set it
| | 05:23 | to Bottom and in bottom it's starts at
the bottom and flows up as much text as
| | 05:29 | it can fit. So, for example, if I
removed this paragraph at the top then it
| | 05:34 | would simply go up to here, it will
keep it aligned at the bottom of the text
| | 05:39 | frame. But the one that I
have find most useful is Justify.
| | 05:43 | Justify means start at the top and
make sure it goes all of the way to the
| | 05:48 | bottom of the text frame. So the first
line is going to be flushed at the top
| | 05:51 | of the text frame, the last line will
be flushed at the bottom of the text
| | 05:54 | frame and all the other lines get
spread out in between. Notice that it
| | 05:58 | actually add Leading, that is it
actually add space in between each line of
| | 06:03 | every paragraph in order to space it
out and some people like that and some
| | 06:07 | people hate that, that all depends on
what you are doing, what your application
| | 06:10 | is, but there is a little bit of a
control over that here in the Paragraph
| | 06:14 | Spacing Limit.
| | 06:16 | The Paragraph Spacing Limit is how
much space are you going to allow InDesign
| | 06:21 | to add in between each paragraph, so
that it doesn't need to add a space in
| | 06:25 | between each line. If I change this
to something huge, like 4 picas or
| | 06:30 | something then all the space is made up
in between the paragraphs and it won't
| | 06:35 | add any additional space in
between these lines within a paragraph.
| | 06:39 | So that's usually what I would use, but
it's up to you. Again it all depends on
| | 06:43 | what your application is and what your
art director can handle. I'm going to
| | 06:47 | over to the Baseline Options tab of
the Text Frame Options dialog box, see
| | 06:52 | there are two different tabs because
they couldn't fit it all into a single dialog box.
| | 06:56 | So I go over to the Baseline Options
and show you one more feature here and
| | 06:59 | that's the First Baseline Offset that
means where should InDesign fit the first
| | 07:05 | baseline, the first line of text in
this text frame. How far down should it go
| | 07:11 | and usually it's set to Ascent, which
means it looks for the highest character,
| | 07:16 | the Ascender of the highest character
like an l or a capital letter N here and
| | 07:21 | it fits if that's flushed against the
top of the text frame and then it fits
| | 07:25 | the baseline wherever it happens to fall.
| | 07:27 | But you've a lot of options here, you
could change this to, let's say x Height.
| | 07:31 | With x Height it looks the lower case
x and it figures out -- put the top of
| | 07:36 | the lower case x right flushed against
the top of the text frame and then all
| | 07:40 | the other text will fit where it will.
So some characters like upper case
| | 07:43 | characters, actually stick at the
top of the frame and the rest of the
| | 07:47 | characters stick out below
give a lot of control there.
| | 07:50 | The ones that I usually use are Leading,
I like Leading because it gives me a
| | 07:54 | lot of control, I know exactly what the
Leading of this character is, we'll be
| | 07:57 | looking at Leading in a later chapter
about the amount of space in between lines.
| | 08:02 | So Leading is very useful but the one
I really like is Fixed, because Fixed
| | 08:07 | gives me a total control of exactly how
far down the baseline of the first line
| | 08:12 | should set. Right now, it set to zero
up here in the Min field, the Minimum
| | 08:16 | field is set to 0. So it means put the
Baseline of the text exactly at the top
| | 08:21 | of your text frame. But if I wanted to
be let's say 2 picas down, I just extend
| | 08:26 | this to 2 picas and now I know that
that baseline is exactly 2 picas down from
| | 08:31 | the top of the text frame, total
control, I love that. Now there are several
| | 08:35 | other features in the Text Frame
Options dialog box, including this Baseline
| | 08:39 | Grid feature. But those are a little
bit more complex, so I'm going to cover
| | 08:43 | those in later chapters.
| | Collapse this transcript |
| Using text on a path| 00:01 | I get asked this question all the time.
How do I get text on the path instead
| | 00:05 | of inside of it? Well, let me show you
how you can put text on a path in InDesign.
| | 00:10 | First, we need a path. I'm going to
grab the Elliptical Frame tool here just to
| | 00:15 | get a big ellipse. You could make any
kind of path with the Bezier Pen tool or
| | 00:20 | the Pencil tool if you can draw. I
can't draw. So I would like InDesign drawing
| | 00:24 | things for me like a big ellipse and I
want to put text along the top of this
| | 00:28 | path. In fact I want to put this word
new products, these words up here on that path.
| | 00:33 | So I'm going to use the Type tool and
select that text and I'll cut it to the
| | 00:37 | clipboard with a Command+X or a Ctrl+X
on Windows. Now I'll switch back to the
| | 00:42 | Selection tool and I'll hit Delete to
delete that frame, I don't need that
| | 00:46 | anymore. I want to put that text along
the top of this ellipse, but I cannot
| | 00:50 | use the Type tool to do that. The Type
tool only puts text inside frames, not
| | 00:56 | on frames. So instead I need to look
underneath this Type tool at the Type on a
| | 01:01 | Path tool and the shortcut for that is Shift+T.
| | 01:04 | Once I have the Type on a Path tool
selected, I can click anywhere along that
| | 01:09 | path to add text to it. You see I
clicked right on that corner there and it is
| | 01:14 | flashing on the edge of the path. Now
I'm going to paste the text that I've
| | 01:19 | copied with a Command+V or Ctrl+V on
Windows and you can see the text that
| | 01:23 | white text got pasted right
along the edge of that frame.
| | 01:27 | I'm going to use the Selection tool to
move this frame over a little bit and
| | 01:32 | maybe make it little bit smaller to fit
the text along it a little bit better.
| | 01:36 | But I still see the n is a little
bit lower, looks like this s, I want to
| | 01:40 | adjust where the text is flowing along
that path and I can do that with this
| | 01:46 | little side handles. I'm going to zoom
into 200% with Command+2 or a Ctrl+2 on
| | 01:51 | Windows and let me use my grabber hand
shortcut to move down a little bit. I'm
| | 01:56 | going to point out these little lines
along the side here. There are actually
| | 01:59 | two lines that are perpendicular to the
path and that is the end point and the
| | 02:05 | beginning point of the text.
| | 02:07 | I can drag those independently of each
other, but before I do that I want to
| | 02:11 | move the cursor over until I see it
change to a black arrow with a little line
| | 02:16 | and a black arrow sticking up the side
that's kind of hard to see. This is one
| | 02:20 | of the trickier things in InDesign to
manipulate. You really have to watch that
| | 02:24 | cursor carefully and if I click now
and drag you can see I've actually pulled
| | 02:29 | that line out. I can do the same
thing with this over here, but that little
| | 02:34 | black arrows is pointing the other
direction, so I can click and drag this one
| | 02:37 | and it moves it over. Now you will
notice this white arrow on the end of those
| | 02:42 | lines, what is that about? Well that is
the in-port and the out-port of this text frame.
| | 02:48 | You have to think about text on a
frame as though it were like a normal
| | 02:53 | rectangular frame that happened to
be twisted around like bent around the
| | 02:57 | outside of a path. So In fact this is
the left edge of -- or you could think of
| | 03:03 | it as the upper left corner of the text
path and the text path goes all the way
| | 03:08 | around to the other end and this is
the end of that text frame which is been
| | 03:12 | wrapped around the path. So this is
the out-port and this is the in-port of
| | 03:18 | that text frame.
| | 03:19 | So when you are dragging these left and
right edge points you have to be really
| | 03:23 | careful not to drag on type of one of
those in or out points, otherwise you'll
| | 03:26 | load the Place cursor and
that's probably not what you want.
| | 03:30 | Once you have your text on a path, you
can format in different ways along that
| | 03:35 | path. So you go to the Type menu,
scroll down to Type on a Path and choose
| | 03:40 | Options and inside the Type on a Path
Options dialog box, we can change the
| | 03:45 | Effect, currently it's set to Rainbow,
but if I change it to Skew for example,
| | 03:50 | you'll see a very different effect, in
this case each letter is skewed so that
| | 03:55 | text on the left side is skewing one
way and text on the other side is skewing
| | 03:59 | the other way and all I know is it
makes a really cool effect and I can see
| | 04:02 | that of course because the
Preview check box is turned on.
| | 04:05 | There is other options here as well,
like 3D Ribbon, where text gets scaled and
| | 04:10 | skewed in all kinds of weird ways or
Stair Step where text is rotated along so
| | 04:16 | that it doesn't change it's skewing
at all, it's just straight up and down,
| | 04:19 | each letter is straight up and down
and then there is Gravity. Gravity is a
| | 04:23 | combination of scaling and skewing
in such a way that each character is
| | 04:27 | pointing toward the middle of the frame,
in this case the middle of the frame
| | 04:31 | is down here and each one of these
characters is kind of pointed down to the
| | 04:35 | bottom of it and that's interesting,
kind of interesting effect. I'm going to
| | 04:39 | leave this set to skew, because I
still think that's the coolest effect.
| | 04:42 | Now you've other options as well, like
Flip, if you choose Flip then the text
| | 04:46 | will flip around to the other side of
the frame, as though it was inverted. I
| | 04:51 | better close that and scroll down so
you could see, there it is, the text is
| | 04:55 | kind of flipped upside down and
that's not very useful in this example, but
| | 04:59 | you've got the idea.
| | 05:00 | Let's open Options again and turn off
Flip, here we go. By the way I can get to
| | 05:06 | that Options dialog box a little bit
faster, simply by double-clicking on the
| | 05:10 | Type on a Path tool, that's just a
little shortcut for opening that, so you
| | 05:13 | don't have to go up to those menus all the time.
| | 05:16 | So Type on option, we've got it set to
Skew. We are not flipping. Now you can
| | 05:20 | control the Alignment of that. Right
now it's set so that the Baseline of the
| | 05:24 | text is aligned to the Center of the
path. This path Center becomes important
| | 05:30 | not now because there is no center it's
just a really thin 0 width path. But if
| | 05:36 | this were a really thick path like a
30 point thick path, then you could
| | 05:41 | control, do you want to go up to in
the Center of the path or the Top or the
| | 05:44 | Bottom of the path, right now I'm
going to leave that set to Center.
| | 05:47 | We can also control the Alignment, if
we want to align along the baseline or
| | 05:52 | what about the Ascender? Sure why don't
we set it so that the Ascender of this
| | 05:56 | is a aligned along the top of the path
here. Right now because we have got it
| | 06:00 | set to Skew which is actually pretty
even more space up there even above the
| | 06:04 | Ascenders, they give a lot of control,
maybe we'll set this to Center. So the
| | 06:08 | center of the text will go along the
center of the path, we get a nice effect
| | 06:12 | there, like that.
| | 06:13 | Finally, we can adjust the Spacing.
You see when text is going around a curve
| | 06:18 | sometimes you want more space or less
space in between each of the characters
| | 06:22 | to accommodate those curves. So we can
adjust the Spacing and add a space or
| | 06:27 | remove space. Now the weird part is
that negative numbers actually add space
| | 06:32 | here and positive numbers actually
remove space. I have no idea why; there must
| | 06:37 | be some logic to it but
I've never figured it out.
| | 06:40 | So in this case I'm just going to
set it to remove just a little bit of
| | 06:44 | space to track it in a little bit,
removing a little bit space between each
| | 06:47 | character to make it tighter. Now I'll
click OK. Finally if I later decide that
| | 06:52 | I don't like the look at all, I want
to get rid of it entirely, I want to go
| | 06:55 | back to a regular plain old ellipse,
plain old oval, I can always go to the
| | 07:00 | Type menu, scroll down to Type on a
Path and choose Delete Type from Path and
| | 07:05 | that would actually remove the type
and just set it back to a normal old
| | 07:09 | ellipse, that I could do something
else with. But I'm not going to do that
| | 07:12 | because I really that effect,
I think it's really cool.
| | 07:15 | Setting text along a path is a
wonderful way to create all kinds of special
| | 07:19 | effects on your page. You can even
edit that text later, but editing along a
| | 07:23 | path can be challenging. Fortunately
InDesign's Story Editor comes to the
| | 07:29 | rescue and that's what I'm going
to talk about in the next movie.
| | Collapse this transcript |
| Using the Story Editor| 00:00 | It's time for me to talk about one of
my favorite features in InDesign. It's
| | 00:04 | not a particularly flashy feature but
it's incredibly helpful to anyone who
| | 00:08 | needs to write or edit text inside
of InDesign and that feature is Story
| | 00:12 | Editor. It's like having a little word
processor built right into InDesign and
| | 00:17 | let me show you.
| | 00:18 | I want to edit this text over here,
this story, so I'm going to select it. You
| | 00:22 | can select it either with the Selection
tool or with the Type tool. For example
| | 00:26 | I'll double-click on here and place the
cursor on that word Features. Now I'll
| | 00:30 | go to the Edit menu and choose Edit in
Story Editor, or I could use Command+Y
| | 00:35 | or Ctrl+Y on Windows.
| | 00:37 | Story Editor appears and the cool
part is whatever was selected inside my
| | 00:41 | Document window is also selected here
in the Story Editor window. Story Editor
| | 00:46 | is like a neutral word processing
environment, so that whatever formatting I've
| | 00:51 | got, whatever fonts I have they are
all stripped down to just the text.
| | 00:55 | Well I can't see things like bold and
italic, but just simple formatting; the
| | 00:59 | rest of it is completely stripped out
to be neutral, nice fast easy way to
| | 01:04 | edit. I'm going to make this frame a
little bit bigger, a little wider so we
| | 01:07 | can see it better and I want to point
out that all the line endings are not the
| | 01:13 | same as they are on the document page,
they are just completely neutral, just
| | 01:18 | like a text editor would show me.
| | 01:19 | There is other stuff in the Story
Editor window as well that I can pay
| | 01:22 | attention to. For example, it shows me
what paragraphs styles are applied to
| | 01:26 | each paragraph. It also shows me these
numbers, the numbers are the vertical
| | 01:31 | measure that is how far down from
the beginning of the text frame this
| | 01:36 | particular line is. So this word is 1.
7 down from the beginning of the text
| | 01:43 | frame, I believe this is set to
inches right now, 1.7 inches down from the
| | 01:47 | beginning of the text frame is that
baseline. So that's very handy indeed. If
| | 01:53 | you are an editor and you are
trying to measure to fit a column length.
| | 01:56 | Now I tell you what I like least about
Story Editor and that is the font that
| | 02:01 | Adobe chooses to show me this text. I
just -- I can't stand looking at that
| | 02:06 | particular font, but the good news is
that Adobe let us edit the font to any
| | 02:10 | other we want. So let's go change that
in Preferences. Command+K or Ctrl+K on a
| | 02:15 | Windows opens up the Preferences
dialog box and we'll go down to the Story
| | 02:20 | Editor Display pane of the Preferences
dialog box and we can change this to any
| | 02:25 | font we want. For example, I'm going
to change it to Georgia; I usually like
| | 02:29 | Georgia it's a nice face to look at.
I'm going to make it a little bit bigger,
| | 02:32 | maybe 14 points little easier on the eye.
You could adjust this Spacing in here
| | 02:37 | from Singlespace to 150% space, one-and-
a-half space, Doublespace, whatever is
| | 02:42 | easy for you.
| | 02:43 | Adobe was really trying to make Story
Editor useful for editors and editors are
| | 02:48 | used to word processors and word
processors give you all these basic controls.
| | 02:53 | For example, you can also control the
Text Color and the Background or the
| | 02:57 | Theme, the Theme is basically a
combination of Text Color and Background and
| | 03:02 | you can see how much Adobe was trying
to target the editing crowd, because they
| | 03:07 | have things like Amber Monochrome and
Classic System and my favorite Terminal
| | 03:12 | which is green on black. I don't know
if you've been in the computer industry
| | 03:15 | as long as I am, but I remember green
on black and I didn't like it then and I
| | 03:19 | don't like it now. So I'm going to
leave this set to Ink on Paper, just black
| | 03:23 | text on a white background, that's
easy for me to read. Whatever you like if
| | 03:28 | you like that green text, go for it.
| | 03:30 | You could also adjust the things like
Cursor Options. Do you like a big thick
| | 03:35 | flashing block of text or this barbell
thing? I like Barbell for Story Editor
| | 03:40 | because it's very easy for me to see
exactly where the cursor is at all times.
| | 03:45 | So I'll choose that, now I'll click OK
and now we can see that if I click on a
| | 03:49 | place, I get big barbell flashing
cursor, it's really easy, my eyes drawn
| | 03:54 | directly to it, but I also have the
nice font, this Georgia font, which is easy
| | 04:01 | for my eyes to see what's going on.
| | 04:04 | If I select some text, I can make it
bold, I'll just come up here and change
| | 04:08 | this to Bold instead and we can see
that it shows up as bold here as well. Same
| | 04:13 | thing with Italic. I'll change this
to Italic text and I get Italic text in
| | 04:18 | here, but I don't get any other kind
of formatting. I don't get Kerning and
| | 04:22 | Tracking or all of the other kind of
really cool formatting that people can do
| | 04:26 | on text, Drop Shadows and we'll be
talking about all of those things in later
| | 04:30 | chapters, but for now I just want you
to know that Story Editor is very simple,
| | 04:35 | very compact, very fast.
| | 04:38 | Now one of my favorite things about
Story Editor is that it lets me edit text
| | 04:42 | that I can't even see. Let me scroll
all way down to the bottom here and I can
| | 04:46 | see that there is a red mark. All the
text past this red mark is overset. Let's
| | 04:52 | go ahead and make this Story Editor a
little bit smaller so we can see both the
| | 04:56 | Story Editor and the document layout
behind it and we can see that at the last
| | 04:59 | word on the layout page is Features,
and here we see its Features as well. It
| | 05:04 | ends with Features, but I don't even
realize that there was another sentence
| | 05:08 | hiding there, that was overset, but
Story Editor shows it to us and we can even
| | 05:13 | edit it. We could delete it, we could
move it some place else, copy and paste
| | 05:16 | it, write to fit perfectly. So it's a
very handy way to manipulate a lot of text.
| | 05:21 | Now I find when I'm using Story
Editor that I need to move back and forth
| | 05:25 | between Story Editor View and the
Document View a lot, I kind of go back and
| | 05:29 | forth. So here is an important trick
that you need to know. Wherever you place
| | 05:33 | your cursor, it will move the cursor
to the same place in the other view, but
| | 05:38 | only if you use the keyboard
shortcut Command+Y or Ctrl+Y on Windows.
| | 05:43 | If you use the Edit menu that won't
happen, but if I use Command+Y or Ctrl+Y
| | 05:48 | then it will move over to the other
view, in this case the Document view and
| | 05:52 | place the cursor in the same place.
Let's try it again. I'll select some text
| | 05:56 | up here, I'll use the keyboard
shortcut and it opens the Story Editor and
| | 06:01 | immediately selects it up here as well.
| | 06:03 | You know since I'm talking about
overset text, I should point out one other
| | 06:07 | cool feature not strictly related to
Story Editor, but it is a cool feature
| | 06:12 | that you need to know about
and that's the Info panel.
| | 06:15 | I'm going to choose the Info panel out
of the Window menu. So it shows up here
| | 06:18 | and I just want to point out that the
Info panel gives me information about
| | 06:22 | text that is selected. You don't even
have to have the Story Editor window open
| | 06:26 | here. Why don't I close this and I can
show you that whatever is selected shows
| | 06:30 | up in the Story Editor. So I have
three words selected, but if nothing is
| | 06:34 | selected, if I just have the cursor
flashing inside of a story, then I get
| | 06:38 | information about the whole story.
| | 06:40 | So I can see that this story is 267
words + 22, what does that 22 mean? Well of
| | 06:47 | course that's 22 words overset. 22
words that don't fit into this text frame.
| | 06:53 | So that's really helpful as well or
if I want to know how many words are in
| | 06:57 | this paragraph, I'll click four times
to select the whole paragraph then I
| | 07:01 | could see that there is 76 words. So
editors love this kind of thing, this is
| | 07:04 | exactly the kind of thing that you
need to know when you are editing text.
| | 07:08 | So InDesign gives you all the
information if you know where to look. Back to
| | 07:12 | Story Editor for one minute, let me go
ahead and close that panel and I want to
| | 07:16 | show you a new feature as it has
to do with Story Editor in CS4.
| | 07:20 | In CS4 we can now see tables in the
Story Editor. Let's zoom in on this one.
| | 07:26 | I'm going to select that table zoom
into 200% with a Command+2 or Ctrl+2 on
| | 07:31 | Windows and while that's flashing
here, I'll press Command+Y or Ctrl+Y on
| | 07:36 | Windows and I can see that the whole
table shows up here in the Story Editor.
| | 07:42 | At the top of the Story Editor there
is a little table icon with a triangle
| | 07:46 | next to it. That triangle is a button
that means show or hide the information
| | 07:51 | in the table. So if I click on it, it
closes it up, kind of squishes up into
| | 07:57 | nothing and if I click on again it
opens up the whole tables. So I can see each
| | 08:02 | column and each row.
| | 08:04 | Now I have to say I personally hate
the way that Adobe laid this out in the
| | 08:09 | Story Editor. I find it very
confusing and really annoying, but that said
| | 08:14 | that's the way I did it. So this is
how I'm going to have to show you how it
| | 08:17 | works. Okay, so this is how it's set
up, in this table there are rows and
| | 08:22 | columns. So row1 is going to be this
big black header row and we can see that
| | 08:27 | the first column is West, then north,
south, east. Here is the East one, there
| | 08:32 | is East in the table.
| | 08:33 | Second row San Diego, Billings, Austin,
Burlington, there is Burlington the
| | 08:38 | second row and the fourth column, so
that's what that is. You really have to
| | 08:43 | kind of interpret it and go through
and figure out what's what and this is
| | 08:47 | where that Command+Y trick is so
important. For example, if I need to figure
| | 08:52 | out exactly where Texas is inside my
big table, I select it in the Story
| | 08:56 | Editor, press Command+Y or Ctrl+Y
and boom, it's highlighted on my story.
| | 09:02 | If I need to figure out where Chicago
is inside Story Editor, select it, press
| | 09:07 | the keyboard shortcut and up comes
Story Editor and its already selected. So
| | 09:12 | that's the only good way I found to
really navigate through this whole mess of
| | 09:16 | rows and columns and so on that Adobe
has given us. Whether you are editing
| | 09:21 | really small 4-point text at the
bottom of a legal contract or text on a path
| | 09:26 | or really long story, the Story
Editor makes life so much easier.
| | 09:31 | By the way Adobe has a super charged
Story Editor, too. It's a separate product
| | 09:35 | called InCopy and it's a word
processor that works along side InDesign. I'll
| | 09:40 | talk about that in a little bit in a
later chapter and Anne-Marie Concepcion
| | 09:44 | has done a whole title just on InCopy,
you should definitely check that out.
| | Collapse this transcript |
| Spelling in your document| 00:00 | Nobody spells everything right all
the time. I mean, hey that's what spell
| | 00:04 | checking features are for. Fortunately,
there is a quiet good one built into
| | 00:08 | InDesign. So have this marketing sheet
open, this sheet_v4 from the exercise
| | 00:13 | files and it looks pretty good, but
before I sent it to print, I better check
| | 00:18 | the spelling. To check the spelling
I go to the Edit menu, scroll down to
| | 00:23 | Spelling and choose Check Spelling or
press Command+I or Ctrl+I on Windows.
| | 00:28 | The Check Spelling dialog box appears.
It is actually more of a panel, because
| | 00:32 | I can have it up at the same time as
I'm making edits on my page. For example,
| | 00:37 | I was able to use my Option+spacebar or
Alt+spacebar. I drag over while this is
| | 00:44 | still open, so that is kind of cool. I
can see that this word Choco shows up
| | 00:49 | here. Well, Choco Nibs I guess is a
product, so I don't need to change that. I
| | 00:54 | have couple of options here Skip,
Change or Ignore All. I'm going to Ignore All
| | 00:58 | because anytime it sees Choco, I want
to ignore it. The thing is when you use
| | 01:04 | Ignore All it only ignores at this
particular session in InDesign. If I quit
| | 01:09 | InDesign and come back later, it will
forget that I ignored it. If I really
| | 01:13 | want to ignore it from now on I would
add it to my Dictionary and I'll show how
| | 01:17 | to do that in just a minute.
| | 01:19 | Right now I'm noticing that it
found to the word About and it is an
| | 01:23 | Uncapitalized Sentence, so that is a
little frustrating. I don't really want it
| | 01:27 | to find Uncapitalized Sentences right
now, so I'm going to click Done and I'm
| | 01:32 | going to change Preferences. I'm going
to change the way that InDesign actually
| | 01:36 | does its Spell Checking. So I'll do
that by going to the Preferences dialog
| | 01:39 | box, on Windows it is under the Edit
menu, here on the Mac it is under the
| | 01:43 | InDesign menu and I'll go all the
way down to Spelling Preferences.
| | 01:49 | In here, I can see a number of
checkboxes and I can see that, for example,
| | 01:53 | Uncapitalized Sentences is checked. Well,
that's kind of a problem, because in
| | 01:58 | this particular document I have a lot
of Uncapitalized Sentences all of my
| | 02:01 | sub-heads. I happen to know are in all
lower case even though they are in small
| | 02:06 | caps. So I'm going to uncheck that just
because otherwise, it's going to drive
| | 02:11 | me crazy having to check each one of
those sub headings. I'll click OK, and
| | 02:15 | start up the process again. Command+I
or Ctrl+I'll open Check Spelling. Now it
| | 02:21 | skips right past about, it says I
don't need to worry about that. That was an
| | 02:24 | Uncapitalized Sentence, but I don't
need to worry about it and it jumps right
| | 02:27 | to no. 5. It gives me a Suggested
Corrections as well, which are always
| | 02:31 | somewhat amusing to look at like,
knock or knot or knocks like. No, no, no,
| | 02:36 | no.5 is in fact what it is supposed to
be in lower case. I'm going to choose
| | 02:41 | Ignore All again.
| | 02:43 | Now here is one that really is
misspelled Orgon. The word Orgon, Portland,
| | 02:47 | Oregon, seems to be misspelled and it
shows up with Suggested Corrections here.
| | 02:52 | All I have to do to choose one of those
is click on it and then choose Change.
| | 02:58 | Now it changed it on the layout here
and jumped immediately to the next item
| | 03:03 | that's wrong in here. This one is a
double spelling; it's s two words in a row.
| | 03:08 | InDesign by default is setup to find
two words right in a row and this is
| | 03:12 | Chocolate, Chocolate, in this case
it's actually proper. So I'm going to skip
| | 03:16 | past that. We are going to keep
going at just a few more here, a name oh,
| | 03:21 | that's definitely wrong, better change that.
| | 03:24 | By the way we can also choose
Change All. If I knew that something was
| | 03:27 | misspelled throughout the entire
document, I could change it to it maybe all to
| | 03:31 | someone's change all to someone by
choosing Change All. But in this case I
| | 03:36 | don't need to do that, because this is
just one misspelling. Someone needs to
| | 03:40 | change to someone, click Change there
and we are on our way. Now this one is
| | 03:47 | very interesting, this ones say
delicioso! and I happen to know that is Spanish
| | 03:52 | for delicious. This is on purpose,
let me click Done here and zoom in,
| | 03:56 | Command+4 or Ctrl+4 on Windows to
zoom in to 400%. Now this is a different
| | 04:02 | language, so I need to tell InDesign
that it is a different language, InDesign
| | 04:07 | doesn't know by itself that this is
Spanish, I need to tell it. So I'm going to
| | 04:11 | select that word with the Type tool on
the page and I'm going to go up to my
| | 04:15 | Control panel and there is a pop-up
menu here, which doesn't have any title,
| | 04:19 | but this is the pop-up menu for
languages. I have a different options for
| | 04:23 | languages, I don't know what that is,
25, 30 different languages built into
| | 04:28 | InDesign that I can choose from.
| | 04:30 | In this case, I wan to scroll all the
way down to Spanish and I'm going to tell
| | 04:33 | InDesign that this word is Spanish. Now
it's not going to show up as misspelled
| | 04:39 | anymore, because it is spelled properly
in Spanish. Alright! Let's open up that
| | 04:44 | Check Spelling one more time, Command+I.
It jumped right past that 5-pc. Let's
| | 04:50 | go ahead and add this 5-pc to my
dictionary, maybe I use 5-pc all the time in
| | 04:56 | my documents and I want to make sure
that InDesign stops asking me. So to do
| | 05:00 | that I just click the Add button, and
it will add that word 5-pc, 5-pc to my
| | 05:06 | User Dictionary, click Add and boom!
It's gone; it goes on to the next one roll
| | 05:14 | it has to be roll.
| | 05:14 | Let me show you another trick,
another way to handle spelling, because
| | 05:17 | sometimes going from one word to the
next is really annoying. So I'm going to
| | 05:22 | close out of that, go to the Edit
menu scroll down the spelling, instead of
| | 05:26 | choosing Check Spelling I'm going
to turn on Dynamic Spelling. Dynamic
| | 05:31 | Spelling is really cool, because
that will highlight all the things that
| | 05:35 | InDesign thinks are misspelled with
this kind of a jaggy red line. Let's zoom
| | 05:41 | out, back to Fit Page in Window here.
My eye can quickly jump to all the things
| | 05:46 | that are misspelled, there we go, boom!
I can just see it. I don't have to go
| | 05:50 | one word at a time, so I can come in
here and change this quickly. I know that
| | 05:54 | it is supposed to have an extra l,
now I'll jump to the next page for the
| | 05:57 | Shift+Page Down. My eye immediately
goes directly to the things that seem to be
| | 06:02 | misspelled. There is one over here.
I'll click on that, zoom in to 200%,
| | 06:07 | Command+2 or Ctrl+2, yeah, that's
definitely wrong, better save it.
| | 06:12 | So sometimes the Dynamic Spelling
thing is much faster than having to go one
| | 06:17 | word at a time I find. Dynamic Spelling
can be really nice while you are typing
| | 06:21 | because it immediately gives you
feedback as soon as you finish the word. It
| | 06:24 | says was that spelled properly or
not. Here is one that is a common
| | 06:28 | misspelling. If I don't know why it is
misspelled, I'm not exactly sure what's
| | 06:32 | wrong here, you can right-click on it,
I love this feature, right-click on it
| | 06:36 | or Ctrl-Click with a one button mouse,
it gives you a list of ideas of words
| | 06:41 | that it might be. In this case it is
right at the top. I know that it is
| | 06:45 | supposed to be received with an ei
instead of an ie, boom! Now it is done, that
| | 06:50 | jaggy red line goes away and I can move
on. Let's zoom back with the Command+0
| | 06:55 | or Ctrl+0 on Windows and I see I have
got one more problem here, I better zoom
| | 07:00 | in on that, I Command+4 to go all the
way into 400% to look at this, that is an
| | 07:05 | internet URL address.
| | 07:08 | Well these are tricky, because I
don't want to add these to my dictionary
| | 07:11 | necessary, especially, because it is
two different things, http is one word and
| | 07:15 | this is a different word. So instead,
here is a cool spelling trick that you
| | 07:19 | should know. I'm going to select this
and I'm going to assign a language, but
| | 07:24 | what language do I assign, there is no
internet language in here, so instead I
| | 07:30 | scroll to the top of the list and
there is an item that says No Language,
| | 07:35 | that's what I want. This word, this URL
is no language at all, so tell InDesign
| | 07:41 | that it is no language and it won't
show up in your Spell Checks anymore,
| | 07:45 | really handy.
| | 07:47 | InDesign Spell Check feature is
definitely worth running. It's pretty done
| | 07:51 | good, but it won't guarantee that all
of your text is correct, so finding a
| | 07:55 | good proofreader is always a good idea.
| | Collapse this transcript |
| Using the Auto Correct feature| 00:00 | I don't know about you, but I make a
lot of typos when I'm typing quickly.
| | 00:04 | That's why I like InDesign's
Autocorrect feature, which watches what I type and
| | 00:09 | fixes common mistakes. Let me show
you what I mean and I'll show you how to
| | 00:13 | control it too.
| | 00:14 | I'm going to double click on this text
frame to switch to the Type tool; I'll
| | 00:18 | zoom in to 400% with Command+4 or Ctrl
+4 on Windows. I want to type the, in
| | 00:25 | here, is the first, but sometimes I
mistype it. Sometimes I'll do a teh, or
| | 00:30 | something like that. Well, wouldn't
it be cool if InDesign could fix that
| | 00:33 | automatically? I'll delete that and
show you how to do it. I need to open the
| | 00:37 | Preferences dialog box, which I can get
to quickly with Command+K on the Mac or
| | 00:41 | Ctrl+K on Windows and I'll click on
Autocorrect, the Autocorrect pane of the
| | 00:46 | Preferences dialog box. Here we go
Enable Autocorrect. Turn it on, click OK and
| | 00:52 | we are good to go. T-h-e, hit Space
and it is done. It just fixes it.
| | 00:58 | As we saw back in Preferences, I'll go
back to where we were just a moment ago;
| | 01:02 | there are a lot of common misspellings
listed here. Not just in English, but in
| | 01:07 | other languages as well. So that's kind
of cool; but you can scroll down here,
| | 01:11 | it doesn't have everything that you
might ever type in your life but it does
| | 01:14 | have a lot. Now you can add your own by
clicking Add and that opens the door to
| | 01:21 | a very interesting trick, which is
you can make Autocorrect be like a
| | 01:25 | macro-typer for you. For example, I
want to be able to type Chocolate that in
| | 01:30 | this document we type Chocolate a
hundred times, so I want to be able to type
| | 01:34 | the word Chocolate really quickly. I'm
going to click Add and I'm going to say
| | 01:38 | anytime I just type the letter ch,
turn that into Chocolate. Turn ch into
| | 01:46 | Chocolate, click OK, click
OK and let's go try it out.
| | 01:50 | I'm going to scroll over here and we
are going to say Baking Chocolate, ready,
| | 01:54 | Baking ch, hit Space and it makes it
into Chocolate. I love making Chocolate,
| | 02:00 | Boxed, ch, Space, Chocolate.
Chocolate Bars, ch, Space, so this is a really
| | 02:07 | nice way to do Spicy Bliss Chocolate
Collection. It is a nice way to make sort
| | 02:11 | of a macro tip to type a whole bunch of
characters of at the same time. We can
| | 02:16 | even do longer phrases as well. I
zoomed out there with the Command+Minus so I
| | 02:22 | can go find a longer phrase. For
example, Bliss no.5 obviously, in our
| | 02:27 | fictitious company here, Bliss no.5
is typed a lot, so I would like to turn
| | 02:31 | that into an Autocorrect. I'm going to
copy it, I select up the Type tool, I
| | 02:35 | copy with it with a Command+C or Ctrl+
C on Windows, go back to Autocorrect
| | 02:40 | Preferences, Add, I'm going to make
that my correction Bliss no.5. Then I need
| | 02:45 | to just come up with some kind of
Misspelled Word, may be b5, why not b5 will
| | 02:51 | turn into Bliss no.5, click OK, click
OK. Next time I need to type that, I'll
| | 02:56 | scroll down to the bottom here. Here
we go, I need it to just say Bliss no.5,
| | 03:00 | so next time I need to type it, I'll
just type b5, Space, and it extracts
| | 03:04 | itself into the whole phrase, very, very cool.
| | 03:09 | Now if I made a mistake and I need
it to Edit that, it's easy to do that.
| | 03:13 | Command+K or Ctrl+K to go back to
Preferences, click on the Autocorrect pane,
| | 03:18 | I'm going to go find my Bliss no.5 by
scrolling down here until I see it, b5
| | 03:23 | turns into Bliss no.5. I can click the
Edit button and it opens the Autocorrect
| | 03:28 | list dialog box. So now I can change b5
to turn into something else, maybe it's
| | 03:33 | the Bliss no.6 now, whatever you want
it should be, click OK, click OK, and we
| | 03:38 | are good to go.
| | 03:40 | To be honest, I usually don't like it
when programs try to be smart, but in
| | 03:44 | this case I'm willing to make an
exception. This Autocorrect thing has saved me
| | 03:48 | enough times that now I'm grateful for it.
| | Collapse this transcript |
| Using Find/Change| 00:00 | I'm so old that I remember manually
searching through all the text in a
| | 00:04 | document for one word and replacing
it with another, one time after another
| | 00:09 | time, after another time all by eye
hoping I didn't miss a single instance and
| | 00:14 | all I can say is thank goodness for
the Find/Change feature which let's me do
| | 00:18 | it all with a single click,
let's see how it works.
| | 00:21 | We are going to go to the Edit menu
and choose Find/Change or it's probably,
| | 00:26 | even faster just to press Command+
F or Ctrl+F in Windows to open the
| | 00:31 | Find/Change dialog box. Now this
dialog box is a special kind of dialog box,
| | 00:36 | because it floats above the document,
but I can still do work in my document
| | 00:40 | while it's open. For example, I can
select this text frame and zoom into 200%
| | 00:45 | view with Command+2 or Ctrl+2 with
Windows. Now I'm going to try and find this
| | 00:52 | text here, this No.5, I have throughout
my whole document so I'll come back to
| | 00:56 | the Find/Change and I'm going to say
find no.5. I'm going to change it to no.6
| | 01:03 | let's say. We are going to search for No. 5,
search and replace it with no.6. We
| | 01:08 | are changing the name of the whole brand.
Find the first one, well, there it is, no. 5.
| | 01:13 | Now I want to point out something here
kind of interesting. I type a capital
| | 01:19 | letter N, but it still found it even
though it was a lower case n, why? Because
| | 01:24 | by default, Find/Change is not case
sensitive. If I really wanted to find only
| | 01:30 | the No.5's with a capital N, I would
turn on the Case Sensitive button that's
| | 01:34 | one of these buttons along the bottom
here. To be honest, those icons are so
| | 01:39 | mysterious to me that I never remember
what is what. The only way I can find
| | 01:44 | anything anymore is by hovering on
top of it for a moment until that little
| | 01:47 | tooltip shows up. So that's the one
for a whole word meaning, it's only going
| | 01:52 | to find it if it is a Whole Word
it's not going to find it within a word.
| | 01:56 | Then the next one over is let see, that
ones oh! Case Sensitive. That's the one
| | 02:00 | I wanted, Case Sensitive. I'll click on
that, now it's only going to find No.5
| | 02:06 | if it is upper case No and I'll click
on Find, and it says oh, it cannot find
| | 02:11 | the match. So it's nothing there. Let's
go back and change this to a lower case
| | 02:15 | no.5, because that's that I know is in
there and we are going to change it to
| | 02:19 | no.6. There are a bunch of other items
in here. You can take a look at them in
| | 02:24 | at your leisure but basically, do you
want to Include Footnotes in your search,
| | 02:28 | do you want to Include Master Pages,
any text that is on a Master Page or
| | 02:31 | Hidden Layers. What if you have some
kind of layer? I'll be talking about
| | 02:34 | Layers in the later chapter, but what
if you have text that is on a layer and
| | 02:38 | the Layer is hidden, do you want Find/
Change to find it? Adobe really is giving
| | 02:43 | you fine tune control about how Find/
Change works here. Also the same thing
| | 02:47 | about Locked Stories and also Locked
Layers. Those are things that we are going
| | 02:52 | to be talking about later in this title as well.
| | 02:54 | While we are down here at the bottom
part of the Find/Change dialog box, I
| | 02:58 | should also point out the Search pop-
up menu. I think they should be called
| | 03:01 | Scope, because that is basically what
scope of the document or documents do you
| | 03:06 | want InDesign to search when it's
doing the Find/Change? Do you want it to be
| | 03:10 | this entire document or maybe just
this one story? Perhaps, just this story
| | 03:15 | from the beginning to the end or you
can choose to search from where the cursor
| | 03:19 | is right now To the End of the Story.
So this last item To End of Story will
| | 03:25 | not search the story before the cursor.
So that could be useful as well in
| | 03:30 | certain circumstances, but one
of my favorites is All Documents.
| | 03:34 | All Documents is not all the
documents on your whole hard drive, it is all
| | 03:38 | documents that are currently open
right now. So if you are working on a book
| | 03:42 | and you have got, maybe 10 different
documents, one for each chapter you can
| | 03:46 | have them all opened and do a Find/
Change across all those documents at exact
| | 03:51 | the same time, really cool, very, very
powerful. In this case, we just want to
| | 03:55 | search this one document that's open
right now. Click Find and it finds the
| | 04:00 | first one. Now if I know that I want
to change all of these, I can click on
| | 04:05 | Change All, but I'm not sure I want
to change all of them, maybe I want to
| | 04:08 | change some, but not others, I'll click
Change, because Change will change this
| | 04:13 | one instance and then I could click Find Next.
| | 04:16 | Another options is to click Change/Find.
Basically, Change this instance and
| | 04:21 | then Find again so it's like two
buttons in one, click on that and it changes
| | 04:26 | it, you see right there it changed to
no.6 and then it found the next one. I
| | 04:31 | could change and find over and over
again if I want to, but at this point I'm
| | 04:34 | just going to click Change All to do
all the rest of them. There is only two
| | 04:38 | left, but that's good, that's a lot
faster than having to do it by eye. Now
| | 04:43 | Find/Change can find a lot more than
just plain old text like this. It can find
| | 04:47 | special characters like returns or en
dashes or weird, mysterious symbols. How
| | 04:54 | do you do that? Well, let's delete that
and I'm going to look over here on this
| | 04:59 | little fly-out menu, that little at (@)
symbol with a triangle coming out of it
| | 05:03 | that says that's a Special
characters for search pop-up menu.
| | 05:07 | Lot of InDesign users just never see
that. For some reason, it goes right past
| | 05:11 | their consciousness, they don't even
notice that it is there, but it's really
| | 05:15 | helpful pop-up menu. If I click on that,
you can see that it will let you find
| | 05:20 | all kinds of special characters like a
Tab or End of characters, a Forced Line
| | 05:25 | Break, which is a Shift+Return. It
will force a line to break in the middle.
| | 05:28 | Also, cool Symbols like what if you
want to find every place where there is a
| | 05:33 | Registered Trademark Symbol or a
Section symbol or something like that. Also,
| | 05:37 | what if you wanted to find your Page
Number, the Current Page Number symbol.
| | 05:42 | There is lots of special characters in
the InDesign and the Find/Change dialog
| | 05:45 | box will let you find them, may be
you want to find all your Em Spaces.
| | 05:50 | What happens when you type one of these
things is it types a special code into
| | 05:55 | the Find what field. Now you could
type that code yourself if you remembered
| | 06:00 | that ^m meant m space but most of us
aren't going to remember those special
| | 06:05 | codes so it's nice so to just pull it
out of the menu. But in this case, for
| | 06:09 | example, I might want to replace every
instance of a (space) followed by the
| | 06:15 | letter upper case P, (space) P and
replace it with let me delete that, I'm
| | 06:20 | going to replace it with a White Space,
why don't we do an En Space followed by
| | 06:25 | the letter P as well. So I'm going to
change a regular space P into an En Space
| | 06:29 | P and I'll click Change All and it
found eleven instances of it including this
| | 06:34 | one right down there. I'm not sure why
you would want to do that, but you will
| | 06:37 | get the idea. You can find instances
of text and replace them with special
| | 06:42 | codes, which will type special
characters in there. In this case in an En
| | 06:46 | Space, which is a wider
space than a normal space.
| | 06:49 | I'm going to show you one other
trick, which I find really useful in
| | 06:53 | Find/Change and then we'll move on.
I'm going to find every instance of the
| | 06:58 | word Bliss and I'm going to replace it
with nothing, absolutely, nothing. Now
| | 07:03 | what does that mean? That means find
all the words Bliss and delete them. This
| | 07:08 | is a nice, fast way if you need to
delete a bunch of stuff at once, you need to
| | 07:11 | use Find/Change, so I fill in the Find
what, but I leave Change to blank. When
| | 07:16 | I click Change All, it removes the
word Bliss throughout everything, but only
| | 07:22 | in the cases that it was an upper case
B and lower case liss, because the Case
| | 07:27 | Sensitive button was still on. And I
can see immediately that it left it here,
| | 07:32 | because this was all typed in the
lower case and set in small caps. So there
| | 07:38 | are some details there that we need to
pay attention to. So there is a lot of
| | 07:42 | control that Find/Change gives you and
it actually goes way deeper than just
| | 07:47 | that. For example, we can see that
there is GREP Find/Change, that's an
| | 07:51 | advanced topic. I covered that in
the Beyond the Basics title, Glyph
| | 07:54 | Find/Change in Beyond the Basics too (
ph) and Object, Object Find/Change for
| | 07:58 | actually to Find and Change Objects
based on it's formatting, which is really
| | 08:03 | cool. I'll cover that in a chapter
later on in this title. But I want to also
| | 08:07 | point out one more thing that I
cover later in this title, More Options.
| | 08:12 | If I click the More Options button,
I get a whole new set of things I can
| | 08:16 | search for in the Find/Change dialog
box. This lets me search for text with
| | 08:22 | particular formatting like text with a
color of apply to it or text but only
| | 08:26 | text in a certain font, things like
that and that's something I'm going to
| | 08:30 | cover in a lot more detail in the
character formatting chapter later on in this title.
| | 08:36 | The Find/Change dialog box is
obviously an incredibly powerful tool when you
| | 08:40 | take the time to dial in exactly what
you are looking for and exactly what you
| | 08:44 | want to change it to.
| | Collapse this transcript |
| Making text variables| 00:00 | In an earlier chapter I talked about
automatic page numbers which are a kind
| | 00:04 | of variable that is an automatic page
number is a special kind of character
| | 00:09 | that changes or varies depending on
what page that's on. But InDesign has other
| | 00:15 | kinds of variable text too. For example,
text that changes to the current date
| | 00:20 | or changes based on what text appears
elsewhere on a page. Let me show you how it works.
| | 00:26 | I'm going to my open Choco_catalog
document from the exercise files. I would
| | 00:32 | like to put some text out here on the
pasteboard that tells me the current name
| | 00:36 | of this file and when it was created.
So I'm going to create a new text frame
| | 00:40 | out here so in the pasteboard and I'm
going to place a text variable into it. I
| | 00:45 | can find those under the Type menu
down under the Text Variables submenu and
| | 00:51 | there are several already created in
this document including Chapter Number,
| | 00:55 | Creation Date, File Name and so on
right here in the Insert Variable submenu.
| | 01:00 | So I'm going to choose File Name, I'll
click on that and it inserts my catalog
| | 01:06 | Choco_catalog file name right there in
that text frame, very handy. Let's zoom
| | 01:11 | in on that, Command+2 or Ctrl+
2 on Windows to zoom into 200%.
| | 01:15 | Now I would like to say this is a first
created on: I just typed first created
| | 01:21 | on, that's just random text, whatever
text that I want to type in there and now
| | 01:25 | let's type another variable. Instead of
choosing it from the Type menu, I'll go
| | 01:30 | to the Context menu, again, right-click
anywhere on the page and it gives me a
| | 01:35 | Context menu, Oh, that's good, Ctrl-
click with one button mouse and I'll go
| | 01:39 | down to Insert Variable and here is a
list of all of the variables I have got
| | 01:44 | here including Creation Date, click on
that and it types in the date that this
| | 01:50 | document was first created. So I have
added two variables to my document here,
| | 01:56 | the name of it and also the date of it.
If the name of the document changes,
| | 02:02 | this will change as well, so it's
variable. It changes on the fly.
| | 02:08 | Now this could be useful for creating
slug information, slug information is
| | 02:13 | stuff that is sitting out on the
pasteboard that maybe printed out in the trim
| | 02:16 | area that's later is to get trimmed
off of the document. But here is where I
| | 02:20 | think that text variables really fly,
running head information, let me show you
| | 02:25 | what I mean. I'll zoom back to Fit in
Window which is Command+0 or Ctrl+0 on
| | 02:30 | Windows and then Shift+Page Down a
couple of pages, couple of times until I get
| | 02:36 | to this page that has some products
on it. This is a catalog of various
| | 02:41 | chocolate products and I would like to
put a running head information up here
| | 02:45 | that tells me what the very fast item
is on the page. Of course, I could see it
| | 02:50 | down here, but you get the idea.
| | 02:51 | I want to have some running headers up
in the margin up here that tells me what
| | 02:55 | the first item is going to be. So,
because this is going to show up on all my
| | 02:59 | pages of the document, I want to put it
on a Master Page, right. So I'll go to
| | 03:04 | the Pages panel and I'll double click
on A-Master and I'll scroll over here to
| | 03:09 | the right hand side, this is the page
that shows all of the products. I'm going
| | 03:14 | to create a new text frame up here in
the margin area, just a big text frame
| | 03:19 | right up here, and I'm going to put a
text variable that points to the very
| | 03:24 | first product on the page. How do I do
it? Well, first I go to the Type menu,
| | 03:29 | go all the way down to Text Variables
and instead of inserting a variable, this
| | 03:33 | time I'm going to Define a new text
variable. So I click on Define and now I
| | 03:39 | click on New, click the New button to
make a brand new one and let's see. This
| | 03:44 | one is going to be called running head
of product name, something; you can call
| | 03:49 | it anything you want. But it's
going to be the Type of Running Header
| | 03:54 | (Paragraph Style).
| | 03:56 | Look at all the different kinds of
variables I can create in this dialog box. I
| | 04:00 | could create chapter numbers and file
names and all kinds of things, but what
| | 04:04 | I'm most interested in here is the
Running Header base on a Paragraph Style. In
| | 04:10 | other words, it's going to find a
paragraph style on my document page and put
| | 04:15 | it up in my header. Now which paragraph
style is he going to find? Well, that's
| | 04:19 | based on the Style pop-up menu. So
I'm going to tell it to find the first
| | 04:24 | product head. First text that has the
product head paragraph style applied to
| | 04:29 | it, throw it up in the variable and I
know it's the first because in the Use
| | 04:33 | pop-up menu it says First on Page, I
could change that to Last on Page if I
| | 04:37 | wanted to. That's how you could do a
variable like from the first product to
| | 04:41 | the last product; make two different
variables, one for the first and one for the last.
| | 04:45 | You can even put Text Before if you
want to or Text After it like product:
| | 04:50 | etcetera and it would actually type the
word product: and then the name of the
| | 04:55 | product. In this case, I'm going to
leave that blank, because I think it's
| | 04:57 | going to be too long for my text frame
if I do that. You have options like if
| | 05:02 | you want to Delete the End Punctuation
just in case there is punctuation on the
| | 05:06 | page, you can actually strip that out
if you turn on this checkbox. That's
| | 05:10 | usually a good idea for things like
Running Headers and change the case if you
| | 05:13 | want to and so on.
| | 05:15 | Well, that's basically it. I have
defined a new variable which is going to find
| | 05:19 | the first time it finds the product
head paragraph style on my page and it is
| | 05:24 | going to throw it into my variable
character, so let's go ahead and click OK.
| | 05:28 | You can see it adds it to my list here
running head of product name. Now I can
| | 05:33 | click Insert, click the Insert Button
and it inserts it right in this text
| | 05:38 | frame. It was able to do that,
because I had the Type tool, the text cursor
| | 05:43 | flashing inside the text frame when I
was working. If I didn't have that I
| | 05:47 | wouldn't be able to insert it of course,
then I would have to insert it using
| | 05:51 | the Type > Text Variables > Insert
Variable and there it is down at the button
| | 05:56 | of the list there. But I already have
it in there, so I have placed it in the
| | 06:00 | text frame, it doesn't look very
attractive. I better apply a different
| | 06:04 | formatting to it to make
it look a little bit better.
| | 06:06 | I'm going to go over to the Paragraph
Styles panel here and I'm not going to
| | 06:10 | get into Paragraph Styles until a
later chapter, but suffice it to say that I
| | 06:15 | can apply a bunch of formatting with a
single click by opening the Paragraph
| | 06:19 | Styles panel and just clicking on the
running head style, and there we go. I
| | 06:24 | have applied a bunch of formatting to
that so I can close that panel and see if
| | 06:28 | my variable actually will work. I see
that by jumping to the document page,
| | 06:34 | open the Pages panel, I'm going to jump
right to page 3 and I can see that, oh!
| | 06:38 | Look at that Chocolate Truffles, I
love it. Why do I love it so much? Well,
| | 06:43 | first of all, I really like Chocolate
Truffles, but second of all, the variable
| | 06:47 | is working, because you see that's the
first right down here, that's the very
| | 06:51 | first instance of that Paragraph Style
on the page so it grabbed it and then
| | 06:57 | put it up here.
| | 06:59 | If I change this to something else like
maybe White Chocolate Truffles, then it
| | 07:05 | should update up here. Now
something you need to know about variables.
| | 07:09 | Variables will not update by themselves.
You have to do something to redraw the
| | 07:14 | screen. For example, you can jump to
a different page and come back, maybe
| | 07:19 | Shift+Page Up and then Shift+Page Down
and there you go, I redrew the screen by
| | 07:24 | moving from one page to the next and
so now it update it. You have to do
| | 07:28 | something to redraw the screen. There
is actually a secret trick here to do
| | 07:31 | that and that's to press Command+Options+/
that will force InDesign to redraw the screen.
| | 07:38 | Now let's try another experiment. I'm
going to move this group over to the
| | 07:42 | right, just using the Selection tool to
move these things around. I'm going to
| | 07:46 | move this feature over here and this
product over here and now I have reversed
| | 07:50 | the order of our objects on the page.
I need to force InDesign to redraw the
| | 07:55 | screen, Command+Options+/ and boom!
There it is. I love it. Classic Pastilles
| | 08:00 | updated immediately for me, because
now this is the first instance of that
| | 08:05 | Paragraph Style on the page.
| | 08:08 | Now there is one other thing that you
have to know about variables in order to
| | 08:11 | use them efficiently and that is
that variables are treated as a single
| | 08:16 | character, just one character and that
means that if this was a really a long,
| | 08:22 | long, long, long text it will not
break onto two lines. InDesign cannot break
| | 08:27 | variables onto two lines, it has to be
on a single line or else it will get all
| | 08:31 | squishy and horrible looking. So you
need to pay attention to that or else you
| | 08:35 | are going to be in trouble.
| | 08:37 | The Text Variable feature is a great
example of a feature that can shave off
| | 08:41 | hours and hours of work from a project.
| | 08:43 | Every time I use it I, feel like
I'm somehow cheating, because it makes
| | 08:47 | updating my document so easy.
| | Collapse this transcript |
|
|
6. GraphicsImporting graphics| 00:00 | It's time to start talking about using
pictures in InDesign. Let's start at the
| | 00:04 | beginning, how to get our images on to
our InDesign page. Fortunately, InDesign
| | 00:09 | makes it really easy. The basic method
is to go to the File menu, choose Place
| | 00:15 | or of course, you could press Command+D
or Ctrl+D on Windows, and then choose
| | 00:18 | the image you want to import.
| | 00:19 | I'm going to import an image here
called IngredientsLineArt.pdf. I'll click
| | 00:25 | open, and it loads the Place cursor. I
now have a choice, I could click on top
| | 00:32 | of a blank frame and the cursor
changes slightly to, kind of a dotted
| | 00:36 | parentheses, and that means it's going
to go in to that frame or I could simply
| | 00:42 | click somewhere, like that and it loads
the entire image on to the page and it
| | 00:47 | builds a frame for it. I'm not going
to do that. I'm going to press Command+Z
| | 00:51 | or Ctrl+Z on Windows, and
instead, I'm going to click and drag.
| | 00:57 | Now notice, right here the cursor has
changed to that parenthesis which means
| | 01:02 | that there must be a frame back there.
I think it's a really big frame in the
| | 01:04 | back of the page but I'm not going to
click, I'm going to click and drag. And
| | 01:09 | when I do that, it will draw a frame
for me with exactly the same proportions
| | 01:14 | as the original image, the height to
width proportion and the cursor actually
| | 01:18 | shows me the scaling that's going to
be applied to that image to fit that
| | 01:22 | frame. For example, way out here, it's
like 136 % but down here it's only about
| | 01:27 | 105 %. It's a Line Art Vector PDF so it
doesn't matter what scale I bring this
| | 01:32 | one in at. I let go. It builds the
frame to that size, and it fills it with the
| | 01:37 | image. That behavior of making it
always proportional to the original image is
| | 01:42 | actually new in CS4. CS3 and earlier,
you had no control over the proportions.
| | 01:48 | Now if you don't want control over the
proportions, if you want to make a frame
| | 01:50 | any size, any particular size you want
and have the image go in to it, there is
| | 01:54 | actually a trick to make it work like
the CS3 in earlier. I'll Command+Z or
| | 01:59 | Ctrl+Z, and I'm going to start dragging
out with this, but now if I don't want
| | 02:03 | it to constraint to those proportions,
I'll hold down the Shift key, and the
| | 02:06 | Shift key usually constraints it to,
like a square, but in this case, it
| | 02:11 | actually releases the constraint; it's
kind of a strange thing. And it lets me
| | 02:15 | draw any shape I want. So I could make
it like a really strange shape here, let
| | 02:19 | go, and the image goes right into the
middle of it. So again, that's not what I
| | 02:23 | wanted in this case, so I'm undoing
that and going to draw out with constraints
| | 02:28 | exactly the size I want. That's usually
what you want, just drag it out and it
| | 02:33 | constraints to the proper
height with proportions.
| | 02:36 | Alright! Let's look at another way to
get images into InDesign. I'm going to
| | 02:41 | drag them in using drag and drop; I'm
going to drag them in from either the
| | 02:45 | Finder or Windows Explorer or Bridge.
Bridge is a great way to do it. Let's
| | 02:50 | switch over to Bridge here for a moment.
I have it running in the background
| | 02:53 | and I'm going to select a few images
here, maybe this baking chocolate, and
| | 02:57 | I'll choose the candy bar and this
canister over here. I'm just holding down
| | 03:01 | the Command key on the Mac or Ctrl on
Windows to select multiple non-contiguous
| | 03:05 | items here, and I can
see a preview of them here.
| | 03:08 | Bridge is a great tool for managing all
your images and files, and I'm going to
| | 03:13 | bring them into InDesign. Now InDesign
on this little screen is not currently
| | 03:18 | showing. I could move Bridge out of
the way so I could see both InDesign and
| | 03:21 | Bridge at the same time, but I want to
show you a really cool trick for how to
| | 03:25 | get stuff from one program into
another like Bridge into InDesign without
| | 03:30 | having to move your Windows all over the place.
| | 03:32 | I'm going to click on this and start
dragging, and you will see the cursor
| | 03:36 | changes to include, sort of a stack of
images there. I'm not going to let go
| | 03:41 | over the mouse button yet, but I'm
going to use the application switch or
| | 03:45 | keyboard shortcut. On the Mac, that's
Command+Tab; on Windows, it's Alt+Tab.
| | 03:50 | But either way, we are just going to
go right back over to InDesign and when
| | 03:54 | I'm in InDesign, I'll let
go over the mouse button.
| | 03:58 | Whenever you drag more than one image
into InDesign, it loads up the Place
| | 04:02 | cursor with all your images, and you
can see that little Place cursor show up
| | 04:07 | with a number 3 because I have
three images in there and it gives me a
| | 04:10 | thumbnail for the first image. Now I
can see the other ones by simply pressing
| | 04:16 | the Arrow keys on my keyboard like down
arrow goes to the next, and down arrow
| | 04:20 | goes to the next and so on. I can
toggle through those until I find the one
| | 04:24 | that I want first.
| | 04:24 | For example, I want this candy bar
image first and I'm going to place it inside
| | 04:29 | this green graphic frame at the top
simply by clicking on it, so that place,
| | 04:34 | that image into that frame, and now I
only have two left in my Place Queue. Now
| | 04:40 | I'm going to drop the next one in there,
and I'll drop the next one in here,
| | 04:44 | and now I'm done so that the
cursor goes back to its normal state.
| | 04:47 | I'm going to show you one other
really cool Place feature that has to do with
| | 04:51 | placing multiple images. I'm going
to pan over to the left here with the
| | 04:56 | Options+spacebar or Alt+spacebar
grabber hand trick, and I'm going to
| | 05:00 | place all three of those images over
here. Let me go grab them from Bridge
| | 05:03 | again, they are still selected so
I'll start dragging, use the application
| | 05:06 | switcher, drop them into InDesign,
and now I have all three of those images
| | 05:10 | loaded in here in the Place cursor.
| | 05:13 | Now new in CS4, they added this
really cool, kind of like a contact sheet
| | 05:18 | feature, a grid feature that lets me
layout all the images in the Place cursor
| | 05:23 | with a single click in a nice grid.
Here's how it works. You hold down the
| | 05:27 | Command key and the Shift key or on
Windows, Ctrl+Shift, and the cursor changes
| | 05:32 | into a little grid icon. Now I can
start dragging out an area that I want that
| | 05:37 | grid to fill. I'm doing it on the
pasteboard now but this could be on the page
| | 05:41 | or anywhere you want a grid of images.
Now I only have three images, so if I
| | 05:46 | let go of the mouse button now, it
will fill the top three elements of that
| | 05:51 | grid, the top three cells as if it were
of that grid with the images. There it
| | 05:55 | go, so it went one, two, there, and
it fills them in it. I get kind of a
| | 05:58 | contact sheet effect.
| | 06:00 | Let me Undo that to show you one
another technique, Command+Z or Ctrl+Z on
| | 06:04 | Windows. Now I'm holding on Command+
Shift or Ctrl+Shift on Windows to get my
| | 06:09 | grid icon. I'm dragging out and this is
kind of tweaky, so pay attention.
| | 06:14 | I'm going to keep the mouse button
held down but I'm going to let go of the
| | 06:19 | Command+Shift or Ctrl+Shift on the
keyboard. Now I have a free hand. What am I
| | 06:24 | going to do with it? I'm going to start
pressing the Arrow keys on my keyboard.
| | 06:28 | If I press the Up Arrow, I add a row,
so I'm adding rows by pressing the Up
| | 06:34 | Arrow, if I press the Down Arrow, I
remove rows, if I press the Left Arrow I
| | 06:39 | remove a column, if press the Right
Arrow, I increase the number of columns. So
| | 06:44 | I can figure out exactly how I want
this grid to appear. If I want three down
| | 06:50 | like three in a single column, I'll go
all the way down to a single column and
| | 06:54 | now finally, I'm going to let go of the
mouse button, boom, and there they go,
| | 06:58 | one, two, three, all three images
dropped into frames of the size that I saw in
| | 07:03 | the grid just a moment ago.
| | 07:05 | Okay, let's go to the next page here.
I'm going to press Shift+Page Down to
| | 07:09 | scroll over to the next page and I'll
sent to that in the Window with Command+0
| | 07:13 | or Ctrl+0 on Windows and I would like
to put one more image here up in the
| | 07:17 | upper left corner. I'm going to grab
this one, instead of from Bridge, I just
| | 07:20 | want to prove you that I can drag it
right off the desktop, whether it's Mac or
| | 07:24 | Windows, I can just drag it right out
of a folder and put it into InDesign. So
| | 07:27 | I'm going to switch over to the Finder
here, that Mac OS Finder. Again, this
| | 07:32 | will work just fine with Windows. And I
can select an image. I'm going to grab
| | 07:36 | this cookiesmall.psd file from my
Links folder inside the exercise folder and
| | 07:41 | I'm going to drag that right into InDesign.
| | 07:44 | Now remember to watch the cursor. This
cursor here means it's going to build a
| | 07:49 | frame and put the image into it. I let
go and there it is, it built the frame
| | 07:53 | and put the image into it and I can
place it exactly where I wanted on my page.
| | 07:58 | Now note that I'm not talking about
how to copy and paste images from one
| | 08:02 | application into another. Well, I'll
discuss copying and pasting vectors
| | 08:06 | between InDesign and
Illustrator later on in this chapter.
| | 08:10 | I strongly, strongly urge you not to
copy images from Photoshop or any other
| | 08:15 | programs other than Illustrator.
There is a number of technical reasons for
| | 08:19 | this, but suffice it to say, that is
rarely a good idea to copy and paste pixel
| | 08:23 | images. Vector images might be okay,
but pixel images is a no, no. However, you
| | 08:29 | choose to import your images, InDesign
tries to be as flexible as possible and
| | 08:33 | this is especially true when it
comes to what file formats you can use.
| | 08:36 | InDesign supports all the regulars,
TIFF, JPEG, PDF and so on, but it also
| | 08:41 | supports native Photoshop PSD files
and most native Illustrator AI files.
| | 08:47 | In later movies, I'll talk about some
of the advantages of using these native
| | 08:50 | file formats, but first I need to talk
about importing a very special kind of
| | 08:54 | image, importing a native InDesign file
into another InDesign file, that's what
| | 09:00 | I'm going to cover in the next movie.
| | Collapse this transcript |
| Importing InDesign files| 00:00 | Let's say you have laid out an ad or a
coupon or something, and now you want to
| | 00:04 | use that layout in another InDesign file.
| | 00:07 | Well, typically, you would have to
export that ad or coupon or whatever as a
| | 00:11 | PDF file or some kind of graphic and
then import that into InDesign. But you
| | 00:16 | don't have to do that anymore because
InDesign lets you import an InDesign file
| | 00:20 | right on to your page.
| | 00:22 | Let me show you what I mean. I have
got my Choco_catalog file open from the
| | 00:26 | exercise files, and I'm going to jump
to page 6 by pressing Command+J or Ctrl+J
| | 00:31 | and then press 6, Enter, and then I see
this big pot of steaming chocolate and
| | 00:37 | that's attractive but it will be
nice to have my ad right on top of it.
| | 00:41 | So how do I get that ad? I have
already laid it out in another InDesign file
| | 00:46 | and I can import that file just like I
import any other graphic. I'll go to the
| | 00:50 | File menu, I'll choose Place, and
then I'll choose the InDesign file that I
| | 00:55 | know the graphic is laid out in. In
this case it is the Bliss_Magazine.indd
| | 00:59 | file, and I'm going to turn on the
Show Import Options checkbox. When that's
| | 01:03 | on, I always get another dialog box
after the Place dialog box, click Open and
| | 01:09 | there we go. I have sort of an Options
dialog box here that lets me specify the
| | 01:13 | kinds of options or fine tune what it
is that I'm importing. In this case,
| | 01:18 | because it's an InDesign file, I can
specify which page I want and I can
| | 01:22 | actually scroll through this one page
at a time by clicking on this little
| | 01:25 | arrow here until I find the one I want.
| | 01:28 | I happen to know it's on the last page,
it is on page 9. So I click on the last
| | 01:31 | page button, I see the ad right there.
That looks great! And I'm going to
| | 01:35 | import the Preview page. I can actually
import all the pages from that InDesign
| | 01:40 | document into this InDesign document
if I wanted to, but in this case, I just
| | 01:44 | want one, just this one
page that I'm looking at here.
| | 01:48 | I also have a control over what do I
want to Crop to. I can crop to just the
| | 01:52 | Page or the Page plus the Bleed
bounding box or plus the Slug bounding box even
| | 01:58 | if wanted to and I'm going to be
talking about Bleeds and Slugs later on in
| | 02:02 | this title. I'll leave that alone
right now and leave it set to Page bounding
| | 02:05 | box. I'll click OK. So InDesign gives
me a warning here that says, There is
| | 02:10 | overset text on these pages, and it
tells me on page 9, the one that I'm
| | 02:14 | importing actually has some text that's
overset, so it's a very helpful alert.
| | 02:19 | Just in case, I really needed that text,
I can go back to the original InDesign
| | 02:22 | file and fix it. But in this case, I'm
going to say, Oh! I don't care, don't
| | 02:26 | show me that again, and
click OK and import that page.
| | 02:30 | I can click and drag out the page to
the size that I wanted, and then let go
| | 02:35 | over the mouse button and we can see
the original InDesign page placed on top
| | 02:39 | of this InDesign page just as if it
were a graphic. I can even crop it down and
| | 02:44 | you crop images in InDesign by dragging
with the Selection tool over one of the
| | 02:49 | side or corner handles. So I'll click
and drag down until I just get the part
| | 02:55 | of the page that I want. Place
that there and place that there.
| | 02:58 | I'll be talking much more about
cropping and sizing and scaling and so on in
| | 03:03 | future chapter, but for right now, you
can see that I have got a piece of my
| | 03:07 | InDesign page right here inside this
other InDesign document and I could scale
| | 03:12 | it or rotate it or do all kinds of
other wacky things to it if I wanted to,
| | 03:16 | later, but again, we will
cover those in later chapters.
| | 03:21 | When you place one InDesign document
into another, InDesign treats it just like
| | 03:25 | any other graphic, like a PDF graphic.
You get transparency, you get high res
| | 03:29 | images. They print great and using
this can really optimize your workflow.
| | Collapse this transcript |
| Using the Links panel| 00:00 | When you import a picture into
InDesign using Place or by dragging in a file
| | 00:05 | from disk, InDesign doesn't actually
embed the image into your document;
| | 00:09 | instead you get a thumbnail preview, a
low res preview of that image and a link
| | 00:14 | to the file on disk. This happens with
any image file whether you import a PDF
| | 00:20 | or a JPEG or a TIFF or whatever.
| | 00:22 | Let's open up this Bliss_Mag_
missingimages.indd document from the exercise
| | 00:27 | folder. You will see that when we open
it, InDesign alerts me that there is a
| | 00:32 | Missing link and a Modified link.
Whenever you open your documents, InDesign
| | 00:36 | will go and check those links to make
sure everything is okay, and if it's not,
| | 00:41 | it will give you this alert.
| | 00:42 | Now you have an option, you can update
the links immediately that will fix the
| | 00:46 | Modified one. It won't fix the Missing
one because InDesign doesn't know where
| | 00:49 | it is, but it will import the Modified
one. I typically do not choose that. I
| | 00:53 | like Don't Update Links and the reason
is that if something has been changed to
| | 00:57 | an image, I want to know what the
change was. Of course, if I already know what
| | 01:01 | the change was, maybe I would click
Update, but generally I want to click Don't
| | 01:04 | Update Links and then I'm going to go
look for the change, see what's different about it.
| | 01:10 | The key to managing your linked images
is of course the Links panel, which we
| | 01:14 | see here. The Links panel has been
drastically redesigned since CS3, so if you
| | 01:19 | are used to the old one, it will take
a little getting used to, to work with
| | 01:22 | the new one, but there are a lot more
features in here. I really like what they
| | 01:26 | have done with it.
| | 01:26 | For example, we can see all of the
Modified and Missing images by sorting this
| | 01:31 | whole list of list of links based on
its status, that's that little exclamation
| | 01:35 | point inside the triangle, and if I
click on that, we see that all the Missing
| | 01:40 | and Modified images show up at the
top there. That's really cool. We can
| | 01:44 | actually sort this by Name, by Status,
by Page Number, all kinds of ways, just
| | 01:49 | by clicking on the top of the column
here. In fact, I'm going to bring the
| | 01:53 | Links panel out of the dock and put it
on my workspace here, so I can make it
| | 01:56 | even bigger because we are going to be
seeing a lot more going on in this Links panel.
| | 02:01 | Okay, so what do these icons mean? The
stop sign question mark icon means that
| | 02:06 | it's Missing. InDesign simply cannot
find that image anywhere. It doesn't know
| | 02:10 | where it is and so it wants you to go
find that or else when you print you are
| | 02:14 | going to get a low res version of it.
You will just get that thumbnail preview
| | 02:17 | printed out. That's not
going to be very helpful.
| | 02:19 | The yellow triangle with an
exclamation point means that this image has been
| | 02:22 | changed in some ways. Someone opened it
up, maybe in Photoshop and made a tweak
| | 02:26 | to it, saved it again and InDesign
sees that the current version is different
| | 02:30 | than the one that had been imported
and so it tells you that it is updated.
| | 02:35 | What do you want to do about it?
| | 02:36 | Well, in both cases, we probably want
to go look at what page it's on, see the
| | 02:41 | Context and then make a decision. We
can get there quickly by clicking on the
| | 02:45 | page number here, that little blue
number with an underscore that is supposed
| | 02:49 | to indicate that it's a hyperlink. So
if we want to go look at this image, we
| | 02:53 | can simply click on that 4 and it takes
us right to it. Let's move this out of
| | 02:57 | the way, and we can see that this
is the image that has been updated.
| | 03:01 | When you have a Modified image,
something has been changed. Typically, what you
| | 03:04 | want to do is try updating it, and you
update it by going to the Links panel
| | 03:09 | fly-out menu and choosing Update Link.
Another way to do that instead of
| | 03:14 | choosing it from the panel menu is
to use these buttons along the bottom,
| | 03:17 | that's usually what I do
because it's a lot faster.
| | 03:19 | The third item here is Update Link.
Click on that and it imports the image. It
| | 03:26 | looks like it just had gotten
lightened up a little bit, and now you can see
| | 03:29 | that it's no longer listed at the top
of the list under the Modified images, so
| | 03:34 | that's useful. Now let's go take a
look at the cookie image that's Missing.
| | 03:38 | I'll click on its hyperlink there.
There it is. That's the Missing image. It
| | 03:42 | can't even show it in high res. In fact,
we can see that even more if we go to
| | 03:46 | View, Display Performance, High
Quality Display, we can see that everything
| | 03:50 | else got set to high resolution,
but this one could not be set to high
| | 03:54 | resolution because InDesign can't even
find it on disk. It doesn't see the high
| | 03:58 | resolution data anymore. So,
what will you do? What will you do?
| | 04:03 | Well, we need to relink it to a file
and we can relink it to any file we want
| | 04:08 | really, but in this case, we
probably want to relink it to the same file
| | 04:12 | somewhere on our disk. Let's go, find
it. We select it in the Links panel and
| | 04:16 | then we choose Relink and again you can
choose Relink from the fly-out menu, if
| | 04:20 | you want to go the slow way or the
fast way is to click on this little Relink
| | 04:23 | icon at the bottom of the Links
panel, that's the first button there.
| | 04:27 | And when you click on Relink, it opens
up your dialog box and it says okay go
| | 04:31 | and find it. Try and find that file
for me. Now you can go and search for it
| | 04:36 | yourself and tell it where it is. I'm
going to go up a layer, I'll go down to
| | 04:41 | my Links folder, all the way down
into Links and I can see that the image
| | 04:47 | should be hiding in here somewhere.
I'm looking for this word here,
| | 04:51 | cookie2.psd, and I just happen to
know that it's inside of a hidden folder
| | 04:57 | called Hide Me, there it is. There is
cookie2.psd and I can just click open and
| | 05:03 | it will Relink to the original file
here. So that's how you Relink to it.
| | 05:08 | Now couple of things I want to point
out, New in CS4 is the ability to search
| | 05:12 | for Missing links in its folder. Now
that's extremely useful if you have like
| | 05:16 | 50 images or even 5 images in the same
folder as this one. If this is turned
| | 05:22 | on, InDesign says, oh well, I'll look
for other Missing links that happen to be
| | 05:25 | in the same folder, it's very helpful.
I really appreciate that Adobe added that in CS4.
| | 05:30 | The other thing is we can say Show
Import Options. So if we needed to change
| | 05:34 | some option upon the relinking, we can
turn that on, click Open, and InDesign
| | 05:39 | immediately shows us the Import
Options dialog box for this kind of graphic.
| | 05:43 | This is a Photoshop file, so we can
change various things like the Image and
| | 05:48 | Color and Layers. We will be covering
these in our later chapters, but for
| | 05:52 | right now, I just want to point out
that Import Options is available when you
| | 05:56 | Relink an image. I'll click OK and it
imports, it updates properly in the Links
| | 06:02 | panel, we can see it's no longer has a
status of Missing and because we are in
| | 06:06 | High Quality Display Mode, we can
actually see the high quality image right on
| | 06:10 | our screen. So Relink and Update are
two essential tools in the Links panel
| | 06:16 | that you have to master.
| | 06:18 | Couple of other things that I want to
point out about the Links panel, first of
| | 06:21 | all, if I select an image on my page,
it automatically gets highlighted in the
| | 06:25 | Links panel, so that's a very
helpful way to find out what image is what,
| | 06:29 | sometimes. Let's zoom back here
with the Command+Minus or Ctrl+Minus on
| | 06:33 | Windows. And I'll pan over, like what
is this image? Which one is that image
| | 06:37 | here? I can spend a long time looking
through my Links panel and wouldn't know,
| | 06:40 | but I simply click on it, and
it gets selected right here.
| | 06:44 | Now look at this, this is interesting.
Whenever you import the same image into
| | 06:48 | the document more than once, InDesign
puts them all together into a single
| | 06:53 | entry here. It gives you this little
button. So I can say show me all the
| | 06:57 | entries of that one. So this is the one
that's on page 9 but looks like I used
| | 07:01 | the same image up here on page 4. But
instead of cluttering up the Links panel
| | 07:05 | by listing it over and over and over
again, it just puts it all under this one
| | 07:09 | entry. So that's really handy to know about.
| | 07:11 | Let's go, see where the other one is.
I'll click on 4 and we can say, oh, there
| | 07:14 | is the image, same image but on a
different page. So we can see that by
| | 07:19 | default, the Links panel shows you what
page it's on and its basic status, but
| | 07:23 | it can give you a lot
more information than that.
| | 07:25 | For example, if I double click on one
of these images, it scrolls down and
| | 07:30 | gives me this hidden Link Info area.
Let me move this up to the top of the
| | 07:33 | screen so we can see this better. I'm
going to stretch this out. This is great
| | 07:37 | on a big screen where you can see a
lot of information in the Link Info area.
| | 07:42 | So it tells us the name and the fact
that it's a Photoshop file, it's in the
| | 07:45 | CMYK Color space, the Size of it. It
even shows us the Resolution. So the
| | 07:50 | Actual PPI is 180 but the
Effective PPI is 258. What does that mean?
| | 07:56 | That means that this image was scaled
down and when you scale a bitmap image
| | 08:00 | down, its resolution goes up. So here
we can see that the actual resolution
| | 08:04 | when this prints is going to be 258,
so that's really cool. It gives us all
| | 08:09 | kinds of information down here
including the scaling of the image, the fact
| | 08:13 | that it has transparency when it was
created. So this is great, it gives you a
| | 08:16 | lot of information, but you can get
even more information by going up to the
| | 08:20 | Links panel menu and clicking on panel
Options because panel Options gives you
| | 08:26 | a list of all the different items
that you can show in the Links panel.
| | 08:30 | For example, up here, we can see Show
Column, that means give us a column in
| | 08:36 | the Link panel up here at the top. Show
in Link Info says show that information
| | 08:41 | down at the bottom. So you have control
over what you want to show in the panel
| | 08:45 | itself or in Link Info. For example,
I might want to show the Effective PPI
| | 08:50 | that is the effective resolution in the
Links panel itself. I may even want to
| | 08:55 | show things like what's the scale of
that or I'll scroll down here and will see
| | 09:01 | things like, oh there is all sorts of
information here, the Author, the Title,
| | 09:04 | the Creator, and so on, and so on.
| | 09:07 | I'm going to choose Folder 0. Folder 0
is kind of an interesting one. Folder 0
| | 09:11 | means the folder that contains this
image. It's just their way of saying,
| | 09:16 | whatever folder this image is in
that's Folder is 0. Folder 1 is what's the
| | 09:21 | next folder up from that, so what
contains Folder 0. So that could be
| | 09:26 | interesting as well. There is all kinds
of other information down here that you
| | 09:29 | can turn on or off if you want to, but
I'm going to stick with this for right
| | 09:32 | now and click OK.
| | 09:34 | And we'll see that this updates to
give us a lot more information. I better
| | 09:37 | make this wider by dragging it out a
little bit and we can see that Folder 0
| | 09:41 | for each of these images, this one was
the one that was in the Hide Me folder
| | 09:45 | so it pops right out to our eye, that
could be very interesting. We can also
| | 09:49 | see that these are the percentages of
scaling and the effective resolution, and
| | 09:54 | we can even sort by any of these. So
I'll click in the Effective Resolution
| | 09:58 | icon at the top and we can see that the
topmost resolution here is 2000 DPI, so
| | 10:04 | that's probably not going to be good.
We'll have to go to Photoshop and
| | 10:07 | re-sample that later on, but it's great
that we can get this information right
| | 10:11 | here in the Links panel.
| | 10:13 | Same thing down here in the Link Info,
we have a lot of information that we
| | 10:16 | wouldn't have gotten otherwise. Now I
just want to point out a couple other
| | 10:21 | features in the Links panel that I
definitely should point out. I mentioned the
| | 10:25 | first three tools here. We have got
Relink, we have got the Update, oh, I guess
| | 10:30 | I didn't point out the second one.
That's the Go to Page. That's the same thing
| | 10:34 | as clicking on the page number up here.
It is the same thing, but the fourth
| | 10:38 | tool here is the Edit Original button
and I'm going to be talking about that in
| | 10:42 | a later movie.
| | 10:43 | The other thing I want to point out is
the Links panel menu has a lot of other
| | 10:47 | cool features, and one of my favorites
is Reveal in Finder or Reveal in Bridge.
| | 10:53 | Of course, on Windows, this says
Reveal in Windows Explorer, and the key here
| | 10:58 | is sometimes you have an image on disk
somewhere, maybe on a server or maybe
| | 11:02 | hidden inside a folder and you are not
exactly sure where it is on your hard
| | 11:05 | drive. Reveal in Finder is a great way
to jump right to it and open that folder for you.
| | 11:11 | So if I choose Reveal in Finder, we
can see that it jumps to the Mac OS, it
| | 11:15 | opens the Links folder and it chooses
that image right down here in my folder.
| | 11:20 | So that is really useful, I love
that feature. Now as I said, it's really
| | 11:26 | important that your images all be up-to
-date here in the Links panel. If they
| | 11:30 | are not, if they are missing or they
are modified before you print or export
| | 11:34 | your documents, you are going to have
a lot of problems because InDesign will
| | 11:38 | only be able to use that low resolution
preview and your output may not look right.
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| Embedding links| 00:00 | In the previous movie, I talked about
how images get linked to files on disk,
| | 00:05 | rather than getting embedded in your
InDesign file, but it turns out that you
| | 00:09 | actually can embed images in your
InDesign files and that can be useful
| | 00:13 | sometimes. For example, this logo up
here is used a couple of times in my
| | 00:18 | document and it's a kind of a hassle to
keep track of it on disk all the time.
| | 00:22 | Anytime you have a logo or some sort
of a small image that gets used a whole
| | 00:26 | bunch of times, it might be easier
just to embed it in the document itself.
| | 00:30 | That way you don't have to keep track
of it on disk all the time and here is
| | 00:33 | how you do it.
| | 00:34 | We are going to open the Links panel.
I could move all the way over and click
| | 00:37 | on the Links panel tile over in the
dock but instead I'm going to use a
| | 00:40 | keyboard shortcut, which is Command+
Shift+D or Ctrl+Shift+D on Windows. That
| | 00:45 | opens up the Links panel, just a
little shortcut I found to throw out there.
| | 00:49 | Now inside the Links panel, we are
going to select the image that we want
| | 00:54 | embed. In this case, it's the Logo.pdf
file and I can see that it has actually
| | 00:59 | been used a couple of times in this image here.
| | 01:01 | Now I'll go to the Links panel menu and
choose Embed All Instances of Logo.pdf.
| | 01:07 | As soon as I choose that, it gives me
this little embed icon here in the Status
| | 01:12 | Column. That means that all of these
instances are embedded. I no longer have
| | 01:18 | to keep track of them on disk anymore
because the image is actually inside the
| | 01:22 | InDesign document. If I send this
document to somebody else to print, they will
| | 01:27 | need the high res images on disk for
these graphics, but they will not need the
| | 01:31 | one for the logo because that one is embedded.
| | 01:34 | Now embedding makes some people really
nervous because that's like inside the
| | 01:37 | document, but I want to tell you it
really is safe and one of the reasons it's
| | 01:42 | safe is you can always unembed it, if
you need to. We can come over here and
| | 01:46 | select the logo and from the Links
panel menu, choose Unembed All Instances.
| | 01:51 | And in this case, it will ask us do we
want to relink to the original file on
| | 01:55 | disk or do you want to create a new file?
This is actually really cool. It can
| | 02:01 | take the whole PDF file that it had
embedded and write it to disk as a brand new file.
| | 02:06 | So even if I had thrown away the
original PDF, I could still get that graphic
| | 02:12 | out again which is really great. So
it's very safe, very robust, no problems.
| | 02:16 | I'm going to cancel that because right
now I don't need to unembed that image.
| | 02:20 | I'm comfortable with embedding this
file because it's only small, it's only 8k,
| | 02:25 | 9k, so it's really tiny, and it means
my InDesign document is only about 8 or 9
| | 02:30 | k larger than it used to be, but for
these images up here, let's select that
| | 02:35 | one we can see that's 2 megabytes,
this one is 4 megabytes almost, so if I
| | 02:41 | embedded those, my InDesign document
would get 2 or 4 or 10 megabytes larger. I
| | 02:46 | mean imagine having a 50 megabyte image
or a 100 megabyte image, would I embed
| | 02:51 | that? Probably not.
| | 02:52 | It would make me kind of nervous to
have my InDesign file jump to that large.
| | 02:56 | Generally, I'll go ahead and embed
small files if it's just a little 100 k file
| | 03:02 | like a logo or something but big files,
those big Photoshop files, I'll leave
| | 03:07 | those link to my files on disk.
| | Collapse this transcript |
| Editing original graphics| 00:00 | What happens after you put an image on
your page and then realize you need to
| | 00:04 | edit the image somehow? For example,
I'm working at this big cup of hot
| | 00:08 | chocolate and I'm thinking, I don't
like this pink background. I want to change
| | 00:13 | that somehow. Well, I could easily go
find that image on disk and open it in
| | 00:17 | Photoshop and change it, but since I'm
already looking at it here in InDesign,
| | 00:21 | it's far easier to use a
feature called Edit Original.
| | 00:25 | Edit Original shows up in several
places including in the Edit menu. I could
| | 00:29 | choose Edit Original here or in the
Links panel, open that up and click on the
| | 00:34 | little pencil icon, but honestly, the
fastest way to get to Edit Original is by
| | 00:39 | holding down the Option key or the Alt
key on Windows and double clicking on
| | 00:42 | the image. As soon as I do that, it
immediately opens it up in Photoshop, the
| | 00:48 | original application and lets me edit it.
| | 00:52 | Here, I'll turn on this Layer mask to
set it to Transparency and maybe turn on
| | 00:56 | this Background layer. While I'm here,
I can do something crazy like set this
| | 01:01 | to Hard Light, give a really
interesting harsh effect to it. Now I'll save the
| | 01:06 | Photoshop document by just simply
pressing Command+S or Ctrl+S on Windows. I'll
| | 01:12 | close it and as soon as I come back to
InDesign, by clicking on that background
| | 01:16 | application you see it updates.
| | 01:18 | I don't have to do any special updating
in the Links panel. Because I used Edit
| | 01:23 | Original, InDesign was watching that
file, and as soon as it changed, it
| | 01:27 | updated it. By the way, InDesign
actually has no idea what the original
| | 01:33 | application is for these images. It
relies entirely on the operating system for
| | 01:37 | this information. Basically, Edit
Original is the same thing as double clicking
| | 01:42 | on the image inside of a folder.
Sometimes it even opens in the wrong program.
| | 01:47 | Let me show you. I'll press Shift+Page
Down to go to the next page and I'll try
| | 01:51 | Edit Original on this image down here.
Option+double-click or Alt+double-click
| | 01:56 | on Windows, and it opens not in
Photoshop like I was hoping, but here in the
| | 02:00 | Mac OS Preview application. Well
that's a hassle. That doesn't help me very
| | 02:05 | much. I wanted to open this in Photoshop.
| | 02:07 | Well, I'll go ahead and close this,
come back to InDesign and use a different
| | 02:13 | feature new in CS4, and that is Edit
With. Once again Edit With shows up in the
| | 02:19 | Edit menu, it shows up in the Links
panel, but I like getting it from the
| | 02:23 | Context menu by right-clicking or Ctrl
-clicking with a one button mouse and
| | 02:28 | scrolling down until I
find the Edit With submenu.
| | 02:31 | Here we get a long list of all the
possible applications that can open this
| | 02:35 | kind of file and I'm just going to
choose Adobe Photoshop. That sends the image
| | 02:41 | directly to the application that I choose.
| | 02:44 | Getting efficient with InDesign and
the Creative Suite means making the
| | 02:47 | programs all work together as smoothly
as possible. The Edit Original and Edit
| | 02:52 | With features are a big part of that
operation, so it's worth getting used to
| | 02:56 | using them whenever possible.
| | Collapse this transcript |
| Setting frame-fitting options| 00:01 | When you import an image, it often
doesn't appear at the correct size on your
| | 00:05 | page. For example, I'm going to use
the Frame tool to draw out a frame on my
| | 00:09 | page here. Then I'll use the Place
command from the File menu to choose an
| | 00:14 | image. Let's say the hot_choco2.psd file.
I'll place that right inside of here
| | 00:21 | because the image frame was selected,
when I placed it, the image went right into it.
| | 00:25 | But the image is too big for this frame.
I can see the rest of the image if I
| | 00:30 | want to by choosing the Direct
Selection tool. That's the white arrow tool. And
| | 00:34 | then clicking on top of the image and
holding the mouse button down for about one second.
| | 00:39 | When you do that, InDesign clicks into
sort of the ghost preview mode and it
| | 00:44 | shows you the whole image kind of
ghosted back and if I drag, I can see the
| | 00:49 | outside of the image, you know what's
going to be cropped out behind there. So
| | 00:53 | that could be useful.
| | 00:54 | But in this case, how do I get the
rest of the image into the text frame. We
| | 00:59 | will explore scaling in the chapter on
Transforming Objects, but let me quickly
| | 01:03 | show you one feature which really
comes in handy, especially when you are
| | 01:06 | making a template that will be used to
create many other documents. It's all
| | 01:10 | about the Fitting options.
| | 01:12 | While this image is selected, either
with the Selection tool that's the black
| | 01:16 | arrow tool or the white arrow, Direct
Selection tool, with either of those
| | 01:20 | tools, I can select the image and
then go to the Object menu and choose
| | 01:24 | Fitting. The Fitting submenu gives you
a bunch of controls that I'm going to
| | 01:28 | cover right now.
| | 01:30 | Fit Content to Frame, will scale that
image so that it fits inside the frame
| | 01:35 | perfectly. But you will notice that it
actually squeezes the image in this case
| | 01:40 | in a really unpleasant way, so we don't
necessarily want to use that. It's rare
| | 01:43 | that you want to squeeze
your image disproportionately.
| | 01:46 | So let's undo that with Command+Z or
Ctrl+Z on Window and try a different one.
| | 01:51 | Object, Fitting, Fit Frame to Content.
Now this is the opposite. This actually
| | 01:56 | will change the size of the frame so
that it matches the content, in this case,
| | 02:01 | the image. The frame got bigger to fit
to the size of the image and that's not
| | 02:07 | what I wanted here either, but it
is interesting that you can do that.
| | 02:10 | Let me undo that, Command+Z or Ctrl+Z
on Window and I just want to point out
| | 02:15 | that there is a one other sort of
shortcut for getting that Fit Frame to
| | 02:18 | Content. I'll use the Selection tool,
the black arrow tool and I'm going to
| | 02:22 | double click on one of these corner or
side handles. When you double click on a
| | 02:27 | handle, it stretches the frame to fit
the image. It's just a little shortcut
| | 02:31 | for the Fit Frame to Content. Again
I'll undo that, this one to point out that
| | 02:36 | double click trick.
| | 02:38 | Now, let's look at some of the other
Frame Fitting Options. Instead of going to
| | 02:41 | the Object menu this time, I'm going to
right-click with a two button mouse or
| | 02:45 | Ctrl-click with a one button mouse,
because fitting shows up down here in the
| | 02:49 | Context menu as well.
| | 02:51 | The third option Center Content, that
could be useful but it won't scale the
| | 02:55 | image at all. It just centers it
inside of the frame, but that's good to know
| | 02:59 | that you can do that as well inside
that submenu. Then we have two of my
| | 03:03 | favorites Fit Content Proportionally
and Fill Frame Proportionally. Fit Content
| | 03:10 | means scale the image down, so that it
fits inside the frame and it takes the
| | 03:15 | longest measurement of it, in this case
the width and it scales that inside the
| | 03:19 | frame. That's cool but the problem
is, is that leaves a big blank area.
| | 03:23 | Typically, when you use that feature it
will actually leave a blank area in the
| | 03:27 | frame a little bit. So instead, let's
look at the other option there Fill Frame
| | 03:32 | Proportionally and when you use Fill
Frame instead of Fit Content; Fill Frame,
| | 03:37 | it will fill the image inside that
frame and instead of using the longest
| | 03:43 | dimension of the image, it uses the
shortest dimension. That is in this case,
| | 03:47 | it will fill the height perfectly
but then the width gets cropped out.
| | 03:52 | Again, if I use the Direct Selection
tool, I can click and hold down and we can
| | 03:56 | see that it got cropped a little bit on
the right side there but it's as big as
| | 04:00 | it can be and not leave any blank space
in that frame. So that could be handy.
| | 04:06 | But there is a last option in this
Fitting submenu that I think is the coolest,
| | 04:10 | Frame Fitting Options, because this
actually changes the behavior of the
| | 04:15 | graphic frame. So any image that
goes into this frame will be affected.
| | 04:20 | Let me go through what each of these
means: Crop Amount means how much of the
| | 04:24 | original image do you want to crop
out before scaling it down. This is very
| | 04:29 | useful if you know that any image
that's going to go in here has too much space
| | 04:33 | here on the edge.
| | 04:33 | For example, those old images of a
yearbook or old snapshots that have a little
| | 04:39 | white border around it. If you want
to crop those out and you know that any
| | 04:42 | image going into this frame is going to
have that border on it, you can tell it
| | 04:46 | crop out on all four sides. I'll just
use the arrow key here and you can see
| | 04:51 | that it's going to crop out about an
eighth of an inch on all sides of that
| | 04:55 | image before it places it in there.
So that's a kind of a cool technique.
| | 04:59 | The second thing here Alignment, is
where do you want the image to be inside
| | 05:04 | the frame. Often times you want any
image to be placed into a frame to be
| | 05:08 | centered and so and I'm going to click
on the center point of this Reference
| | 05:12 | Point little proxy and that means the
center of the image will be centered in
| | 05:16 | the frame itself. If I click on the
lower right, it means place the lower right
| | 05:21 | corner of the image in the lower right
corner of the frame but again, right now
| | 05:25 | I'm just going to center it.
| | 05:26 | Now the last item here Fitting on Empty
Frame. Really isn't just empty frames.
| | 05:32 | It gives us the same controls as we saw
in the Fitting submenu: Fit Content to
| | 05:36 | Frame, Fit Content Proportionally,
Fill Frame Proportionally. And so you can
| | 05:40 | tell your graphic frame, your image
frame to have this behavior for any image
| | 05:45 | that goes into it.
| | 05:46 | I'm not sure why they called it an
empty frame but basically it has to do with
| | 05:49 | when you first place your image, it's
going to crop then align and then it's
| | 05:53 | going to fit it right into that frame,
using whatever fitting technique that
| | 05:58 | you choose here.
| | 06:00 | So that's a very cool way of setting
up your graphic frame so that any image
| | 06:04 | that goes into it, it gets scaled just right.
| | Collapse this transcript |
| Setting transparency and clipping paths| 00:00 | What if you want part of an image to be
transparent? For example, you want this
| | 00:04 | white area to be transparent so we can
see the color behind it. In the past,
| | 00:08 | this effect has typically been created
using a Clipping Path but InDesign can
| | 00:13 | also see and manage native
transparency in images too, which often leads to
| | 00:17 | much better results.
| | 00:19 | First let's look at how to do this with
Clipping Paths. I'll select this image,
| | 00:23 | go to the Object menu and then choose
Options from the Clipping Path submenu.
| | 00:28 | In the Clipping Path dialog box, I can
choose a type of clipping path. Detect
| | 00:33 | Edges would have InDesign draw a
clipping path for me but honestly it's going
| | 00:37 | to be rough, I did not recommend that.
| | 00:40 | Alpha Channel would do the same sort
of thing, if the image has an Alpha
| | 00:43 | channel built into it, but in this case
it doesn't. So it wouldn't help and it
| | 00:47 | would still be too rough. However, the
image does have a Photoshop Path built
| | 00:50 | into it. Somebody built a clipping path
in Photoshop, saved it with that image
| | 00:55 | and gave it a name.
| | 00:57 | So I'm going to choose Photoshop Path
and then it automatically picks that path
| | 01:01 | from here. If there were more than one
path in the Photoshop image or the TIF
| | 01:05 | file or whatever file we are using
here, it would show up here and I could
| | 01:09 | choose from among those paths.
| | 01:10 | In this case, there is only one. I'll
click OK and you can see that it sets a
| | 01:15 | background to transparent. I'll
deselect everything by pressing Command+Shift+A
| | 01:20 | or Ctrl+Shift+A with Windows. Here is
the problem with clipping paths; there
| | 01:25 | are very sharp edges. If I zoom-in on
the top of these little truffles here, we
| | 01:29 | can see that's a very sharp edge and
it didn't quite get out all of the white
| | 01:33 | background. Let's zoom-in even a more.
| | 01:36 | Here I'm at 4000% and I can see every
pixel in this image and I can see the
| | 01:41 | clipping path is just too sharp, it's
not realistic at all. I'll zoom back to
| | 01:45 | 200% by pressing Command+2 or Ctrl+2
on Windows and let's look at a different
| | 01:50 | way of doing things that doesn't
include clipping paths. In fact, why don't I
| | 01:54 | select this with the Selection tool
and turn the Clipping Path feature off.
| | 01:59 | Object, Clipping Path, Options, and
set that path off. There we go no more
| | 02:05 | clipping paths. I don't
like clipping paths at all.
| | 02:08 | Alright, now let's see how we can do
with transparency. In an earlier movie, I
| | 02:13 | have showed how we can use Edit
Original to open this image in the original
| | 02:17 | application, in this case, Photoshop.
I'll Option+Double Click or Alt+Double
| | 02:21 | Click on Windows and it opens it in Photoshop.
| | 02:24 | I just happened to have a transparency
mask in this image of course, and I can
| | 02:28 | turn that off by Shift-clicking on
it in Photoshop and I can see this
| | 02:31 | checkerboard in the background.
Whenever I see a checkerboard, I know the image
| | 02:35 | has transparency in it. Now, I'm going
to save that by pressing Command+S or
| | 02:40 | Ctrl+S on Windows. I'll close it
and then I'll go back to InDesign.
| | 02:45 | When I return, I see a similar effect
but if I zoom-in I get a much better
| | 02:50 | result. It actually anti-aliases into
the background. It's a beautiful result.
| | 02:55 | It's much more realistic. I'll zoom-
out again and move this over a little bit
| | 03:00 | and I want to show you what happens if
I remove that brown background. So I'll
| | 03:05 | go to the Swatches panel, I'll set the
background of this object to None and
| | 03:10 | you can see that now it's gone
right back to the background color.
| | 03:14 | Alright, let's put some Text Wrap
around this. I'll set this to Alpha Channel,
| | 03:19 | so it will wrap around the transparency.
Then I'm going to move this text frame
| | 03:23 | over to be right next to it. This
looks pretty good but I want to give you a
| | 03:26 | general rule that you should remember
about how text and transparent objects
| | 03:31 | work together.
| | 03:32 | It's usually a good idea to put the
text frames above other transparency
| | 03:36 | effects like this transparent image,
rather than below it. In most cases it
| | 03:41 | still works if the image is sitting on
top of the text frame but on occasion,
| | 03:45 | it can look as though the text were
heavy-ing up right around the image
| | 03:49 | here. So to be safe, it's much
better to put the text on top if you can.
| | 03:54 | In this case, I'll go to the Window
menu and choose Layers, create a new layer
| | 03:58 | called Text, click OK and move this
text frame above. Now that the text is on a
| | 04:05 | higher layer than the image, I'm sure
it's going to print great. Even though,
| | 04:09 | you might have been using Clipping
Paths for many years in your work, it
| | 04:12 | doesn't mean you need to keep using
them in InDesign. Using native transparency
| | 04:16 | in your images is far more
efficient and it looks a lot better.
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| Colorizing images| 00:00 | Sometimes you need to colorize an image,
that is apply a color to an imported
| | 00:04 | image and you can do this in InDesign
but there are conditions, it has to be a
| | 00:09 | pixel based image, so no Illustrator or
Vector files. The image has to be saved
| | 00:14 | in Gray Scale mode that is it can't
already be in color and there cannot be any
| | 00:19 | transparency in the image. So it has to
be a flattened gray scale image like a
| | 00:24 | TIF for PSD file. I'll show you how it works.
| | 00:27 | I'm going to select this frame on page
eight of my Bliss_Magazine file, from
| | 00:31 | the exercise files and I'm going to
choose File > Place. I'm going to choose
| | 00:36 | the nibs_ grayscale image, that's a
gray scale version of this image in a TIF
| | 00:41 | file format. I'll click Open and the
gray scale image is dropped inside this frame.
| | 00:46 | Now to colorize that, you would think
that you just go to the Swatches panel
| | 00:50 | and click on a swatch, but actually
there is one more step required and that is
| | 00:56 | to use the Direct Selection tool.
| | 00:58 | If I would simply colorize this frame
it would colorize the frame, but not the
| | 01:02 | image inside the frame and that's
typically not what people want. They want to
| | 01:06 | colorize the image inside the frame. So
choose the Direct Selection tool, it's
| | 01:11 | the white arrow and then
click on the image inside.
| | 01:14 | Now I have the image selected, not the
frame. You have to be very careful in
| | 01:18 | InDesign about what is selected and
what's not selected. In this case, I have
| | 01:21 | the image selected not the frame and
now I can click on a color in the Swatches panel.
| | 01:27 | This colorizes the image inside the
frame. If it's still a little bit too dark,
| | 01:31 | I could always go up to the Tint field
and just clicked on the word Tint which
| | 01:35 | highlights that number, sort of a
shortcut for highlighting those numbers in
| | 01:38 | there and now I can set it to maybe 50
% and hit Enter. Now it's even lighter.
| | 01:43 | Now it's a 50% tint of this Beige color.
| | 01:46 | I can't tell you how many people have
emailed me saying they can't figure out
| | 01:50 | how to achieve this effect. So now you
know, you just have to use the Direct
| | 01:55 | Selection tool.
| | Collapse this transcript |
| Turning image layers on and off| 00:00 | Not only can InDesign read
transparency in your images, it can see the layers
| | 00:04 | inside your Photoshop and Illustrator
files. That means you can actually turn
| | 00:08 | on and off layers in your files from
within InDesign, without ever going back
| | 00:12 | to Photoshop or Illustrator. Very
cool. Okay here is how it works.
| | 00:16 | I have my Bliss_Magazine file opened
from the exercise files and I'm going to
| | 00:20 | select this image on page seven.
I'll go up to the Object menu and choose
| | 00:25 | Object Layer Options. This is control
center for all of my layer decisions for
| | 00:30 | my images and I can see that this image,
it's a Photoshop image, it has layers.
| | 00:34 | It has these three layers in it,
Candy, Floral background, and regular
| | 00:39 | background and while the Preview check
box is turned on, I can actually turn on
| | 00:43 | and off these images and see the
effect even without closing this dialog box.
| | 00:47 | The background wasn't even visible at
all, so that had no effect. What if I
| | 00:51 | turn off the background, the floral bg
layer? Well, you can see that now I have
| | 00:55 | got the candy but no green background.
Alternately, I could turn off the candy
| | 01:00 | and turn on floral bg and I have this
really pleasant green background. Let's
| | 01:04 | go with that. I'll click OK and
instead of that other candy I'm going to drop
| | 01:08 | this candy on top of it because I
just think that's more attractive. I like that.
| | 01:12 | All right, let's go to another page.
How about page nine? I'll do a Command+J
| | 01:16 | or Ctrl+J on Windows. I'll type 9 and
hit Enter and we can see that we are on
| | 01:23 | the page with the map. Let's zoom-in
here a little bit so we can see this
| | 01:27 | little bit better and I'm going to
go to View, Display Performance, High
| | 01:31 | Quality Display so we can really
see the map well. That's great.
| | 01:35 | However, those dashed lines, I don't
like those dashed lines and that text, I'm
| | 01:40 | not sure about that. I sure, we hope
that the Illustrator person whoever put
| | 01:44 | this together in Illustrator use layers
and gave me a few options, let's go find out.
| | 01:49 | I'm going to select that map image
with a Selection tool. I'll go up to the
| | 01:53 | Object menu and choose Object Layer
Options. Now this is an AI file, a native
| | 01:58 | Adobe Illustrator file and we can
see that here too, we have a bunch of
| | 02:02 | options. Let's make this a little bit
bigger so we can see, that's all the
| | 02:05 | layers, hand drawn lines, dashed lines,
decorative. Well, some of these are
| | 02:08 | already turned off.
| | 02:10 | Whatever was turn off, whichever layers
were hidden in the original Illustrator
| | 02:14 | file or Photoshop file or whatever
file we have imported here, whatever was
| | 02:19 | turned off will be turned off here in
this dialog box as well. Let's move that
| | 02:24 | out of the way so we can
see it a little bit better.
| | 02:26 | If I don't like those dashed lines,
great I'll turn them off. So now there is
| | 02:29 | no dashed lines. I better turn on
the Preview check box so I can see the
| | 02:33 | difference. The dashed lines go away.
What are these Hand Drawn Lines?
| | 02:37 | Ooo, I like that, I like that effect. That's
very attractive, much more subtle. Let's try that.
| | 02:42 | So hand drawn lines are on, dashed
lines are off and this text, let's try it to
| | 02:46 | a different text layer. Well there
we go. There is a whole different type of
| | 02:50 | text that's in this Illustrator file
that I would never even have been seen if
| | 02:54 | I hadn't open the Object Layer Options
dialog box. So there is a lot of control here.
| | 03:00 | Hey, I want to point out one other
feature inside this dialog box and that's
| | 03:03 | the Update Link Options. We have two
options here. When Updating Link, Use
| | 03:08 | PDF's Layer Visibility or Keep Layer
Visibility Overrides. If this were a
| | 03:13 | Photoshop file, this would say Use
PSD's Layer Visibility. But either way it's
| | 03:17 | either do you want to use the
visibility of the file or do you want to Keep
| | 03:21 | Layer Visibility Overrides?
What's the difference?
| | 03:25 | Well that all has to do with what you
do want to happen if your image gets
| | 03:29 | updated. If something changes about
that image, what do you want to happen when
| | 03:34 | it updates. Well, if you choose the
first item, use the files Layer Visibility
| | 03:40 | then it throws away any changes that
you have made inside this dialog box. They
| | 03:45 | just go away, the whole
thing gets reimported fresh.
| | 03:47 | But if you use Keep Layer Visibility
Overrides, then it remembers what you have
| | 03:52 | done here. So that's the difference
there. Generally, you want it to remember
| | 03:56 | the changes that you made, so you will
choose Keep Layer Visibility Overrides,
| | 04:00 | that's my recommendation, click OK and
we can see they are changed. I better
| | 04:04 | move this image over, so it doesn't
bump into the word. There we go. It looks great.
| | 04:09 | Now there are so many ways to use this
feature. For example, you know I write a
| | 04:13 | lot of computer books, right and they
have before and after images. So now
| | 04:18 | instead of creating two different
files on disk, I just save the before and
| | 04:23 | after image as two layers inside of a
single file. I would import that file, I
| | 04:28 | would duplicate the image and then I
change which layers are visible for each
| | 04:31 | figure, this is before, this is after,
but it's really just one file on disk.
| | 04:36 | So now I keep track of half the files
that I use to and it's much easier to go
| | 04:40 | back and make changes when
necessary. I just love this feature.
| | Collapse this transcript |
|
|
7. Formatting ObjectsSelecting objects| 00:00 | You have seen me selecting objects on
pages throughout all the earlier movies,
| | 00:05 | but let's take a moment to really
look at the details of selecting objects
| | 00:09 | because there are some subtle and
sometimes confusing aspects to the seemingly simple task.
| | 00:14 | The two basic tools for selecting
things in InDesign are the black arrow,
| | 00:18 | Selection tool and the white arrow,
Direct Selection tool. If you are familiar
| | 00:22 | with Illustrator, you are already
familiar with these tools because they work
| | 00:25 | the same in both programs. But if
you're not familiar with them, let me trade
| | 00:30 | gently here and show you how they work.
| | 00:32 | The Selection tool lets you select an
entire object or a group of objects. For
| | 00:38 | example, I can select this text frame
and just move it over a little bit. I
| | 00:42 | move the entire frame. This over here
is a group of objects. I can tell it's a
| | 00:47 | group because there is a dashed line.
| | 00:49 | I'm going to zoom-in to 200%, Command+2
on Mac or Ctrl+2 on Windows and you see
| | 00:54 | that dashed line around all of those
objects, that's a group. I'll be talking
| | 00:58 | more about groups in a later movie but
for right now, trust me that's a group
| | 01:02 | of objects and I can move all of
them with the Selection tool, simply by
| | 01:06 | clicking and dragging with it.
| | 01:07 | I'm going to pan down here so we can
see this graphic down here and this
| | 01:12 | graphic is inside of a frame. Images
in InDesign are actually two separate
| | 01:16 | things, there is an image and there is
a frame and they don't necessarily have
| | 01:20 | to move in tandem, but when you click
on them with the Selection tool and drag
| | 01:25 | them they do, the image
and the frame work together.
| | 01:29 | Now what about the Direct Select tool.
I'll press the A key to choose the
| | 01:34 | Direct Selection tool, that's the white
arrow. A is for direct selection, V is
| | 01:38 | for selection. When I have the Direct
Selection tool, I can target exactly what
| | 01:45 | I'm trying to select. Maybe the image
inside the frame, click once on the image
| | 01:50 | and now I have selected the image
inside the frame. Click and drag and you can
| | 01:54 | see that I'm actually moving that
image but not the frame. The frame is
| | 01:58 | cropping off the side of it. Same
thing over here, I'll select the image but
| | 02:03 | not the frame and so when
I move it, it crops it out.
| | 02:07 | I can also select the frame but not the
image, here I have clicked on the edge
| | 02:11 | of the frame and I can see the four
points that make up these rectangular frame
| | 02:15 | and if I drag one of those points out,
I have actually changed the size of the
| | 02:18 | frame but it had no effect
on the image inside of it.
| | 02:22 | By the way the same thing goes with
text frames. I can select the text frame
| | 02:25 | with the Direct Selection tool and move
one point of it and it will change the
| | 02:29 | shape of that frame itself. I can
also drag one of these segments between
| | 02:34 | points and it will move both points
on either side of it. So that's a very
| | 02:38 | handy way to move an entire
segment of a frame or a path.
| | 02:42 | Now I want to teach you a very
important keyboard shortcut. This is one of my
| | 02:46 | favorite keyboard shortcuts in
InDesign. It's Command+Shift+A on the Mac or
| | 02:50 | Ctrl+Shift+A on Windows and all that
does is deselect everything. You know
| | 02:56 | Command+A will select everything.
| | 02:57 | In most programs, Command+A or Ctrl+A
on Windows selects everything on the
| | 03:01 | page. I just did that and I
selected all the objects on a page but
| | 03:05 | Command+Shift+A. If you add that Shift
on to it or Ctrl+Shift+A, it deselects
| | 03:09 | everything. That's a really handy one
to know because sometimes you don't know
| | 03:13 | what is selected and what's not
selected on a page. Sometimes it's better just
| | 03:16 | to clear the slate and deselect everything.
| | 03:19 | Now in an earlier movie, I mentioned
that you can double click with one of the
| | 03:23 | Selection tools on a text frame and it
automatically switches to the Type tool
| | 03:28 | and places the cursor directly in
the text frame, but something different
| | 03:32 | happens if you double click on an
image with one of the Selection tools.
| | 03:37 | I'm going to deselect everything,
Command+Shift+A, then I'm going to press V
| | 03:41 | for to go back to the Selection tool
and now I'll show you what happens if I
| | 03:45 | double click on this image. Double
click on it; it switches to the Direct
| | 03:49 | Select tool. Well that's kind of
interesting and if I double click on it again,
| | 03:53 | it switches back to the Selection tool.
So that's a quick way to move back and
| | 03:56 | forth between tools.
| | 03:58 | Let's say I want to move the image
inside that frame. I'll double click, get
| | 04:02 | the Direct Selection tool, click once
more to select the image inside and now I
| | 04:06 | can move it. Then I double click one
more time and I go back to the Selection
| | 04:10 | tool, which would let me move the
entire frame and the image inside of it.
| | 04:15 | Here is some more selection tricks.
I'm going to use the Power Zoom tool by
| | 04:18 | holding an Option and spacebar and
clicking or you can do Alt+spacebar and
| | 04:23 | click at the same time on Windows. So
I'll Option+spacebar-click, hold down,
| | 04:28 | move over here and I zoomed in to a new
part of the page and I want to show you
| | 04:32 | how you can select inside of a group.
| | 04:35 | I have a group of objects here but if I
want to just choose one element inside
| | 04:39 | the group. Well, you can do that with
the Direct Selection tool as well. I'll
| | 04:43 | double click to get the Direct
Selection tool and I can see that it selected
| | 04:46 | what I was double clicking on, which is
that circle. I could do the same thing
| | 04:50 | with each one of these objects simply
by clicking on them now, that I have the
| | 04:54 | Direct Selection tool.
| | 04:55 | Let's zoom-in a little bit more,
Command+4 or Ctrl+4 on Windows to go to 400%
| | 05:00 | view and I can see that this text is
actually outlined and there are lots and
| | 05:05 | lots and lots of little tiny Bezier
points on these. To select all of these at
| | 05:10 | the time, I would Shift-click on them.
| | 05:12 | So click on one and then Shift-
click on this and then Shift-click and
| | 05:16 | Shift-click and Shift-click and now I
have selected all of those objects. Now
| | 05:21 | that they are selected, I could move
them all as a group if I wanted to, simply
| | 05:25 | by clicking inside here where
there is no points and dragging around.
| | 05:30 | Alright, how do I select this big brown
box in the background, that's not part
| | 05:34 | of the group, it's behind the group.
I'm going to deselect everything. Hit V
| | 05:38 | for the Selection tool and I'll click
on what I think is the brown box. Here it
| | 05:43 | is; there is the brown box. But what
if I couldn't click on it. What if I was
| | 05:47 | clicking over here and I
wanted to click behind that object.
| | 05:50 | Can you click through an object in
InDesign? Absolutely. On the Mac you hold
| | 05:54 | down the Command key, on Windows you
hold down the Ctrl key and either way that
| | 05:59 | lets you select through an object to
the object right behind it. Then I'll
| | 06:02 | Command or Ctrl-click again and it
selects the object behind the brown box
| | 06:07 | which is this wavy lined frame I guess
in the background there. Then I'll use
| | 06:11 | that keyboard shortcut one more time
and it selects the top most object again.
| | 06:15 | So you can select all the way through
objects and then it starts off at the top again.
| | 06:20 | By the way, there are some other hidden
Selection tools in the Context menu or
| | 06:23 | the Object menu. For example,
selecting through objects can also be
| | 06:27 | accomplished by right-clicking or Ctrl-
click with one button mouse, scrolling
| | 06:32 | down to Select and then choosing Next
Object Below or if you want to go all the
| | 06:36 | way to the very back of the stack,
you could say Last Object Below. I'll be
| | 06:41 | talking about objects and how they
stack up on the page in a later movie.
| | 06:44 | I want to say one more trick about
selecting objects and then we will move on.
| | 06:48 | If I select through this object down to
that brown frame, how could I move it?
| | 06:53 | Well, I can move it by this center point.
Any time you select an object on the
| | 06:59 | page you always get a center point as
well as the edge points and that center
| | 07:03 | point is kind of like of a proxy,
which means it just references the whole
| | 07:08 | thing. So if you ever want to select
something and move it and you find it
| | 07:11 | difficult to move it, look for its
center point. Clicking on that and dragging
| | 07:16 | it lets you move the whole thing.
| | 07:18 | Okay, practice those selection
techniques a little while and you will get the
| | 07:22 | hang of selecting objects in your
document. I know there seems like a lot of
| | 07:26 | different ways to select objects in
InDesign, but watch the video a couple
| | 07:30 | times and practice it on your own and
you will get the hang of it in no time.
| | Collapse this transcript |
| Using basic strokes and fills| 00:00 | Need to set the color of an object. Well,
do you want to change the background
| | 00:04 | fill or do you want to change the
object stroke, what some people called the
| | 00:09 | border? InDesign just like Illustrator,
lets you apply a fill or stroke color
| | 00:13 | to any object on your page, even text.
| | 00:16 | The trick is managing the Fill and
Stroke icons. Those icons show up in three
| | 00:21 | places, the bottom of the Tool panel,
over here in the Color panel and so it's
| | 00:26 | a little bit bigger here or in the
Swatches panel, these little tiny icons in
| | 00:31 | the upper left corner of the Swatches
panel, that's where I usually control
| | 00:34 | them. Let's see how they work.
| | 00:36 | The rule is whichever icon is on top
is what gets affected when I apply a
| | 00:41 | color. Right now, the Fill icon is on
top but if I click on this Background
| | 00:46 | icon that moves to the front and now
I'm going to affect to the Stroke color.
| | 00:51 | As long as you are not editing text,
you can just press the X key to swap
| | 00:55 | those, fill is on top, now
stroke is on top and back and forth.
| | 00:59 | Alright, now the Fill is on top, let's
apply a color. You apply a color simply
| | 01:05 | by clicking on it in the Swatches
panel. For example, I can apply this nice
| | 01:09 | dark green color or perhaps a bright
cyan. I'll cover how to create your own
| | 01:15 | colors more in a later Chapter, but
for right now, we will just go with the
| | 01:18 | ones that are listed in the Swatches panel.
| | 01:20 | Now let's give it a stroke. I'll press
X to put the Stroke icon on top and now
| | 01:25 | I'll choose a color, maybe bright
magenta color. I can see the magenta here in
| | 01:29 | that little icon, but I can't see it
here and the reason is that the stroke
| | 01:34 | isn't thick enough. Right now, I only
have a one point stroke and the selection
| | 01:38 | edge is kind of obliterating it. So
let me put a big thick stroke on it.
| | 01:42 | You can change the size of your stroke
up here in the Control panel, in this
| | 01:46 | field. I'm going to use the Pop-up
menu and make a really thick stroke, maybe
| | 01:50 | seven points. Now you can see the
thick magenta stroke on that object.
| | 01:54 | If a color is too intense you might
want to tone it down a little bit by
| | 01:58 | changing its tint. You can do that at
the top of the Swatches panel. I'll click
| | 02:02 | on the word Tint, that's a little
shortcut for selecting the entire number
| | 02:06 | there and I'll change this to maybe 60
% and then hit Enter. Now I get a 60%
| | 02:12 | magenta instead of the full strength.
| | 02:14 | You can also apply a Fill or a Stroke
by dragging it out of the Swatches panel.
| | 02:19 | For example, I could take this green
swatch and drag it out on top of this
| | 02:24 | frame over here and when I let go;
it applies green to that fill.
| | 02:29 | However, note that this also change the
stroke of this object here. Because it
| | 02:34 | was selected and the Stroke icon was
on top when I actually click to drag. So
| | 02:40 | you need to be a little bit careful
of what is selected and what's not
| | 02:43 | selected. Remember in an earlier
movie when I said that Command+Shift+A
| | 02:47 | deselects everything, this is a great
example of why you might want to deselect
| | 02:50 | everything before doing something.
| | 02:52 | I'll press Command+Shift+A to
deselect everything. Now I won't accidentally
| | 02:57 | change colors of things. So I could
choose the yellow swatch and drag it on top
| | 03:01 | of the background to apply that yellow
or blue to drag it on top of the stroke
| | 03:06 | and let go and it applies
the cyan to that stroke.
| | 03:11 | Just above the Fill and Stroke icon,
so much impossible to see, but it's a
| | 03:15 | little double headed arrow, which
means swap the two colors. That means make
| | 03:20 | the stroke color the fill color and
the fill color the stroke color. For
| | 03:24 | example, if I choose this object over
here and click on that button you will
| | 03:28 | see how they swap. The
background fill becomes cyan.
| | 03:32 | You can do that same thing with the
keyboard shortcut by pressing Shift+X.
| | 03:35 | Shift+X will swap the two back and
forth. Another one of my favorite keyboard
| | 03:41 | shortcuts is the D key. When you are
not editing text and you hit D, it reverts
| | 03:46 | back to the default colors, which is
Black Stroke and No Fill, a fill of None,
| | 03:54 | none means transparent.
| | 03:56 | Now I mentioned, you can also change
the Fill and Stroke color of text. Let's
| | 04:00 | take a look at that. I'm going to
double click on this text down here and
| | 04:04 | zoom-in to 400%, Command+4 or Ctrl+4,
and I'll select the text that I wanted to
| | 04:09 | change the color of. This whole of
chunk of text here and we can see in the
| | 04:13 | Swatches panel, that this has a fill
and no stroke. The stroke has a red line
| | 04:17 | through it meaning it has a stroke of None.
| | 04:20 | To change its fill color, simply choose
a different color. If I deselect, I can
| | 04:25 | see that now it's brown. Command+A or
Ctrl+A to select the whole thing. Let's
| | 04:29 | choose another color, maybe this dark
blue and deselect and I can see that now it's blue.
| | 04:35 | It's unfortunate that you can't see the
color while it selected but that's kind
| | 04:39 | of the way it goes in InDesign. I'll
select it one more time and let's give it
| | 04:43 | a stroke. I'll bring this Stroke icon
to the top and then I'll stroke this with
| | 04:48 | something outrageous like a bright yellow.
| | 04:50 | Let's look at that. There we go blue
interior blue fill and also a yellow
| | 04:55 | stroke. The stroke is little bit too
strong. So let's select it and change the
| | 05:00 | stroke width. I'll go to the Stroke
panel now because when you have text
| | 05:04 | selected, the stroke width doesn't
show up in the Control panel. But it does
| | 05:08 | show up in the Stroke panel. It will
always be in the Stroke panel. I'll change
| | 05:11 | this to something smaller like 0.5
points and hit Enter and we can see that now
| | 05:17 | it's a more subtle effect.
| | 05:19 | Okay, let me show you one more way
that you can colorize your Fills and
| | 05:22 | Strokes. I'll zoom back to fit the
page in window again with Command+0 or
| | 05:26 | Ctrl+0 on Windows and I'll select the
Selection tool and choose this second object.
| | 05:33 | Instead of going to the Swatches panel,
I'm going to choose the Color panel.
| | 05:36 | This gives me a different set of
controls for applying color. I'm going to
| | 05:40 | change the fill, so I'll click on that
icon to bring it to the front and you
| | 05:44 | will see that it immediately gives me a
Tint bar here. I can click on this tint
| | 05:48 | bar to change the tint and this is
exactly the same thing as changing that Tint
| | 05:52 | field in the Swatches panel.
| | 05:54 | I could also just change the field up
here or drag this little slider back and
| | 05:58 | forth. It's up to you. Now let's look
at the Color panel menu. Here we can see
| | 06:03 | that we can choose colors as well, Lab
colors, CMYK, RGB. I'm going to focus on
| | 06:08 | the CMYK colors that we can apply.
| | 06:11 | If I want to change this to some
light blue color, I simply click on it or
| | 06:15 | maybe a pink color or purple color or
any of these. You can really experiment,
| | 06:20 | have fun with this or you can dial
in CMYK values yourself, if you want
| | 06:25 | exactly, let's say 50% magenta and 20% yellow.
| | 06:30 | Of course, I could apply a stroke to
this as well. I'll click on the Stroke
| | 06:34 | icon, I'll make this, maybe a dark
purple color and I'll make this thicker and
| | 06:39 | we have a lot of control here. We can
even change the stroke style up here in
| | 06:43 | the Control panel. Instead of a solid
line, let's make it a dashed line or
| | 06:48 | maybe even a dotted line, that's dotted
purple line around this object, very attractive.
| | 06:54 | There is much more that you can do with
Fills and Strokes including really fine
| | 06:58 | tuning your strokes in all kinds of
ways and that's what we are going to cover
| | 07:02 | in the next movie.
| | Collapse this transcript |
| Using advanced strokes| 00:00 | While the control panel lets you
adjust the width of a Stroke and also the
| | 00:04 | Stroke Style, for the ultimate in
stroke control you need the Stroke panel. The
| | 00:10 | Stroke panel gives you all kinds of
controls. Starting with Width but then
| | 00:14 | going in to a lot more detail.
| | 00:16 | For example let's change the type back
to Solid and I'm going to zoom in on one
| | 00:21 | corner here, with the Option+ spacebar
or Alt+spacebar-drag shortcut, and I can
| | 00:27 | see that this corner is very sharp.
Well I can control that corner a little bit
| | 00:31 | by changing the join value; there are
three options, very sharp, or rounded, or
| | 00:38 | beveled. You get to choose which you
want. I'll go with rounded. If I go to the
| | 00:44 | View menu and turn on Show Frame Edges,
we can see that the edge of this frame
| | 00:49 | is right in the middle of the stroke.
I can move the stroke to the outside or
| | 00:54 | the inside of that frame by
adjusting the Align Stroke option.
| | 00:58 | Right now it is set to Center, this is
the inside of the object and this sets
| | 01:03 | it to the outside of the object. If I
change the type to Thick or any of the
| | 01:08 | ones that have spaces in them, I can
adjust the color of the gap. This area
| | 01:13 | in-between the stroke is called the gap.
And by default, it set to none. The
| | 01:18 | gap color is none, but I can change
this to some other color, maybe this dark
| | 01:22 | green. I can even change its tint a
little bit if I want to. Maybe bring this
| | 01:26 | down to 80%, not quite as saturated.
Alright now let me zoom back a little bit
| | 01:32 | with the Command+Minus and I'm going to
add a big arrow on to this pointing at
| | 01:37 | one of these candies.
| | 01:38 | I'll use the Line tool in a Tool panel,
to draw a big arrow pointing right at
| | 01:43 | that candy and I'm going to make it
thicker in the Stroke panel, maybe six
| | 01:47 | points thick, something like that. For
some reason it is showing up blue here.
| | 01:51 | I'll change it back to black by
hitting the D key; remember D is for the
| | 01:54 | default color of black with no fill.
And now I see a six point black line but I
| | 02:01 | really wish I had an arrowhead on the
end. How do I get that? Well that's what
| | 02:05 | start and end is about. Start is
beginning of the line where I started dragging
| | 02:11 | it and end is the end of that line. So
I would like to put an arrowhead at the
| | 02:15 | end of the line. There are a bunch of
different kinds of arrowheads on here,
| | 02:18 | I'll just use curved. I like that one.
| | 02:21 | For the start I have the same controls,
but I don't have any tail feathers. I
| | 02:25 | wish Adobe would add some options for
giving like little tail feathers on the
| | 02:28 | end of the arrow, but I could do
something weird like a square of the end, I
| | 02:32 | suppose. Now I don't much like that.
Let's go ahead and set it back to none,
| | 02:37 | just a nice sharp end again. Although,
why don't I zoom in on here and I can
| | 02:42 | see that it's a little bit too sharp, I
wish it were rounded. Well that is what
| | 02:46 | the cap value is about when you have
an open Path, you know, in other words a
| | 02:51 | path that doesn't close like a frame.
You can change the cap value. Right now
| | 02:55 | it's set to end right at the end of
that path, but if I would choose the second
| | 03:01 | cap value, I get a nice rounded end or
I could get another one here. This is a
| | 03:07 | sharp end, but it sticks out a
little bit beyond the end of the path.
| | 03:11 | For example, I'll hit the A key to go
to the Direct Selection tool and we can
| | 03:15 | see that the path ends here but the
cap goes beyond that amount by half the
| | 03:21 | thickness of the line. Let's go back
to the rounded cap. I like that one. I'm
| | 03:25 | going to zoom back to 200% and see what
it looks like. I think it looks pretty
| | 03:31 | good now. You probably won't need the
Strokes panel for every job, but when you
| | 03:36 | need it. It's good to know
that those features are all there.
| | Collapse this transcript |
| Using transparency| 00:00 | What is the number one coolest, most
amazing feature in InDesign? Why, XML, of
| | 00:06 | course; no just kidding, its
transparency. You know we have already looked at
| | 00:10 | how InDesign can import images with
transparency. Now let's take it a step
| | 00:15 | further and look at how you can apply
transparency effects to any object in InDesign.
| | 00:20 | In order to apply a transparency
effect, I need the Effects panel and I can
| | 00:24 | find it under the window menu. I'll
choose Window, Effects. There it is, the
| | 00:29 | Effects panel, which gives me all
the control over transparency I need.
| | 00:33 | I'm going to choose this image in the
choco_catalog document and I'm going to
| | 00:37 | apply some transparency to it. The
basic transparency is Opacity. Right now, it
| | 00:42 | is set to 100%. If I change this,
let's say to 50%, I can see through the
| | 00:47 | object to the images below. Unfortunately
this also changes the transparency of
| | 00:52 | the image itself, so that is kind of
frustrating. I think I'll undo that
| | 00:56 | Command+Z or Ctrl+Z on windows and
dial in the transparency a little bit more
| | 01:01 | carefully. Instead of changing the
opacity of the object, which we can see,
| | 01:05 | highlighted here in the Effects panel.
I'm going to click on the Fill, now when
| | 01:10 | I change the Opacity level, it will
only affect the fill of this object.
| | 01:14 | I'll click on the word Opacity here
and that is just a fast way to highlight
| | 01:18 | that number. I'll change this to 50%
instead. Now you can see the image stays
| | 01:24 | fully opaque, but the background fill
has become a little bit transparent. We
| | 01:29 | could do the same thing with the stroke
as well. I'll click on stroke, come up
| | 01:33 | here and change this, maybe to 70%.
So it's not quite as transparent as the
| | 01:38 | fill, but you get the idea. You can
really fine tune the transparency from the
| | 01:42 | Fill, or the Stroke, or the Object as a whole.
| | 01:46 | There is another control in the Effects
panel, this pop-up menu, which lets you
| | 01:50 | control the blend mode. Let's try it
on this image over here. If I change the
| | 01:55 | Blend Mode for this entire object to
multiply, or Screen, or something like
| | 01:59 | that it has a dramatic effect on how
it appears in the document. By the way,
| | 02:04 | many of these blend modes may look
familiar to you because they are exactly the
| | 02:07 | same as the ones in Illustrator or
Photoshop. Multiply makes everything darker,
| | 02:12 | it's as though it is burned it into the
background image. Screen does just the
| | 02:17 | opposite; it makes it lighter.
Screen always results in a lighter effect.
| | 02:22 | I'm not going to go through all of
these. I'll just choose a couple of them
| | 02:26 | randomly just to give you an idea.
Soft Light makes things very, very soft;
| | 02:30 | Hard light is sometimes a little bit a
harsher, high contrast effect. You got
| | 02:34 | the idea. There are lots of different
effects that you can create including
| | 02:38 | really ugly ones in your layout. So
I'm going to go back to normal here and
| | 02:42 | let's see how we can apply the same
structure transparency effects to text. I'm
| | 02:47 | going to move forward in this document
a few pages by pressing Shift+Page Down,
| | 02:51 | just do this a few times, here we go.
On this lay out here on Page 6, I see
| | 02:56 | that I have got some text inside a
white or paper colored text frame and I
| | 03:02 | would like that text frame
to be slightly transparent.
| | 03:06 | Once again, if I simply make this whole
thing transparent, maybe 60%, it makes
| | 03:11 | both the background and the text
transparent and that is not a pleasant look at
| | 03:15 | all. So let's set this back to 100% and
once again just change the Fill to that
| | 03:21 | 60%. And we can see that now the text
is still at 100% opacity just the way we
| | 03:27 | would expect it to be, but the
background, kind of, goes back. So that is a
| | 03:31 | much nicer effect for what
we are trying to achieve.
| | 03:35 | On the other hand, we could apply
the transparency effect to the text
| | 03:38 | independently of the Stroke or it's Fill.
So once again lots of control in the
| | 03:42 | Effects panel. I should point out, by
the way, that many of the features in the
| | 03:47 | Effects panel are actually
duplicated up here in the Control panel. For
| | 03:50 | example, I can choose to apply a
Transparency effect to the object, the Stroke,
| | 03:55 | the Fill, or the Text. Right now it is
set to text and if I change the opacity
| | 03:59 | with the slider it will change the
transparency of the text independently of
| | 04:04 | the Fill or the Stroke.
| | 04:06 | Changing the Opacity or Blending mode
of an object is cool, but it's just the
| | 04:10 | beginning when it comes to InDesign's
transparency features. In the next few
| | 04:14 | movies, we will look at some of the
most common transparency effects starting
| | 04:18 | with everyone's favorite - the Drop Shadow.
| | Collapse this transcript |
| Adding drop shadows| 00:00 | Everybody loves drop shadows. They
give a sense of depth to a page, they make
| | 00:05 | things pop. Now let's see how you
can add drop shadows to objects in your
| | 00:09 | documents. I'm going to select these
three objects on my page and add a Drop
| | 00:13 | Shadow to all of them at the same time.
There are three different ways that you
| | 00:17 | can get to the Drop Shadow dialog box
actually; probably more if you start
| | 00:21 | adding keyboard shortcuts.
| | 00:22 | One is up here in the Control panel,
there is an fx pop-up menu and I could
| | 00:26 | choose Drop Shadow from here.
| | 00:29 | Another one is the Object menu in the
Effects submenu. There is Drop Shadow
| | 00:34 | again or Comment+Option+M or Ctrl+Alt+M.
| | 00:38 | But the last way in the way I typically
get there is from the Effects panel. At
| | 00:43 | the bottom of the Effects panel here is
an fx pop-up menu just like the others.
| | 00:47 | Now you know all the ways to get to
the Drop Shadow dialog box. I'm going to
| | 00:50 | click on it and actually open that
Effects dialog box to the Drop Shadow pane.
| | 00:55 | Now the first thing I always do when
this dialog box opens is head-on down to
| | 01:00 | that Preview check box in the lower
left corner. I'll turn that on so I can
| | 01:04 | actually see the Drop Shadow in action.
Move this off to the side a little bit
| | 01:08 | so we can see better, there
is one of our drop shadows.
| | 01:11 | The second thing I typically do in the
Drop Shadow pane of the Effects panel is
| | 01:15 | lower the Opacity. For some reason
Adobe starts off with this really heavy 75%
| | 01:21 | Drop Shadow and it's hugely a little
bit too dark in my mind. I don't know why,
| | 01:25 | I just tend to drop it down to may
be 60%, which is not quite so harsh.
| | 01:30 | Next let's tell InDesign where the
Drop Shadow should go, typically you can
| | 01:34 | control either the distance or the X
and Y offset from the object itself. Right
| | 01:40 | now it is set to 7 points away from
the object. I'm going to make it smaller
| | 01:45 | and tighter, may be 3 points away. 3
points away -- may be a little bit more 4
| | 01:50 | points away, I just hit Shift+Tab to
go back here and then I hit the Up Arrow
| | 01:54 | to move, I can move any field in
InDesign, I can move up and down with the Up
| | 01:58 | and Down Arrow keys on my keyboard.
| | 02:00 | So let's say 4 points, that looks
pretty good, and I can change the angle with
| | 02:05 | the Angle Slider or type-in a value
myself. I find this Slider easier to use.
| | 02:10 | Well it's kind of like where it was.
I'm having the light come in from the
| | 02:14 | upper left to the lower left corner.
This line means the light is coming in, in
| | 02:19 | that direction. That looks pretty good.
| | 02:21 | I usually turn on the Use Global Light
checkbox here that ensures that all of
| | 02:25 | the transparency effects in this
document use the same angle. That way it
| | 02:30 | doesn't look strange having the light
coming from the left on one page and from
| | 02:34 | the right on a different page so
Use Global Light is a pretty safe bet.
| | 02:39 | Next it is time to specify how large
that Drop Shadow should be or each of this
| | 02:43 | Drop Shadow should be. Right now
they are set to 5 points which is pretty
| | 02:46 | diffuse, the larger this value the
more diffuse it's going to be, the more
| | 02:50 | blurry it's going to be. Let's bring
this down to may be 3 points; it's kind of
| | 02:54 | a sharper look. If I set it all way
down to 0, it's going to be a very sharp
| | 02:59 | edge on the sides and that doesn't look
very natural at all. But about 3 points
| | 03:03 | is pretty good.
| | 03:05 | Spread controls how far the darkest
part of the shadow should extend into the
| | 03:11 | shadow. Because these shadows are
pretty small and tight, it probably doesn't
| | 03:15 | matter much. But if you are working
with really large shadows, sometimes adding
| | 03:19 | a little bit of Spread makes the more
intense. May be just 10 or 20% can really
| | 03:23 | help boost a shadow if you've
got a really big shadow there.
| | 03:26 | The last thing that I always do to my
Drop Shadows is add a little noise. The
| | 03:31 | worst thing about Drop Shadows from any
desktop publishing application is that
| | 03:36 | there are two mathematically peer,
they just look fake, but if you add just a
| | 03:40 | little bit of Drop Shadow noise,
maybe 3 or 4 %, it kind of breaks it up.
| | 03:44 | Photoshop calls this dithering, but
this is the way to do dithering in
| | 03:49 | InDesign. It adds noise to the Drop
Shadow just a little bit to kind of break
| | 03:53 | it up and make it look more natural.
| | 03:56 | Now I should also point out that all of
these effects including Drop Shadow can
| | 04:00 | be applied to the entire object or just
to the Stroke or just to the Fill or if
| | 04:04 | this were a text frame, they could
be applied to just the text within the
| | 04:08 | frame. So you have a lot of control
over what the Drop Shadow will actually be
| | 04:12 | applied to. In this case I really do
want it to apply to the entire object.
| | 04:17 | The last two features in here Object
Knocks Out Shadow and Shadow Honors Other
| | 04:20 | Effects are more advanced topics. That
we are going to cover in the later title.
| | 04:24 | I'm going to click OK and we can see
that these drop shadows they just make the
| | 04:30 | page more alive somehow, more three-dimensional.
| | 04:34 | Drop shadows are cool, but there is no
doubt that they can be over-used and you
| | 04:40 | will end up making your whole document
just look hackneyed. So proceed with caution.
[00:04:445.05]
| | Collapse this transcript |
| Applying feathering| 00:00 | One of the side effects of creating
layouts on a computer is that everything is
| | 00:04 | clean and the edges are sharp. And if
that's the look you are going for, then
| | 00:08 | great, but if you are trying to
create a soft gentle look then you might
| | 00:12 | consider using the Feathering Transparency
effects which blur the edge of objects.
| | 00:18 | InDesign CS4 has three different
ways to feather objects on the page,
| | 00:22 | Feathering, Directional and
Gradient. Let's take a look.
| | 00:26 | I'm going to choose this first image
and I'm going to open the Effects dialog
| | 00:29 | box to the Feathering pane. I can get
there in multiple ways including the
| | 00:33 | Object menu > Effects >
Basic Feather. Let's take a look.
| | 00:39 | The Effects dialog box is set to the
Basic Feather pane and we can increase or
| | 00:43 | decrease the amount of blurriness on
the edge. I think I'll set this high may
| | 00:47 | be 2 picas, and you can immediately see
because the Preview check box is turned
| | 00:51 | on. That is a very soft edge here.
It's almost like a Gaussian Blur along the
| | 00:56 | side of the edge.
| | 00:58 | You have some control over how InDesign
blurs the edge including a Choke which
| | 01:03 | means how far away should that blur
start, the Corners, should they be
| | 01:07 | diffused, rounded, or sharp. Sharp
will typically give you a kind of a sharp
| | 01:12 | edge here in the corner, kind of
defeats the purpose in my mind of a blur in
| | 01:16 | the first place, so I'll
leave it down at Diffuses.
| | 01:19 | And you also have Noise. I always
like adding a little bit of noise just to
| | 01:23 | break-up the blur and make it a little
bit more natural, may be just 3% noise,
| | 01:28 | something like that.
| | 01:29 | So that's one form of feather. When
you use a Basic Feather it blurs all the
| | 01:34 | edges of an object.
| | 01:36 | Let's look at another version of Feather.
This time I'll get the Effects dialog
| | 01:41 | box from the Effects button in the
Control panel, and we are going to look at
| | 01:45 | Directional Feather. Directional
Feather is just like Basic Feather, but you
| | 01:50 | can control which side the feather
is going to be applied to. In order to
| | 01:54 | change one side without changing the
others you have to de-select this little link icon.
| | 02:00 | I'm going to apply this Directional
Feather just to the right side so I'll
| | 02:03 | highlight the right number here and
I'll set this to something big like 3
| | 02:06 | picas, because the Preview checkbox is
turned on, you can see that the right
| | 02:10 | side has a blur applied to it. Once
again you have control over Noise, I'll add
| | 02:15 | just a little bit there and you have
control over Choke. For example, if I
| | 02:20 | increase that Choke amount, you will
see that the Blend is harsh, it's more
| | 02:25 | direct. It goes from opaque to
transparent faster. Bring this down to 0 again.
| | 02:31 | You also have control over the angle.
While this is set up to going to right
| | 02:35 | side, if you change the angle of
the blur you can get some very strange
| | 02:39 | effects. For example, here I'm
applying the Directional Feather from 34
| | 02:44 | degrees, so it's coming in from the
upper-right corner, and so it ends up
| | 02:49 | applying that blur to both the side and the top.
| | 02:52 | I'm going to set this back down to 0
because I only wanted to come on from the right side.
| | 02:57 | The Shape pop-up menu let's you
control which edges are applied. But in this
| | 03:03 | case in just a straight rectangular
frame here, it has no effect at all. Where
| | 03:08 | you really see it take effect is on
things like Type. So all the Transparency
| | 03:12 | effects can be applied to any object,
in image, vector image, type doesn't
| | 03:16 | really matter. Anything in InDesign can
have one of these effects applied to it.
| | 03:20 | I'm going to choose this text frame and
open up the Effects dialog box one more
| | 03:24 | time, this time I'll do it from the
Effects panel. I'll open that panel and
| | 03:29 | I'll say, I want to apply the
Directional Feather to this text frame. Here I'm
| | 03:35 | going to apply it just to the right
side, in the same way I did before but a
| | 03:39 | little bit smaller, may be just 1 pica
here, and a little bit of noise, always
| | 03:43 | add noise. But instead of applying it
just little leading edges, this time I
| | 03:48 | once again apply the feather just on
the right side, may be smaller, may be
| | 03:52 | only 1 pica here and I'll add a little
bit of noise, always add noise, that's
| | 03:56 | good, and notice that the
Shape is set to Leading Edges.
| | 04:00 | Notice that Leading Edges in a text
frame is a little bit different than on a
| | 04:04 | straight rectangular frame. Here the
Leading Edges are the right side of the S,
| | 04:09 | but it's also the top of the T here
and even the top of the D up here. It's
| | 04:13 | almost as though InDesign we are
drawing lines from the right side to the left
| | 04:18 | and whatever it hits first will get
blurred, kind of like a windstorm.
| | 04:22 | If we change this to all edges then
you get some really wacky effects because
| | 04:27 | every edge along the side is blown
away by this Directional Feather. Or we
| | 04:33 | could choose First Edge Only, in which
case it only affects the first edge that
| | 04:38 | InDesign encounters when you draw these
lines, so it will hit the S here and it
| | 04:42 | will stop after that S, it will not
apply it to the top of the T or the top of
| | 04:46 | the D. So once again lots of control to
dial-in the effect that you are looking for.
| | 04:52 | I sometimes like really driving these
things to the edge, these effects, you
| | 04:56 | can get some really interesting things
like changing this thing to all edges,
| | 05:00 | may be making this a little bit smaller,
but increasing the Noise dramatically,
| | 05:04 | I'll increase this Slider up here so
that you can get a really interesting
| | 05:07 | weird grunge effect applied to it even.
May be even make this a little bit
| | 05:11 | bigger, and you can really get some
wacky effects here with these tools.
| | 05:16 | Okay, I'm going to click OK and move
onto the third kind of Feathering in
| | 05:20 | InDesign and that is Gradient Feathers.
Gradient Feathers are really wacky.
| | 05:25 | Let's go ahead and open the Gradient
Feather pane of the Effects dialog box.
| | 05:30 | I'll move this up so we can see
better. Now I'd like to think of Gradient
| | 05:33 | Feather as being like a manual
transmission in a car. You have a lot of control
| | 05:37 | over every start and stop, whereas the
Directional Feather or the Basic Feather
| | 05:42 | just gives you kind of a generic
feather effect along its edges. But with
| | 05:46 | Gradient Feather I can control everything.
| | 05:49 | For example, right now this Feather
is going from completely opaque, this
| | 05:55 | little feathering stop here is set to
completely opaque, I just clicked on it
| | 05:58 | so I could see there is 100% Opacity
all the way to completely transparent. So
| | 06:04 | this is 0% Opacity. So I have a whole
gradient stop ramp here and I can add
| | 06:10 | gradient stops along here.
| | 06:12 | For example why don't I click on the
bottom here? I'm just clicking underneath
| | 06:15 | the Gradient ramp and I'm adding some
stops. And at each stop I can change the
| | 06:20 | Opacity, so I might say at this point
I want it to be really transparent. Not
| | 06:26 | very opaque at all, but over here I
want it to be really opaque. So I'll bump
| | 06:31 | that all the way up.
| | 06:32 | Now we have something where it's
opaque on one side, opaque on the other side
| | 06:36 | and kind of transparent in the middle,
just about 16% opaque. Let's bring this
| | 06:41 | down even more, and if we look at the
image down here we can see that there is
| | 06:44 | a line, it looks like a line going
through it, but that's actually a
| | 06:46 | transparency line, if this were on top
of something else we would see that it's
| | 06:50 | transparent. Even cooler we can change
the angle of that line by adjusting this
| | 06:55 | Angle Slider or typing in a different value.
| | 06:58 | So now we have opaque, opaque,
transparent and angle down the middle, and that
| | 07:03 | is really neat. And you could add a
whole bunch more gradient stops in here if
| | 07:07 | you want. It's really quite flexible.
| | 07:09 | We can also change this from a Linear
Gradient Feather to a Radial Gradient
| | 07:14 | Feather. Now we have a circle centered
in the middle where it's opaque on the
| | 07:19 | outside, opaque in the middle, but
right in a circle around the edge we have a
| | 07:24 | fully transparent or an almost transparent area.
| | 07:27 | And once again remember we could apply
this to anything images, graphics, text
| | 07:33 | whatever. We can also dial it in so
that it only applies to the Stroke or the
| | 07:38 | Fill or the Text. It's completely up to
you; you have got a lot of control over
| | 07:42 | all of this effects. I love it!
| | Collapse this transcript |
| Using other effects to format objects| 00:00 | Let's look at some other really cool
Photoshop-like effects that you can apply
| | 00:04 | to any object. I'm going to choose this
graphic here and I'm going to go to the
| | 00:08 | Effects panel and choose from the
Effects dropdown menu Inner Shadow. Inner
| | 00:13 | Shadow is just one of a host of really
cool effects in InDesign including Outer
| | 00:18 | Glow, Inner Glow, Bevel and Emboss, I'm
not going to get through all of these,
| | 00:22 | it will just be too much. But they
are fun to explore, so go ahead and just
| | 00:26 | play around in there. But Inner Shadow
is one of my favorite effects, we can
| | 00:29 | change the Blending Mode, but
generally for a shadow you want to set to
| | 00:34 | Multiply, both Drop Shadows and
Inner Shadows, Multiply makes most sense
| | 00:38 | because it looks like light burning
into a background like a real shadow.
| | 00:41 | You can set the Distance, how far away
from the edge it should be and the Angle
| | 00:46 | and the Size and so on. I'm just going
to add a little bit of Noise and click
| | 00:50 | OK. We can zoom in here and see the difference.
| | 00:53 | By the way all of these effects look
dramatically different depending on
| | 00:57 | whether or not you have the display
quality set to High Quality. So always go
| | 01:02 | to View > Display Performance > High
Quality because if it's set to Typical it
| | 01:07 | looks kind of rough, but when it's set
to High Quality you can actually see the
| | 01:11 | pixels and what they are really going
to look like. That's a much nicer effect.
| | 01:15 | I'll pan up here and select this text
frame and I'm going to apply a glow on
| | 01:19 | the outside of this frame, so I'll come
over here, choose Outer Glow and we can
| | 01:24 | see it already just lights up because
we have the Preview checkbox turned on.
| | 01:28 | Let's say I don't want to just to be
a white glow. Maybe I want to add some
| | 01:31 | color to it. So I'm going to click on
this little Color icon to the right side
| | 01:35 | of the Blending Mode pop-up menu, that
opens the Effect Color dialog box, and
| | 01:39 | here I can choose any swatch that's
already in my Swatches panel or I can
| | 01:44 | dial-in my own CMYK value.
| | 01:46 | For example, if I want something
that's a little bit more yellow, just choose
| | 01:49 | that, click OK, and now I'm getting
sort of a yellowish tinge to this.
| | 01:55 | So there is a lot of other controls
that you can set in here I don't have time
| | 01:58 | to get into that right now, but let
me add some other stuff here. Maybe an
| | 02:01 | Inner Glow. Inner Glow is interesting
because it adds the glow on the inside of
| | 02:06 | the object instead of the outside, but
here it's already white on white so you
| | 02:10 | can't see anything. I might change
this to some other color, maybe blue. I'll
| | 02:15 | try the cyan color.
| | 02:16 | Now the blue color is not showing up,
the cyan is not showing up at all because
| | 02:20 | the Blending Mode is set to Screen,
I'll set it to Multiply and we immediately
| | 02:24 | get a radically different effect. Of
course, this is far too large, let's set
| | 02:28 | the Size smaller, I'm just pressing
the Down Arrow key until I get the effect
| | 02:33 | that I want. It's kind of a blurry
effect right on the inside. So again, little
| | 02:38 | noise and we have got a wacky,
weird, cool effect there.
| | 02:43 | Let's click OK and I'm going to zoom
out here with my Power Zoom tool and I'm
| | 02:47 | going to zoom right in on this Bliss
graphic, and I want to apply a Bevel And
| | 02:53 | Emboss to this red circle. This is
inside of a group and I don't want to apply
| | 02:58 | the Bevel And Emboss to everything, so
I need to select the red circle with the
| | 03:02 | Direct Selection tool, I just pressed
A to get the Direct Selection tool, and
| | 03:06 | then click once on that red circle.
I'll apply the Bevel And Emboss to this,
| | 03:11 | I'll pull this out of the Control
panel, and say Bevel And Emboss on here,
| | 03:16 | probably a little bit smaller than
that, maybe 5 points large here. Lots of
| | 03:21 | controls, and I don't want to get into
all the details here. But this kind of
| | 03:24 | makes it a three-
dimensional button looking thing.
| | 03:27 | I'll point out that there are a bunch
of different kinds of Bevel And Emboss
| | 03:30 | styles, the one that usually comes up
and people usually use is Inner Bevel,
| | 03:34 | but there is also Outer Bevel which
kind of affects the area outside the object
| | 03:39 | or Emboss which affects the both the
outside and inside, and the one I really
| | 03:44 | think is cool is Pillow Emboss which
makes it look like an embossed thing, but
| | 03:48 | almost pushed into the background. Let's go
ahead and go with that one, that's pretty cool.
| | 03:52 | I'll click OK and zoom out to let's say
100% and we can see that this is a nice
| | 03:58 | three-dimensional effect here, we are
getting some cool things on our page.
| | 04:02 | Now I would like to use these
elsewhere in my document, and there are various
| | 04:07 | ways to copy these effects from one
place to another, but let's say I want to
| | 04:12 | copy this effect from this
image onto another image.
| | 04:16 | Well, when you have an object selected
that has an effect applied to it, you
| | 04:20 | see a little fx icon show up in the
Effects panel here, and if I scroll down,
| | 04:25 | let me just go all the way to my
second page here and if I pull that fx icon
| | 04:30 | and drag it right over on top of this other image,
it applies that effect to this image.
| | 04:37 | So now we have that Inner Shadow effect
applied to this image as well. We could
| | 04:42 | do that to other things as well. I'll
drag that fx icon on top of this shape
| | 04:46 | over here. And oh, my goodness, it
applied it to the text. That does not look
| | 04:50 | good at all, very unpleasant. I need to
remove that Transparency effect, how am
| | 04:55 | I going to do it? Well, I go over to
the Effects panel and I could open up the
| | 04:59 | Effects dialog box and all of that,
but it's much faster to go to the Effects
| | 05:03 | panel menu and simply choose Clear
Effects or Clear All Transparency. Clear All
| | 05:08 | Transparency will remove all the
effects and also any Opacity or Blending Mode
| | 05:13 | that was applied to that object.
Completely non-transparent object now.
| | 05:18 | I'm going to try that again. I'll
select that object and pull the Effects icon
| | 05:22 | over, but instead of dropping on top of
the image, I'm going to drop it on top
| | 05:26 | of the edge of that frame. There we go.
Now I got it, the problem I had before
| | 05:31 | was that I dropped it on top of this
text frame instead of that background
| | 05:35 | color frame, but that looks
beautiful, I really like it.
| | 05:40 | Obviously the options for cool
effects are endless with these tools, and
| | 05:44 | fortunately once you find an effect you
like, you can copy it to other objects.
| | 05:48 | We saw one way of copying that object,
but even better way is creating an
| | 05:53 | object style which we will look
later in the chapter on Styles.
| | 05:58 | In the meantime there is a third method
for copying, formatting from one object
| | 06:01 | to another or even from one part of
text to another and that's the Eyedropper
| | 06:06 | tool and that's what we are
going to cover in the next movie.
| | Collapse this transcript |
| Using the Eyedropper tool| 00:00 | When you are laying out a document you
will often find yourself needing to copy
| | 00:03 | formatting from one place in the
document to another, perhaps paragraph
| | 00:07 | formatting, character
formatting even object formatting.
| | 00:11 | Styles are one way to copy formatting,
but another, sometimes faster way is to
| | 00:15 | use the Eyedropper tool. The problem
is that the Eyedropper is powerful but
| | 00:20 | sometimes hard to predict and manage.
| | 00:23 | The Eyedropper tool lives down here in
the Tool panel, you can just press the
| | 00:26 | letter I to get it quickly, but I just
clicked on it, and when I'm using the
| | 00:30 | Eyedropper tool I usually like to make
sure nothing is selected on my page. So
| | 00:35 | I press Command+Shift+A or Ctrl+Shift+
A on Windows to de-select everything.
| | 00:40 | Just in case there is something
selected because anything that is selected will
| | 00:43 | change as soon as you
click with the Eyedropper tool.
| | 00:47 | Now with nothing selected on my page
I'm going to click on this frame up here,
| | 00:51 | I'll just click right on that kind
of off-white area, and did you see
| | 00:55 | Eyedropper cursor change from a white
Eyedropper to a black Eyedropper? That
| | 00:59 | means it sucked up the formatting from
that image, from this frame. It actually
| | 01:04 | grabbed all the Stroke, the Fill, the
Transparency effects, all the object
| | 01:08 | formatting and it got it ready for me
to drop that formatting some place else.
| | 01:13 | I'm going to come over here and drop it
on this frame, but I don't want to drop
| | 01:17 | it on the middle of the frame instead
I want to click right on the edge. This
| | 01:21 | is a strange subtlety about the
Eyedropper which is really frustrating to me,
| | 01:25 | but when you are dropping object
formatting you typically want to drop it on
| | 01:29 | the edge of the frame right on the
path itself, not inside the frame.
| | 01:34 | So I'll click here and you'll see that
it applied all that same formatting to
| | 01:38 | this frame. I'll come over here and
click on that frame and it changed the
| | 01:42 | formatting over here as well.
| | 01:44 | Now that Eyedropper will stay full
until I switch to a different tool, so I
| | 01:48 | might as well apply it throughout the
document if I can. Let's switch to the
| | 01:51 | next page with Shift+Page Down and Shift
+Page Down again. Here we go, here are
| | 01:55 | some more image frames, some more
graphics that don't have the Stroke applied
| | 02:00 | to them or a Filler or anything yet,
and I can apply all of that once again by
| | 02:05 | clicking right on the edge with that
Eyedropper tool. Click, click, click!
| | 02:10 | So the Eyedropper tool is a really
great way to apply a bunch of object
| | 02:14 | formatting with one click.
| | 02:16 | Now what formatting is it going to
select? Well, you can choose that by
| | 02:20 | double-clicking on the Eyedropper
tool. I'll double-click on that and the
| | 02:24 | Eyedropper Options up here. Here I can
choose which Stroke settings I want the
| | 02:29 | Eyedropper to suck up and apply. So I
can choose some of those or all of them
| | 02:34 | or none of them or whatever, same
thing with the Fill Settings. You can see
| | 02:37 | there is a lot of granularity here. Now
I'm also seeing Text Formatting Options
| | 02:42 | here, this would imply that I could
use the Eyedropper on text as well as
| | 02:46 | objects right, and in fact, that's true.
| | 02:49 | I'm going to leave all of these
settings chosen right now, and I'll just click
| | 02:52 | OK, I'm going to go back to the page
I was on with Shift+Page Up couple of
| | 02:56 | times to back here because I noticed
that I have got some text formatting here
| | 03:00 | that I would really like to apply to
these text frames. I noticed that I have
| | 03:06 | some formatting here applied to this
text that I would really like to apply to
| | 03:09 | these paragraphs over here. Can I do
that? Sure, no problem. Still with nothing
| | 03:15 | selected on the page, I'm going to
click on the text with the White Eyedropper
| | 03:19 | tool, notice that it's white. By the way,
if it was black, let's say I'll just
| | 03:23 | click on that, and I wanted to reset it
to White again, little trick, hold down
| | 03:27 | the Option or the Alt key as long as
that key is being held down it will be a
| | 03:32 | White Eyedropper and let me sample
something a new. So I'm going to click on
| | 03:37 | that, it reloads that Eyedropper, and
now I can actually drag on top of this text.
| | 03:43 | I'm not sure if you can see this, but
the cursor actually changes when it's on
| | 03:46 | the top of text or on top of a text
frame. The cursor looks like an Eyedropper
| | 03:51 | with a little text i-beam at the end of
it, and that indicates that I can drag
| | 03:56 | over some text with the Eyedropper
tool, and boom! With one click-and-drag
| | 04:01 | there I applied it to both of these
paragraphs. I'll do the same thing over here.
| | 04:05 | Now these text frames were not even
selected, there are no Type tools selected
| | 04:09 | at all here, no text selected, I'm
simply dragging on top of some text with
| | 04:15 | that Eyedropper tool.
| | 04:16 | I'm going to pick up this chocolate
ganache. I don't know what that is,
| | 04:19 | probably some kind of red fill color
applied to that. Again I'll hold down the
| | 04:23 | Option key to reload and I'll click on
that and then I can just drag over some
| | 04:28 | text. See how I'm dragging with that
Eyedropper and it's actually one character
| | 04:32 | at a time. When I let go that
text gets colorized as well.
| | 04:36 | Now I've made a big deal about making
sure nothing is selected when you use the
| | 04:40 | Eyedropper tool when you sample
something, but sometimes it's actually useful
| | 04:45 | to have something selected. Let me
show you an example, I'll choose the Type
| | 04:48 | tool and I'm going to select some text
over here and I would like to apply that
| | 04:54 | red color formatting to this text over
here. Let's zoom into 200% here so we
| | 04:59 | can see this a little bit better. I
have got some text selected. I want to
| | 05:02 | apply this to that text which is
already selected. Well, you can do that with
| | 05:06 | the Eyedropper tool as well, while
that's selected I'll go over to the
| | 05:10 | Eyedropper tool and simply click on
this text, and as soon as we de-select, I
| | 05:15 | don't know if you could see that, but
it did change but it's highlighted so we
| | 05:17 | can't see it. So I'll de-select Command
+Shift+A, you can see that whatever I
| | 05:21 | clicked on actually was
applied to the selected text.
| | 05:24 | Okay, so here's the deal with the
Eyedropper tool and selected objects.
| | 05:29 | If you know that you want to apply
formatting to some particular text or an
| | 05:33 | object, go ahead and select it, and
then click with the Eyedropper. But in
| | 05:38 | general I still think it's easier to
just make sure nothing is selected with
| | 05:41 | the Eyedropper tool and then apply it
to the specific things that you want. You
| | 05:45 | can do it either way really.
| | 05:47 | The Eyedropper tool is great for the
quick formatting pick-up from here to
| | 05:50 | there, but honestly if you needed to
apply a lot of formatting throughout a
| | 05:54 | document, styles are the way to go.
Object Styles, Paragraph Styles, Characters
| | 05:59 | Styles, I'll be exploring all of
these in a later chapter. But there is one
| | 06:03 | other way to apply formatting
quickly throughout your whole document, the
| | 06:07 | ability to use the Find/Change
dialog box to apply object formatting, and
| | 06:12 | that's where we are going next.
| | Collapse this transcript |
| Finding and changing object formatting| 00:00 | Now I'm working on designing or
laying out a document, I don't want to be
| | 00:04 | bothered by mind-numbing tasks. For
example, can you imagine working on
| | 00:09 | 200-page document and then your client
or your art director comes in and says,
| | 00:13 | you know all of these kind of gray
flowers that you have throughout the whole
| | 00:17 | document? I would like you to change
those to kind of a reddish color, can you
| | 00:20 | do that? This kind of thing would
make me scream. Fortunately I have the
| | 00:25 | Find/Change dialog box, and InDesign
can Find/Change not just text, but even
| | 00:31 | object formatting. Let's see how it works.
| | 00:34 | First, I need to find what color those
things really are? I'm going to choose
| | 00:37 | the Direct Select tool and I'll click
on one of them. You see each of these
| | 00:40 | things is a separate object in my
InDesign document, so that would take forever
| | 00:45 | to recolor. I'll come over to this
Swatches panel and I can see that they are
| | 00:48 | filled with this color, c62m67y74k79.
| | 00:54 | Okay, so now that I know what color
they are filled with I know what I should
| | 00:57 | search for. I'll close that, go to
the Edit menu and choose Find/Change or
| | 01:03 | faster, just press Command+F or Ctrl+F
on windows. That opens the Find/Change
| | 01:08 | dialog box and we are not going to be
finding text and I'm going to be covering
| | 01:13 | GREP and Glyph in the InDesign CS4
Beyond the Basics title. What we are going
| | 01:18 | to be searching for is Object Formatting.
| | 01:20 | Now there are two sections here we
need to pay attention to. What kind of
| | 01:24 | object formatting do we want to search
for? And what do we want to replace it with?
| | 01:28 | You could click on this little tiny
button on this side, but it's a lot easier
| | 01:32 | just to click inside this big area here.
Click anywhere in there and up comes
| | 01:37 | the Find Object Format Options dialog
box, that's a mouthful, and you can tell
| | 01:42 | InDesign what you want to search for.
There are a lot of different panes along
| | 01:45 | the side here, do you want search for
Stroke & Corner options or what kind of
| | 01:50 | Story Options or what kind of Anchored
Object Options, you can dial-in almost
| | 01:54 | any kind of object formatting here. But
our needs are very simple, we are just
| | 01:58 | looking for a Fill, any object that has
fill of that color, remember c62m67 and
| | 02:05 | so on and so on, that's
the color we are looking for.
| | 02:08 | I'll click OK and you can see that it
added it to this field. Find objects that
| | 02:13 | have a fill of this color.
| | 02:15 | Now what do we want to change it to?
Click down here in that field and up comes
| | 02:19 | another huge dialog box and we can
dial in what we want it to change it to.
| | 02:23 | Once again, lots of options, we could
even change Transparency effects if we
| | 02:27 | wanted to, we could start adding drop
shadows or glows or whatever, but in this
| | 02:31 | case the Art Director just wants a
simple change, we are going to change it to
| | 02:35 | red, let's just make them all red
instead of black or that dark color. I'll
| | 02:39 | select that, click OK and we can
see that shows up down here as well.
| | 02:45 | Now how much of this document do you
want to search? Currently the Search
| | 02:48 | pop-up menu is set to Selection. It
says Selection because I inadvertently left
| | 02:53 | something selected on my document
page when I opened the Find/Change dialog
| | 02:58 | box. But I can change this to don't
just search this one object, I want to
| | 03:02 | search the entire document, or I could
even search multiple documents if I had
| | 03:06 | more than one document open right now,
I could search all open documents. But
| | 03:10 | in this case I'm just going to search
this one document, and InDesign also lets
| | 03:15 | me choose what type of object should
it search for, should it search for all
| | 03:20 | different frames or just text frames
or only graphic frames or unassigned frames?
| | 03:25 | In this case I have no idea what kind
of frames these things are so I'm just
| | 03:29 | going to tell it to search for
everything. There's a bunch of buttons down at
| | 03:32 | the bottom here and that means include
Lock Layer, so if you have something on
| | 03:37 | a layer that's locked do you want it to
include that or not, I'll say, sure, go ahead.
| | 03:41 | What about Locked Stories? Well, this
is searching for objects not text, so I'm
| | 03:46 | not even sure why that's in there. What
about Hidden Layers? Yeah, if it's on a
| | 03:50 | hidden layer, go ahead and search for
it. I'm going to be covering layers in
| | 03:53 | more detail in a later chapter, but
for right now I'm going to search for
| | 03:57 | Locked Layers and Hidden Layers, and
do I want to change Master Pages? No, I
| | 04:01 | won't bother with that and what
about Footnotes? No, I'm not dealing with
| | 04:04 | footnotes, that's text too and
we are just searching for objects.
| | 04:08 | Alright, now I'll click Find and it's
going to find the first one, move it out
| | 04:12 | of the way until I can see what it found,
oops, there it is, that object right
| | 04:15 | on the page, that's the first one it
found, I like it, let's go ahead and
| | 04:19 | change it and find the next one.
There is another one Change/Find. This is
| | 04:24 | going to take a long time if I have
to click Change and Find over-and-over
| | 04:28 | again, so that's crazy. I'm just going
to click on Change All. I'm confident
| | 04:32 | that it's going to work. One second!
It says 291 objects were found and 291
| | 04:38 | replacements were made. I'll click OK
that little button to close Find/Change
| | 04:43 | and we can see our pane over here, we
can see that all of those objects got
| | 04:47 | changed in one click, that's incredible.
| | 04:50 | Let's Before and After. Command+Z or
Ctrl+Z on Window is Before, and then
| | 04:56 | Ctrl+Shift+Z or Command+Shift+Z is
After. Before and After, you see all of
| | 05:01 | those objects are being
changed to the new color.
| | 05:04 | I'm going to open up the Find/Change
dialog box one more time with a Command+F
| | 05:09 | or Ctrl+F on Windows because I want
to point out this little Trash Can icon
| | 05:15 | here, this little button here,
that means clear all of the specified
| | 05:19 | attributes, clear everything from here.
This is very important because if I'm
| | 05:23 | later going to do another Find/Change
I may get myself messed up if there is
| | 05:27 | something in there. So it's always a
good idea to clear this out when you are
| | 05:30 | sure you are not going to be using it
anymore. Just click on that Trash Can,
| | 05:33 | it clears that, click Done and now you are
ready for a new Find/Change or to do other work.
| | 05:40 | I happened to know a bunch of the
people on the InDesign engineering team and
| | 05:44 | they all say the same thing. Their aim
is to make mind-numbing painful tasks
| | 05:48 | easy and automated. So you can focus on
what you do best, making great looking
| | 05:53 | pages. And this Find/Change feature
is a great example of how they are succeeding.
| | Collapse this transcript |
|
|
8. Managing ObjectsStacking objects| 00:00 | Every object on your page is in a Stack.
Furthermore technically minded among
| | 00:04 | you this is also called the Object Z-
order. For example, this object here has
| | 00:09 | an X and Y coordinate which we can see
in the Control panel, but it also has a
| | 00:14 | Z coordinate, which describes which
object is on top of which. Unfortunately,
| | 00:18 | we can't see that Z number. In the
next movie I'm going to talk about how the
| | 00:23 | Layers panel helps you organize your
objects, but for now let's just focus how
| | 00:28 | objects stack up on the one
layer that every document has.
| | 00:32 | Layer one, first I'm going to pull
this object apart a little bit just move
| | 00:37 | things around, and we can see that this
object this graphic is below the text,
| | 00:42 | and also below this yellow frame, but
it's above this green frame. If I move
| | 00:47 | this text over here we can see that
the text is behind that image as well. I
| | 00:52 | like to think of each of these
objects as a separate piece of paper that
| | 00:55 | stacked one on top of the other. And
I can rearrange the stacking order of
| | 00:59 | those by selecting an object, going to
the Object menu and choosing from the
| | 01:04 | Arrange submenu.
| | 01:05 | If I want to bring this all the way to
the top of my stack, I choose Bring to
| | 01:09 | Front. Now it's on top of everything.
If I want to move it down one layer in my
| | 01:14 | stack, I'll choose Object > Arrange >
Send Backward. You can see that it moved
| | 01:20 | behind this yellow box. Sometimes
this stacking order is non-intuitive. For
| | 01:24 | example, if I select this group of
objects over here and choose Object >
| | 01:28 | Arrange > Send Backward, it went
backward, but behind what? We are not sure
| | 01:34 | what. It doesn't necessary go behind
whatever; it looks like it's going to go
| | 01:38 | behind. This light green box, it went
behind some objects, some other object on
| | 01:43 | the page which was next
down in the stacking order.
| | 01:47 | Unfortunately, there is no way to see
all the objects on a layer as a list like
| | 01:51 | you can in Illustrator's Layer panel
that would be really cool. InDesign does
| | 01:56 | have a Layers panel though and it
doesn't do everything that Illustrators does,
| | 02:00 | it's very helpful when arranging your
objects, so you don't get into a mess
| | 02:03 | like this. That's what we are going
to be looking at in the next movie.
| | Collapse this transcript |
| Using layers| 00:00 | I know people who never work with
more than one Layer in their InDesign
| | 00:03 | document, and they manage all of their
objects using Send to Back and Bring to
| | 00:07 | Front. Now there's nothing wrong with
that other than it will eventually drive
| | 00:11 | you insane. Especially in a complicated
layout like this, now, it's much better
| | 00:16 | to create multiple layers in your document,
and use them to organize your objects.
| | 00:21 | Let's open this Layers panel. If you
don't have a Layers panel on your screen,
| | 00:24 | you can grab it from the Window menu.
Window > Layers, there it is, and we can
| | 00:29 | see that every document starts with
one layer, Layer 1. But you can add your
| | 00:33 | own layers and rename them and hide them,
lock them and more. In this document,
| | 00:38 | I'm going to create a bunch of
layers and start putting objects on them.
| | 00:42 | You can create a new layer by clicking
on this New Layer button. The problem is
| | 00:46 | is it just names it Layer 2 and
then Layer 3 and so on. That's not very
| | 00:51 | interesting, and it's certainly not
descriptive. So I'm going to Undo that with
| | 00:54 | a Command+Z or a Ctrl+Z on Windows,
and instead I'm going on to hold down the
| | 00:58 | Option key or the Alt key
when I click on that button.
| | 01:02 | When I do that, I actually see a dialog
box. Remember the Option key or the Alt
| | 01:06 | key always gives me a dialog box that
lets me change something about it. In
| | 01:11 | this case I'm going to change the name
of this layer to let's say, Text because
| | 01:16 | I want to have one layer for all my
text. That would be really useful.
| | 01:20 | I can also change things like the
color of the layer and I'll talk about that
| | 01:23 | color in just a minute. And there are
a lot of checkboxes here about whether
| | 01:27 | you should see the things on that layer
or whether things on this layer should
| | 01:31 | be able to be printed and so on. I'm
going to leave these alone for right now,
| | 01:35 | click OK and see that we
have a Text layer in here now.
| | 01:38 | Now, let's go ahead and add a few more
layers, I'm Option or Alt-clicking on
| | 01:42 | that button to create a new one.
I'll call this one, Images. Now I'll hit
| | 01:47 | Enter, let's do another one called
Background, and I'll click Enter. By the way
| | 01:52 | you don't have to use the button here,
you could come up to the Layers panel
| | 01:55 | menu and choose New Layer. But
that's just a really slow way to do it.
| | 01:59 | Let's do another one that says
Background graphics, and I'll click OK. So I
| | 02:05 | have a bunch of different layers here.
They're not necessarily in the order
| | 02:08 | that I'm going to want them in, but
for now it looks pretty good. Let's start
| | 02:12 | putting things on those layers. I'm
going to select my text frames. I'm holding
| | 02:17 | on the Shift key while selecting these
various frames. There we go, I've got a
| | 02:21 | few text frames here, 1, 2, 3, 4, 5
different text frames and I want to put all
| | 02:26 | of those on my Text Layer. How do I get
them there? It all has to do with this
| | 02:30 | little blue box. This little blue
square that shows up there and that tooltip
| | 02:36 | even tells us that indicates selected
items. In other words, the objects that
| | 02:41 | are on the page are sort of stored in
this little proxy. And if I drag that
| | 02:46 | proxy up to the Text Layer, well
then they all get put on the Text Layer.
| | 02:51 | We can see that they are all on the
Text Layer because now they all have red
| | 02:55 | borders. The red borders indicate
which layer they are on. It's a red layer
| | 03:01 | color and therefore, all these objects
are going to be highlighted in red. When
| | 03:05 | I de-select them, we can still see red.
Let's go ahead and get these images up here too.
| | 03:11 | I've got one image on this page; I'm
going to drag that up to the Images Layer,
| | 03:15 | good. Let's say, this Background, I've
got two Background frames that I know
| | 03:19 | of, is big green thing and then
it's kind of a wavy line thing in the
| | 03:23 | background. I'm going to put both of
those on my Background Layer and oh, look
| | 03:27 | at that. Well, I moved it to a higher
layer, so they move to a higher layer on
| | 03:33 | my document page as well. In other words,
it moved in front of everything that
| | 03:38 | was on the Images, Text and Layer 1 layers.
| | 03:41 | Well, that doesn't help me very much
because I want those background objects to
| | 03:45 | be down in the background. How do I
reorder my layers, it's as simple as
| | 03:49 | dragging. I'm going to drag that
background layer down, down, down until I see
| | 03:54 | the thick black line at the
bottom of the Layer panel. There we go.
| | 03:59 | Now the background is at the bottom and
everything else is on top of it. Let's
| | 04:03 | choose a few more things here. I'm
going to put that logo in this background
| | 04:07 | image and may be those flowers on
the Background graphics Layer, and then
| | 04:12 | that's too high up, I don't want that
on top of all those things, so, I'll drag
| | 04:15 | that layer down just in front of the
Background Layer. But this looks pretty
| | 04:20 | good. I've got a pretty good setup here.
I've got some objects on Background,
| | 04:24 | some on Background graphics,
Text, Images and so on.
| | 04:27 | I'm not sure if I have anything left on
Layer 1 that are forgotten, so here is
| | 04:31 | a cool little trick, hold down the
Option or the Alt key when you click on a
| | 04:35 | layer, and that will select any objects
that are on that layer. It's a nice way
| | 04:41 | to just say, select everything on
this layer, Option or Alt, click on that
| | 04:44 | layer. And I see that I do have
something and I can tell because I've got a
| | 04:48 | little blue box here. So I go and look,
and there we go, it's that dark green
| | 04:52 | box. That one should have been dropped
down onto the Background Layer as well.
| | 04:56 | There we go. Now that's on that
Background Layer, if I Option-click on Layer 1,
| | 05:01 | nothing happens at all, indicating
that there are no more objects on Layer 1.
| | 05:05 | So I can take that and just throw it
away. I'm just dragging it on top of the
| | 05:09 | little Trash Can icon there, or I
could have simply just clicked on the Trash
| | 05:13 | Can icon, either way it works.
| | 05:14 | There are two other layers that I
often add to my documents. One is a Guides
| | 05:20 | layer, so I'm just going to call one
Guides, click Okay, and another one is a
| | 05:23 | Notes layer. I'll just call this
Notes. And you can put those anywhere, I
| | 05:28 | typically put them at the top, and I'll
make my Notes layer non-printing. Here,
| | 05:33 | I'll double-click on it to come back to
Layer Options. That's a fast way to get
| | 05:37 | back to Layer Options, just double-
click on the layer and I'm going to turnoff
| | 05:40 | the Print Layer checkbox.
| | 05:42 | Now when I click OK, you'll notice
that Notes is in Italic. That means that
| | 05:47 | this layer will not print. When I
print my document it won't show up, if I
| | 05:51 | export a PDF, it won't show up. And
that's useful for if I'm just leaving
| | 05:55 | myself Notes. For example, I might come
out here and drag a frame out here that
| | 06:00 | says, "Hey! What is this thing?" And
I'll make it a little bit bigger and so
| | 06:05 | on. And that object, that is
basically a note, it's a non-printing note. It
| | 06:10 | only shows up on screen. So that's a
thing to think about, I delete that for
| | 06:14 | now because it's kind of ugly to look at.
| | 06:16 | The Guides layer is helpful to put my
guides on. You don't have to put your
| | 06:19 | guides on a Guides layer, completely up
to you. I find it useful for organizing
| | 06:24 | my document. Whenever you want to put
something on a particular layer, select
| | 06:28 | the layer first and then add the
object. So I click on the Guides layer to
| | 06:32 | select it, and now I'll drag out some
guides. I'm just going to drag out a
| | 06:35 | bunch of guides here to give you an
idea of what I'm talking about, let's do
| | 06:39 | some vertical guides too.
| | 06:41 | So I have a bunch of guides on my
document but they are all showing up on the
| | 06:46 | Guides layer. I can tell that because
the selected guide, this one right here
| | 06:51 | is represented by that little blue
square. De-select that and the square goes
| | 06:56 | away. I just clicked out here where
there were no objects, so that square went away.
| | 07:00 | So I now have a really well organized
layered document, and one of the best
| | 07:05 | parts about layered documents is
that I can hide the layers that I'm not
| | 07:09 | working on right now. For example, I
don't need those Guides, so I can hide
| | 07:13 | them by clicking on that little
eyeball icon. Click on that and they just
| | 07:17 | disappear. Anything on
that layer will disappear.
| | 07:20 | I don't need my notes right now and
what if I don't want to see my images, I
| | 07:24 | can simply click on that and the
images go away. So I have a lot of control
| | 07:28 | over what I'm and I'm not seeing.
Really helps when you have complex documents
| | 07:33 | to be able to turn off the
layers that you don't need right now.
| | 07:37 | Another option is to leave them on but
lock them. That second column is about
| | 07:42 | locking the layer, so I can click in
this column and it will lock that Images
| | 07:48 | layer, it's a little padlock icon there.
| | 07:51 | Now anything on that layer I can't
even select, I'm going to click on it. I'm
| | 07:56 | going to keep clicking around it and
I'm going to see that I cannot click on it
| | 07:59 | at all. It's as though it weren't
even there, even though I can see it. So
| | 08:03 | locking a layer is really helpful when
you want to work on anything behind it.
| | 08:07 | Let's say I only want to work on some
text frames where I can lock images,
| | 08:13 | graphics and background, and now I'm
sure to wherever I click it's going to be
| | 08:17 | a text frame. I can't even
accidentally move or change anything on any of the
| | 08:23 | other layers.
| | 08:24 | As you can see building and using
layers isn't required, but it really helps
| | 08:28 | you organize your documents.
| | Collapse this transcript |
| Nesting objects| 00:00 | Okay, here's a wacky concept that you
have to get into your head before you
| | 00:03 | really become an InDesign expert.
You know that text and graphics both go
| | 00:08 | inside frames, right? But did you
know that you can put any object into a
| | 00:12 | frame? In fact, you can put a whole
frame inside another frame. This concept is
| | 00:17 | called Nesting, and it turns
out to be crucially important.
| | 00:21 | For example, I want to put this image
inside this frame, this green frame here.
| | 00:26 | So I'm going to select that object and
I'm going to cut it to the Clipboard.
| | 00:30 | I'll just choose Edit > Cut. Now it's
on the Clipboard and I'll select the
| | 00:34 | green box and I'll select Edit, not
Paste but Paste Into. Paste Into means nest
| | 00:42 | that object inside the selected
object. And we can see that that image is
| | 00:47 | inside this green frame now. Because
the image that I cut was up here at the
| | 00:52 | top of the page, when I pasted it into
this, it centered it into that object.
| | 00:57 | If that object had been overlapping the
green box, then it would have actually
| | 01:01 | placed it in exactly the same page
location as it was originally. That's pretty
| | 01:06 | cool. Let's see how that works.
| | 01:08 | I'm going to get rid of that frame
in here. I want to select it. How do I
| | 01:11 | select inside of a Nest? Well, I need
the Select Content button, up here in the
| | 01:16 | Control panel there is a weird little
icon that looks like kind of a flowchart
| | 01:20 | with a Down Arrow on there. And if I
click on that, it selects into an object,
| | 01:25 | that's the Select Content button
that's selecting the content of the nested
| | 01:29 | object. I can also find that in the
Object menu under the Select submenu.
| | 01:34 | Select > Content or Select > Container,
but I like using the buttons instead.
| | 01:39 | If I click on that again, I actually
choose the image inside the frame. The
| | 01:44 | image is the content of the frame and
that frame is the content of this big,
| | 01:49 | green frame up here.
| | 01:51 | Now I can move up the hierarchy as
well by clicking on the Up Arrow up here,
| | 01:55 | that's selecting the Container. I
click once and it selects the image frame.
| | 02:00 | Click again, and it selects the green
frame out here. So this let's you move
| | 02:05 | through your nested objects, really
quite efficiently. I'm going to select that
| | 02:09 | image frame again and I'm just going
to delete it. I'll just press the Delete
| | 02:12 | key, and it goes away.
| | 02:14 | Now instead I'm going to nest this big
word, this script word Bliss, I want to
| | 02:19 | put that inside this green frame. So
we'll do the same thing. I cut it to the
| | 02:23 | Clipboard with a Command+X or Ctrl+X
on Windows. I'll select to the green
| | 02:28 | frame, and then I'll paste it in
using Paste Into, or you can press
| | 02:32 | Command+Option+V or Ctrl+Alt+V.
| | 02:35 | This time it didn't center it,
although it looks pretty centered. It actually
| | 02:39 | did not center it in the green frame.
It put it in exactly the same locations
| | 02:43 | it was originally because it was
overlapping the green frame. Even if it were
| | 02:48 | just overlapping a little bit. That's
all InDesign looks for, if it overlaps it
| | 02:52 | will put it in the same location,
if it didn't overlap it'll center it.
| | 02:56 | Now in this case, this object is Bliss,
script face is actually a group of
| | 03:02 | objects. Whenever you group a bunch of
objects together, they act as a single
| | 03:06 | object. And I can see that by clicking
on the Select Container and I can see
| | 03:11 | it's the dashed line. That means it's a
group. I'll be talking about groups and
| | 03:14 | how to make them in a later movie, but
for right now just trust me here, if you
| | 03:19 | have a group of objects, they act as a
single object that can be grouped inside
| | 03:23 | of a frame. You cannot nest more
than one individual objects into a frame
| | 03:29 | unless they are grouped.
| | 03:30 | So here I've selected the Group with
the Select Content button and if I click
| | 03:35 | again we see that one object inside the
group just that final S is selected. I
| | 03:41 | can now use the Select Previous and
Select Next buttons up here to select each
| | 03:46 | object one at a time. There is the L,
there is the B. If I switch over to the
| | 03:51 | Direct Selection tool, you can see the
letters of that. And once again, those
| | 03:55 | buttons move back and forth one object
at a time, inside the group. Click on
| | 04:00 | the Select Content button and it
selects all the objects in the group. Select
| | 04:04 | it again and I select the green frame.
| | 04:07 | Now I could actually select this green
frame with the Selection tool and cut it
| | 04:12 | and nest it inside of another frame,
and then I could cut that and nest it
| | 04:16 | inside of another frame, and so on
and so on. And you can see that nesting
| | 04:20 | objects inside other objects can
obviously get way out of hand. But that said,
| | 04:26 | it is extremely helpful for a
wide range of Layout Effects.
| | Collapse this transcript |
| Editing frame and path shapes| 00:00 | InDesign has a wide variety of Drawing
tools, including a fully featured Bezier
| | 00:04 | Pen tool just like Illustrator, but
none of that matters much to me because I
| | 00:09 | can't draw. But I can make simple
shapes like basic frames, like ellipses and
| | 00:15 | rectangles, and then I can edit them
to get the look I want. Let me show you
| | 00:19 | how that's done.
| | 00:20 | I'm going to edit this text frame on
this side to have a rounded corner on this
| | 00:26 | side, on the left side here. Let me
zoom into 200% and I'll pan over to the top
| | 00:31 | here and I want to add a point
along the left edge of this text frame.
| | 00:36 | How do you add a point, well, you use
the Pen tool. So I'll choose the Pen tool
| | 00:40 | from the Tool panel, and then I'll
place it on top of the left edge of that
| | 00:45 | frame and you may not be able to see,
it's very small. There is a tiny, little
| | 00:49 | plus sign. Whenever you put the Pen
tool on top of an edge of a path or a
| | 00:54 | frame, it says, "I'm going to add a
point right here." I don't have to choose
| | 00:58 | any other special add point tools or
anything. I just place it on top of that
| | 01:03 | frame, and then I can click. When I
click, it adds a point there and I can even
| | 01:08 | move that point over. I'm going to move
it with the Selection tool, but I don't
| | 01:13 | want to bother with going and getting
the Selection tool from the Tool panel.
| | 01:16 | I'm just going to hold down the
Command key on the Mac or the Ctrl key on
| | 01:21 | Windows, and that gives me
the Selection tool temporarily.
| | 01:24 | When I hover over that point, I can
move it over to where I want to put it. Now
| | 01:31 | when I let go over the Command or the
Ctrl key, it goes back to being a Pen
| | 01:34 | tool. That Command or Ctrl key
shortcut is a really helpful technique for
| | 01:39 | whenever you need the Selection tool.
It always gives you a Selection tool, no
| | 01:43 | matter what other tool you have selected.
| | 01:45 | Okay, so I can see that I've put a
point along the segment of this path, but
| | 01:49 | it's a very sharp corner point. How do
I turn it into a rounded corner point? A
| | 01:55 | nice soft edge, a nice soft curve along here.
| | 01:58 | Well, if I hold down the Option key or
the Alt key on Windows, that Pen tool
| | 02:04 | turns into a Convert Point Path. So I
can actually click on that and while I'm
| | 02:09 | holding on Option or Alt, I'll drag
out my Bezier handles. So now I have a
| | 02:15 | nice, smooth Bezier curve
along that point instead.
| | 02:19 | Here's one more way I could get a curve
point along this straight edge. Instead
| | 02:24 | of just clicking on it I could click-
and-drag. And you see that it's adding a
| | 02:29 | point and curving it at the same time.
So now I've got a curve point here and a
| | 02:35 | big curve over here and this is kind of
ugly. I want to get rid of that point.
| | 02:39 | How do I get rid of a point on a curve?
I still have the Pen tool selected and
| | 02:44 | I place it on top of one of those
points. If I place the Pen tool on top of a
| | 02:49 | point on a path then it gives me a
little minus cursor. It's really a tiny
| | 02:54 | little minus in the lower right corner
of the cursor, and if I click with this
| | 02:57 | cursor, it just removes that point
entirely. That's how you remove a point from a path.
| | 03:03 | Now I'm going to pan over here with
my Option+spacebar or Alt+spacebar
| | 03:08 | technique and show you a very
different kind of path technique involving how
| | 03:13 | you mix more than one Frame together.
Let me show you what I mean. I'm going to
| | 03:17 | grab this ellipse and I'm going to
draw it on top of this frame up here. So I
| | 03:22 | have two different frames. I've got an
Ellipse frame and this Rectangular Image
| | 03:27 | frame here. Now I'm going to select
both of those with the Selection tool. One
| | 03:31 | is selected and then I Shift-click on
the other. I want to mix those together
| | 03:35 | into one frame so that I get kind
of a frame with a bump on the top.
| | 03:40 | How can you do that? Well, I need the
PathFinder features. And you can find the
| | 03:44 | PathFinder features at the bottom of
the Object menu. Way down here in the
| | 03:48 | PathFinder's submenu. But to be honest,
it's just way too far to go. I don't
| | 03:53 | like going all the way down to that
menu. So instead, I'd rather use a panel.
| | 03:57 | I'm going to go to the Window menu,
choose Object & Layout and then PathFinder.
| | 04:02 | I like panels because I can dock them
on the side of my screen here so I can
| | 04:06 | get to them quickly or later when I
need them. All those PathFinder operations
| | 04:09 | that were in the menu show up here as
little icons. This one lets me add two
| | 04:15 | objects together to make a single
object. But here's the trick, with most of
| | 04:20 | these, whatever content is in the
topmost object wins. Right now, that image is
| | 04:27 | in the bottommost object, there are two
objects, one empty one on top of a full
| | 04:32 | one, the one with the image in it. I
want that image to survive, so I need to
| | 04:36 | put that one on top of the other.
Unfortunately, they are on different layers.
| | 04:41 | I have this one on my artwork layer and
this one on my text layer. So I'm going
| | 04:45 | to have to bring this down to my
artwork layer, then select my image, then I'll
| | 04:50 | use Object > Arrange > Bring to Front,
and now that is sitting on top of the ellipse.
| | 04:57 | Once, they are on the same layer and I
have the stacking order just the way I
| | 05:00 | want it, I can select both of those
objects, open up PathFinder and choose Add.
| | 05:07 | The Add PathFinder operation will add
two or more objects to make one more
| | 05:11 | complex object. This shape here would
be very difficult for me to draw by hand.
| | 05:16 | Let me show you one other PathFinder
operation I use all the time. I'm going to
| | 05:20 | draw another ellipse right in the
middle of that one. I'm going to drop a hole
| | 05:25 | right in this. I'm going to make this
into almost a doughnut shape kind of
| | 05:28 | thing. I'll select that one and this
one and I'm going to use Subtract. And
| | 05:33 | when I use Subtract, it takes that
topmost one and it cuts right through the
| | 05:38 | bottom. The Subtract PathFinder button
is actually the only one in which the
| | 05:43 | background image survives. So it
ignores the content of the top one and it
| | 05:49 | keeps the content of the back object.
| | 05:51 | In this case I've put a hole in that
background object so if I put that on top
| | 05:56 | of another image, you can actually see
right through it, you can actually see
| | 06:00 | right through that image.
| | 06:01 | There are a bunch of other PathFinder
operations in here that I encourage you
| | 06:05 | to play around with, and see how they
work for you. But in general the Add and
| | 06:10 | Subtract are the two ones that I use
the most. I do want to talk about the
| | 06:14 | Convert Shape feature because that can
be very useful. For example, if I have a
| | 06:18 | rectangular frame here and I wish it
were in an ellipse. All I have to do is
| | 06:23 | open the PathFinder panel here and
click on the Ellipse button, and it converts
| | 06:27 | that into an elliptical shape. Would
I rather have a triangle perhaps, Just
| | 06:32 | click on Triangle?
| | 06:34 | So there are a lot of shapes in here
that you can use to your benefit. Here's a
| | 06:38 | rounded corner rectangle, where corners
are rounded. I don't know why you would
| | 06:42 | ever want to use this one with that
inset corner, but there you go. It's nice
| | 06:45 | that Adobe added that to the list.
| | 06:48 | If I really need heavy-duty
Illustration tools, I can always copy some object
| | 06:52 | and paste it into Illustrator, edit it
there and then copy and paste it back.
| | 06:57 | But in most cases InDesign
just gives me everything I need.
| | Collapse this transcript |
| Understanding corner options| 00:00 | In our last movie, I discussed how to
change the shape of objects on your page.
| | 00:04 | Here is one more way to change a shape,
but here we'll only be changing an
| | 00:08 | object's corners. I'm going to zoom in
on this object over here, and I want to
| | 00:13 | change the corners from nice sharp
corners to nice rounded corners. So I'll
| | 00:18 | select the object, go to the Object
menu and choose Corner Options. The Corner
| | 00:24 | Options dialog box gives me several
different effects including Fancy, Bevel,
| | 00:29 | Inset. It's a good idea to leave the
Preview check box turned on, so you can
| | 00:33 | see what each of these things do, as you go.
| | 00:36 | Let's try Fancy, hmm... that's a little
bit too fancy. Bevel, nice sharp edges,
| | 00:42 | but I want it rounded. How about
Inset? Uh... I don't think so. Inverse
| | 00:47 | Rounded, nah... that's just kind of,
weird. How about rounded? Yep, there we go
| | 00:52 | rounded corners on our nice sharp
frame and I can change the Size of the
| | 00:57 | rounded corner simply by increasing or
decreasing the amount in the Size field.
| | 01:03 | To be honest, I have never used any
of these in a real project except for
| | 01:07 | Rounded, but if you like them go for it,
it's up to you. I'll click OK and we
| | 01:11 | can see that this object has rounded
corners. Now what's interesting about this
| | 01:16 | is that the object itself still has
sharp edges. I have not changed the points
| | 01:22 | on this path. If I click on the
Direct Selection tool, you can see that the
| | 01:26 | point is still out here, there are no
Bezier points here, just one out here.
| | 01:31 | And if I drag this out, I get nice
straight lines and then it goes into a curve
| | 01:35 | and comes out again. This can be very
handy when you need a soft curve and you
| | 01:40 | can't draw it by hand, which I
certainly can't draw Bezier curves very well, so
| | 01:45 | I really love this corner point feature.
| | 01:47 | Let's go and see another example down
here. I'll switch to the Selection tool,
| | 01:52 | click on my object, go to Object,
Corner Options and change this to Rounded,
| | 01:58 | click OK. Now in this case, it would
be nice if I could get the Bezier curve.
| | 02:03 | So I want to show you a secret trick
for how to convert a Corner Options, kind
| | 02:08 | of, curve to real true Bezier points.
I'll open my PathFinder panel and I'll
| | 02:14 | click on the Close Path button here.
The Closed Path button or the Open Path
| | 02:19 | button, either one works, but I'll
click on Close Path and suddenly it looks
| | 02:24 | the same until we switch to
the Direct Selection tool.
| | 02:27 | I'll press A on my keyboard to switch
to the Direct Selection tool and now you
| | 02:31 | can see that point out here is gone
and it's been replaced with real Bezier
| | 02:36 | points on the edges of this frame.
| | 02:39 | This might be handy if I need to do
some real fine tune tweaking; I don't know
| | 02:43 | maybe I need to go in here and change
this to some really strange shape, I
| | 02:47 | don't know, it's up to you. It could
be a useful technique to be able to
| | 02:51 | convert the algorithmic rounded corners
into true Bezier points, just wanted to
| | 02:56 | point that out, that you can do that.
| | 02:57 | Now I'm going to scroll down a little
bit more and I'm going to show you one
| | 03:00 | more Corner Points technique. I'll
close my PathFinder panel and I'm going to
| | 03:04 | draw a line, I'm going to use the
Bezier Pen tool to draw a line from here,
| | 03:09 | I'll just click once and then click
again out here and then click it again down
| | 03:14 | here and that just gives me a sharp
cornered, kind of, L shaped line on my
| | 03:19 | page. And I want to put an arrow head
at the bottom here. So I'll go to the
| | 03:22 | Stroke panel, go to the End, pop-up
menu and choose Curved. So now I've got an
| | 03:28 | arrow head at the end of a sharp corner,
but what if I wanted to soften this a
| | 03:32 | little bit, I didn't
like the sharp feel of that.
| | 03:35 | Well, the good news is that Corner
Options does not only work on frames, it
| | 03:40 | also works on any kind of path. In
this case, if I open the Corner Options
| | 03:45 | while this is selected, I can choose a
Rounded Corner Option and it actually
| | 03:50 | rounds the edge of my path, beautifully!
So you can convert any kind of path
| | 03:55 | into a rounded corner, even sharp
lines like these arrows. These kinds of
| | 04:01 | effects make it easy to create great
looking layouts fast and even better to
| | 04:05 | update or edit them later.
| | Collapse this transcript |
| Grouping and locking objects| 00:00 | When you have two or more objects
that need to stay together on your page,
| | 00:04 | consider grouping them. For example,
in this layout these two objects, the
| | 00:09 | image and the caption next to it,
really are a single group, and if one moves
| | 00:14 | the other one should move as well.
So I can select both of those with a
| | 00:18 | Selection tool and then go to the
Object menu and choose Group. I can see it's
| | 00:23 | a group because a dashed line
goes all the way around both objects.
| | 00:27 | Groups have an unfortunate limitation
and that is all the objects in a group
| | 00:32 | have to be on the same Layer. If I
look in the Layers panel, I can see that
| | 00:36 | both of these objects have been moved
to the text Layer, even though this is
| | 00:40 | obviously not text. But some
times you have to give up one form of
| | 00:43 | organization, layers, for another
grouping. Let's go ahead and select both of
| | 00:48 | these, and I'll group those with the
keyboard shortcut Command+J or Ctrl+J on
| | 00:52 | Windows and the same thing with these over here.
| | 00:55 | Now each of these groups are part of a
larger unit on my page, so I'm going to
| | 01:00 | select all three of those, holding down
the Shift key and clicking on them and
| | 01:03 | then group those three groups into
yet another group. Now I've got one big
| | 01:08 | group, which contains three smaller
groups. If I try and move one object, they
| | 01:13 | all move. That's how groups work.
| | 01:16 | If I really wanted to move one object
inside the group, let's zoom in here to
| | 01:21 | 100% so that we can see this a little
bit better. If I wanted to move just this
| | 01:24 | text frame, I would use the Direct
Selection tool. I'll press A for the Direct
| | 01:28 | Selection tool and then click on the
object I want to move and then drag its
| | 01:33 | center point. It's still part of a group,
but I moved it independently with the
| | 01:37 | Direct Selection tool.
| | 01:38 | Now that this group is where I wanted
on this page, I might want to lock it in
| | 01:42 | position, so that it doesn't
accidentally get moved. I'm going to switch back
| | 01:46 | to the Selection tool by pressing V on
the keyboard. Clicking on the group and
| | 01:51 | then locking it in place by going to the
Object menu and choosing Lock Position.
| | 01:56 | Note that InDesign's locking doesn't
work like Illustrator's, where objects
| | 01:59 | become non-selectable. If I lock that
I can still select the object; I simply
| | 02:04 | can't move it. Every time I try, I get
a little padlock icon, but I could still
| | 02:09 | choose the Type tool, come in here, and
delete some other text. It's locked in
| | 02:14 | place, but is not truly locked.
| | 02:17 | On other hand, the benefit of
InDesign's way of locking things is that I can
| | 02:20 | quickly unlock a single object instead
of having to unlock all the objects on
| | 02:24 | my page. If I really want to lock
something down so that it doesn't move,
| | 02:29 | doesn't change, I can't even select
it then you should put it on a locked
| | 02:33 | layer. If I come up here to the Layers
panel and click on the locked icon next
| | 02:38 | to the text layer, now everything on
that layer is completely locked. I can't
| | 02:42 | select it. I can't edit it. In fact if
I come over with a Type tool and try and
| | 02:46 | edit it, I get a cursor with a pencil,
with an X through it; no editing this
| | 02:52 | stuff, I can't even touch it at all.
| | 02:53 | Now you don't have to lock or group
objects, but these features sure make it
| | 02:57 | easier to lay out your projects faster.
| | Collapse this transcript |
| Aligning and distributing| 00:00 | Whenever you have two or more objects
on your page, you need to think about the
| | 00:03 | relationship of those objects.
Stacking is one kind of relationship, that is,
| | 00:08 | which object is in front of the other.
Another kind of relationship is aligning
| | 00:12 | or distributing objects on the page.
| | 00:14 | For example, these three objects,
these images need to be aligned along the
| | 00:18 | left edge. There are several ways to
align objects along the same edge, one is,
| | 00:23 | to add a guide on the page and then
snap the objects to that guide, we talked
| | 00:27 | about that in an earlier movie.
| | 00:29 | But a fast or more efficient method is
often to use the Align panel. I'll go to
| | 00:34 | the Window menu, go down to the Object
& Layout submenu and choose Align. The
| | 00:39 | icons in the Align panel are very
obvious. Align along their right edge, align
| | 00:44 | along their left edge and so on, but
what moves and what doesn't move is not
| | 00:48 | necessarily so obvious.
| | 00:49 | For example, if I select this object,
this object, and this object, and I align
| | 00:55 | them along their left edges, which
one will move and which won't? Well, the
| | 00:59 | rule is, whichever one is the leftmost
object will stay stationary, if you're
| | 01:04 | aligning along their left edge, or if
you're going to align along their right
| | 01:08 | edge, then the rightmost object
will stay stationary. So in this case I
| | 01:12 | actually want to align all of these
along the left edge of this text, so I have
| | 01:17 | the text and images in alignment.
| | 01:19 | So here's what I'm going to do. I'm
going to de-select everything by clicking
| | 01:22 | out here on the pasteboard or I
could have pressed Command+Shift+A or
| | 01:25 | Ctrl+Shift+A on Windows to de-select
everything, and then I'm going to select
| | 01:29 | the text frame and this image and
I'll align both of those along their left
| | 01:33 | edge because the text frame was further
to the left, the image moved over to be
| | 01:37 | flushed with that.
| | 01:39 | Now, I can move this image over to the
right a little bit so that the leftmost
| | 01:43 | object is this image. Now I'll select
all three of those images and I'll click
| | 01:47 | on Align Left to make sure those are
all flushed right against that text frame.
| | 01:53 | Now let's do vertical alignment.
I'm going to de-select everything,
| | 01:56 | Command+Shift+A or Ctrl+Shift+A on
Windows, and select this object and this
| | 02:00 | object and I want to align both of
those along their bottom edges. In this
| | 02:04 | case, the bottommost object will stay
stationary and the other one will move
| | 02:08 | toward it. This looks great, but how
do I know there is an equal amount of
| | 02:12 | space between each of these objects.
Well, as soon as you start talking about
| | 02:16 | equal spacing, you're
talking about distributing.
| | 02:19 | So let's move away from the Align
Objects section and look at Distribute
| | 02:23 | Objects. There are two distribute
sections, Distribute Objects and Distribute Spacing.
| | 02:28 | Distribute Objects means distribute the
space from one side of an object or of
| | 02:34 | the center of an object to the
side or center of the next object.
| | 02:37 | To be honest, I don't find these that
useful. What I usually use is Distribute
| | 02:41 | Spacing, which means make sure there
is an equal amount of space between each
| | 02:45 | of these objects. In this case, if I
select all three of those images and I'll
| | 02:50 | de-select this text frame here with a
Shift-click on that. Shift-clicking will
| | 02:54 | either add or remove something from the
selection. I can distribute the spacing
| | 02:58 | just among those three by clicking on
the Vertical Distribute Spacing button. I
| | 03:02 | saw this moved just a little bit, and
that way I know that there is exactly the
| | 03:07 | same amount of space
between each of those objects.
| | 03:09 | Here's another use of the Distribute
Spacing feature. I would like this red
| | 03:14 | frame to be flushed right up against
the edge of this brown frame. So I can
| | 03:18 | select both of those, go down to
Distribute Spacing and before I click on this
| | 03:23 | button I'm going to turn on the Use
Spacing checkbox. Use Spacing means use
| | 03:29 | this spacing or put this amount of
space between these objects. So if set this
| | 03:33 | up to Use Spacing 0 and then I click on
Vertical, it means make sure there is 0
| | 03:39 | space between these objects, and
that's the effect I was looking for.
| | 03:43 | Here is a few more alignment and
distribution tricks. I'd like to take this
| | 03:47 | image here and center it inside of
this brown frame. In this case, I want to
| | 03:52 | make sure the image moves and the
brown frame doesn't. So I'm going to select
| | 03:56 | that brown frame, I'm going to go to
the Object menu and lock its position.
| | 04:01 | Whenever an object is locked, it will
stay stationary and everything else will
| | 04:04 | align to it. So I'll select both of
those and align these horizontally and then
| | 04:09 | vertically. Now I know that these are
in perfect alignment in their centers.
| | 04:13 | Also, I don't only have to align to
other objects; I can align to the page
| | 04:18 | itself. This pop-up menu here in
the Align panel, let's me align to the
| | 04:22 | Selection or align to the Margins on
the page or even align to the whole Page
| | 04:27 | or the Spread. So for example, I might
select an object like this and say, I
| | 04:32 | want it to align along the right side
of this margin. I could just drag it over
| | 04:36 | there, I suppose, but it's not as much
fun as using the Align panel. Here I'm
| | 04:40 | going to click on the Right Align and
it aligns directly to the right edge,
| | 04:45 | Uh-oh, I set it to Align to Page
instead of Margin, I'll change this to Margins
| | 04:49 | and now right align to the margin. So
there you go. You have a lot of precision
| | 04:54 | about where you put every object on your page.
| | 04:57 | Now in InDesign CS4, there is a new
feature for alignment called Smart Guides.
| | 05:02 | Smart Guides are really exciting,
because it means you can align things and
| | 05:06 | distribute them without the Align panel
at all just by dragging them around. So
| | 05:11 | I'm going to put my Align panel off on
this side here, so I don't see it right
| | 05:15 | now. I'm going to select this text
frame and I'm going to start dragging it
| | 05:18 | around, and as I drag it around,
you'll see a bunch of green lines appearing
| | 05:23 | and disappearing as I move it. Now
those green lines are Smart Guides. Let's
| | 05:28 | zoom in and see if we can decipher
them. I'm going to zoom into 200% with
| | 05:33 | Command+2 or Ctrl+2 on Windows and as
I drag this around, let's see if I'll
| | 05:38 | drag it up a little bit higher, I'm
going to see a green bar, go from the top
| | 05:43 | of the moving object to the top of the
image on the left. That green bar was a
| | 05:49 | Smart Guide and that meant that this
text frame was aligning with this object over here.
| | 05:54 | Let's say I want to align at the bottom
with the bottom over here. I'll simply
| | 05:58 | start dragging until I see a green bar
up here between those two objects. And
| | 06:04 | that bar shows me that there is enough
relationship that they are both aligned
| | 06:07 | along their bottom. So that's very handy.
| | 06:10 | Now what if I wanted to have the same
amount of space between this text frame,
| | 06:13 | and this text frame, and also between
this text frame and this text frame,
| | 06:17 | well, I'm going to start dragging up
or down until I see little green arrows
| | 06:22 | show up between. There we go. Do you
see those little arrows over on the right?
| | 06:26 | That means there is an equal amount of
space between those text frames. This
| | 06:31 | ability to do smart alignment with the
Smart Guides is just incredible. On the
| | 06:36 | other hand, it can sometimes be really
overwhelming to have all of those lines
| | 06:40 | flashing on and off. So usually I have
it turned off. So how do you turn it on
| | 06:45 | and off? We'll go to the View menu,
go down to Grids & Guides and we'll see
| | 06:49 | Smart Guides right here and their
shortcut is Command+U or Ctrl+U on Windows.
| | 06:55 | So I'll usually have this turned off,
so I don't see those things flashing
| | 06:58 | around as I move my objects, and then
when I really want to align something,
| | 07:02 | I'll press the keyboard shortcut, come
over here and align it. Right now I'm
| | 07:06 | aligning the center of the text frame
to the center of the image, let go, and
| | 07:11 | then I'll press the keyboard
shortcut to turn the Smart Guides off again.
| | 07:16 | I love InDesign because it gives me
incredibly precise control over every
| | 07:20 | object on my page, which is exactly what
I need to build high-quality documents.
| | Collapse this transcript |
| Understanding text wrap| 00:00 | How do you get text to run around
something on your page? For example, how
| | 00:04 | could I get this text to wrap around
this circular shape? The trick is the Text
| | 00:08 | Wrap panel. So I'll go up to the
Window menu and choose Text Wrap.
| | 00:13 | There are five different ways to shove
text around with the Text Wrap panel.
| | 00:17 | There are a bunch of other fine-tuning
options, but first I need to point out
| | 00:21 | something really important here. The
object that causes text wrap can be above
| | 00:26 | or below the text frame. For example,
this graphic here is on a layer below the
| | 00:31 | text, but it can still cause run
around, and that's different than in
| | 00:35 | QuarkXPress where the wrapping
object has to be above the text.
| | 00:39 | If for some weird reason you wanted to
work more like QuarkXPress, you can do
| | 00:43 | that. You just have to go to the
Preferences dialog box or press Command+K or a
| | 00:47 | Ctrl+K on Windows, and then jump over
here to the Composition pane. And in the
| | 00:52 | Composition pane in the Preferences
dialog box, there is an option for Text
| | 00:56 | Wrap Only Affects Text Beneath, which
it might as well just say, "Make it work
| | 01:01 | more like QuarkXPress." But in
this case I don't want it to work like
| | 01:04 | QuarkXPress, I'd like the power that
I get in InDesign, so I'd leave that
| | 01:08 | option turned off. I click OK and
now let's take a look at each of these options.
| | 01:14 | First, I'll select the object that I
want to cause text wrap, the thing that I
| | 01:18 | want the text to wrap around, and
then I'll go up here and look at these
| | 01:22 | buttons along the top of the Text Wrap
panel. The first one, of course means,
| | 01:26 | no text wrap at all, just make the
text go right over it or right under it.
| | 01:31 | The next one is wrap the text around
the bounding box of the object. In this
| | 01:36 | case, it's a circular object, but the
bounding box is always rectangular. A
| | 01:41 | bounding box is the smallest box
that could fit around an object, so it's
| | 01:46 | always going to be rectangular. Now
the nice thing about that is that you can
| | 01:50 | control the text wrap on all four
sides of that rectangle. For example, we
| | 01:55 | could come up here and say, I want
there to be, let's say, 5 millimeters above
| | 01:59 | the object, and on the right, let's
put, may be 10 millimeters. Notice that
| | 02:05 | it's converting it to inches, because
that's the current measurement system,
| | 02:08 | but I typed in millimeters.
| | 02:10 | You can see the text wrap over here,
this lighter, sort of magenta red line
| | 02:16 | around the object, that's where the
text wrap is going, not the object itself,
| | 02:21 | which is over here to the left. In this
case I want a circular wrap around this
| | 02:25 | object. It is after all a circle. So
I'm going to go for the third option,
| | 02:30 | which allows for a non-rectangular wrap.
In this case I can control the text
| | 02:35 | wrap distance, that is how far the text
should stay away from the object, but I
| | 02:40 | could only control it with one field.
Right now, it's set to quarter-inch. If I
| | 02:44 | press the Up Arrow key, I can make it
go farther out, or if I press the Down
| | 02:48 | Arrow key, I can make it go closer at
it, or I could specify an exact amount,
| | 02:52 | of course, just by typing it in there.
| | 02:55 | Quarter-inch looks about right to me,
but let's take a look at these other two
| | 02:58 | buttons in the Text Wrap panel,
because just in case you need those sometime.
| | 03:02 | The fourth button is jump past the
object, that is the text will go above the
| | 03:08 | object and it'll go below the object,
but it will not go to the left or right
| | 03:12 | of the object. It jumps past it;
it just skips right over it.
| | 03:16 | The last button here is skip over to
the next column, that is the text will go
| | 03:20 | above it, but as soon as it hits the
text wrap, it jumps over the next column
| | 03:25 | or the next page, in this case.
Those definitely have their place in some
| | 03:28 | documents, but in this case, I'm just
going to go back to my nice rounded text
| | 03:33 | wrap. I like that.
| | 03:34 | Let's go ahead and apply that same
thing to this image over here. Move your
| | 03:38 | Text Wrap panel over a little bit, and
I'll apply the same text wrap to this one.
| | 03:44 | Now in this case, it's kind of
interesting. I'll click out here to de-select
| | 03:48 | this so we can see this better. This is
a single column text frame and the text
| | 03:54 | up here is covering the entire width of
the frame. Over here, the text goes up
| | 03:59 | to the image and then skips right past
it and continues on the other side. So
| | 04:03 | we're getting text wrap over the image.
| | 04:06 | In some designs that might be pleasant,
but I actually find it very distracting
| | 04:10 | and difficult to read, designs like
that. I would rather the text just go on
| | 04:14 | one side or the other of this image,
especially when I have something like
| | 04:18 | this. If this image is pushed over to
the left, we have just a little bit of
| | 04:21 | text over here and a lot of text over there.
That's just really annoying to look at.
| | 04:25 | Fortunately, we can change that
behavior with the Wrap To pop-up menu.
| | 04:30 | Right now, it's set to Both Right &
Left Sides which is the default behavior,
| | 04:34 | but I can change this to just going
around the right side or the left side or
| | 04:40 | the side toward the spine or away from
the spine, that's often helpful if the
| | 04:44 | page may be moving from left to right
or the largest area. Largest Area is nice
| | 04:50 | because if the object moves, the text
will move as well. Right now there is
| | 04:54 | more space on the right side and so the
text will fit over here. But if I move
| | 04:59 | this object to the right, now there is
more space on the left side. So the text
| | 05:02 | flows around that side.
| | 05:04 | I'm going to bring this image down to
sit on top of the text. And I'd like the
| | 05:08 | text to wrap around that image there.
I'm going to use the third button here,
| | 05:14 | the third button to wrap around it, but
notice that this is a rectangular frame
| | 05:18 | even though it has a non-rectangular
image inside of it. So how do I tell
| | 05:23 | InDesign to wrap around this image,
not the frame? The trick is the Contour
| | 05:29 | Options, Type pop-up menu. Right now
it's set to Same as Clipping, and there is
| | 05:35 | no clipping path on here, it's just a
rectangular frame, and so it's wrapping
| | 05:39 | around it in a rectangular fashion.
But if I change this to Alpha Channel, I
| | 05:44 | get a different effect.
| | 05:45 | Alpha Channel means the
transparency of this image. This image has a
| | 05:50 | transparent background and we can use
that transparent background to control
| | 05:54 | the text wrap. I'm getting the text
wrapping on the right side, which is just
| | 05:58 | really horrible, so I'm going to
change this to Largest Area. Here we go.
| | 06:01 | So now it'll only wrap around the left
side in that nice shape, so that looks
| | 06:06 | pretty good. The Alpha Channel
Transparency is useful if there is transparency
| | 06:11 | built into the image itself. If there
is no Alpha Transparency in the image,
| | 06:16 | you might need to use Detect Edges.
Detect Edges is a way for InDesign to go in
| | 06:21 | there and look for a white space
around an image and it'll say, well, they
| | 06:26 | probably meant it to wrap in this shape.
So it's a little clunky, but it can
| | 06:30 | work if you have a nice white background,
but in this case Alpha Channel works
| | 06:34 | just terrific.
| | 06:35 | OK, one more thing about Text Wrap
which you absolutely need to know and that
| | 06:39 | is, what happens if you have some text
that you want to wrap, like this text
| | 06:43 | over here, but some text
that you don't want to wrap.
| | 06:45 | For example, I'm going to grab this
text frame and I'm going to drop it on top
| | 06:49 | of these candies. Well, I should be
able to see it, after all it is on a layer
| | 06:53 | above that image, but I can't, Why?
Let's zoom in on it, 200% with a Command+2
| | 06:59 | or Ctrl+2 on Windows.
| | 07:01 | There it is, there is the clue. It
has a red plus sign in the lower right
| | 07:05 | corner that out-poured and that means
there is over-set text. The text in this
| | 07:10 | text frame is being forced right out
of the frame by the Text Wrap applied to
| | 07:14 | this image. So in this case, we want
to disable Text Wrap, but only for this
| | 07:20 | one text frame. We still want Text Wrap
to be out here. How do we do that? I'll
| | 07:24 | choose the text frame, go to Object >
Text Frame Options, or press Command+B or
| | 07:30 | Ctrl+B on Windows, and inside the
Text Frame Options dialog box there is a
| | 07:35 | checkbox, the secret checkbox. Ignore
Text Wrap, and when that's turned on,
| | 07:41 | this text inside this text frame will
not be pushed out, it won't get pushed
| | 07:46 | out of the way, it will ignore all the
Text Wrap from any object it happens to be near.
| | 07:50 | The features in the Text Wrap panel
are great, but sometimes you just need to
| | 07:54 | get in and tweak your Text Wrap a
little here, a little there and I'll explain
| | 07:59 | how to do that in the next movie.
| | Collapse this transcript |
| Editing text wrap| 00:00 | In the last movie we looked at how to
force text around any object, but what if
| | 00:05 | you want to go in and make edits to
that text wrap? No problem, you just need
| | 00:09 | to use the Direct Selection tool; let
me show you how it works. I'm going to
| | 00:12 | zoom in on this image and I'm going to
select it. Unfortunately, it's behind
| | 00:17 | this big text frame here, so I need
to click through that text frame with a
| | 00:21 | Command-click with the Selection tool,
Command-click or Ctrl-click on Windows
| | 00:25 | selects through an object.
| | 00:27 | Now I need to select the image inside
that frame, so I'll click on the Select
| | 00:31 | Content button. That selects the
content inside the frame, which is, of course,
| | 00:36 | the image and I'll switch over to the
Direct Selection tool. All of a sudden,
| | 00:41 | all those points laid out along the
text wrap. That means I can edit them. For
| | 00:45 | example, I might want to choose this
point along here and just pull it in
| | 00:49 | little bit and that let's the
text free flow slightly differently.
| | 00:53 | If you have too many points along the
text wrap you can edit them, you can
| | 00:56 | remove them, or you could actually add
more if you want to as well by switching
| | 01:00 | to the Pen tool. The keyboard shortcut
for that is P for Pen. Now if I hover on
| | 01:07 | top of a point I get the little Minus
cursor which means it is going to erase a
| | 01:11 | point on there or if I hover over a
segment where there is no point I can click
| | 01:16 | and drag and actually add
a point to the text wrap.
| | 01:20 | Now I'll go back to the Direct
Selection tool by pressing A and then all move
| | 01:25 | this into position. Obviously,
tweaking text wrap shapes can be powerful, but
| | 01:29 | it often takes so long that it should
only be undertaken by the most patient among us.
| | Collapse this transcript |
| Using anchored objects| 00:00 | On this page, I have three text frames
that are threaded together and I have
| | 00:04 | three independent images. These images
could be placed anywhere on the page and
| | 00:09 | they have got some text wrap on them.
But the problem is, if I place it here
| | 00:13 | and then I add some text up here that
image will not move down the column. What
| | 00:19 | do I do if I want an
image to move with the text?
| | 00:23 | Well, in order to do that I need to
turn it into an inline or an Anchored
| | 00:27 | Object. To do that I select it with the
Selection tool, go to the Edit menu and
| | 00:32 | choose Cut. It cuts it to the clipboard
and now I can paste it in as an inline
| | 00:38 | object using the Type tool. I'll
click right here, after the word Below and
| | 00:43 | then I'll go to Edit and choose Paste.
| | 00:46 | When you paste an object in with the
Type tool, it becomes an Inline Object.
| | 00:52 | That is, if I start typing here above
it, you'll see that it moves down the
| | 00:56 | column. Well that's kind of cool, but
it's also overlapping a bunch of text and
| | 01:01 | that's not so good. So let me select
the Selection tool and I'm going to select
| | 01:06 | it and drag it down. Inline Objects
can only be moved up or down within their
| | 01:11 | column. So I'm going to select it and
drag it down until it's not overlapping
| | 01:16 | any of the text above it.
| | 01:19 | Now if I switch back to the Type tool
by double clicking, I can delete that
| | 01:23 | text that I had typed in there, and
you will see that the image is floating
| | 01:27 | along with the text. So that's
pretty cool, but inline objects have
| | 01:32 | limitations; for example, like I said,
they can only move up or down I can't
| | 01:36 | move them left or right, especially not
outside of the text column. If you want
| | 01:40 | to have more flexibility then you can
convert this object into an Anchored
| | 01:44 | Object. To do that select with the
Selection tool, go to the Object menu, and
| | 01:50 | choose from the Anchored Object submenu
Options. Right now, we see the position
| | 01:55 | is set to inline or above line.
| | 01:58 | I'm going to change this to Custom.
Custom means it turns from an Inline Object
| | 02:03 | into an Anchored Object, and there are
a lot of controls for how you can move
| | 02:08 | anchored objects and where they can go
on the page and so on, but I'm going to
| | 02:11 | skip all the way past that right now,
and just click OK. Two things happen when
| | 02:16 | I do this, the image jumps right out of
the text frame, and it lets me start to
| | 02:22 | move it. I can simply click and drag
this and I can put it anywhere I want on
| | 02:27 | my page. I could put it over here in
this column, I could move it to the bottom
| | 02:31 | of this column if I want to, I could
put it right in the middle of that list if
| | 02:34 | I want to, and the text continues to
flow around it, because I have text wrap
| | 02:39 | on this object; but still, it's
anchored. Where it is anchored?
| | 02:44 | It's anchored in the same position
right after that word Below; in fact, I can
| | 02:48 | see that if I go the View menu and turn
on Show Text Threads. You can see this
| | 02:54 | dashed line here going from where it's
anchored to the object itself, if I come
| | 02:59 | up here and add some text after this
paragraph, you can see it continues to
| | 03:04 | float along with the text, very handy.
Let's go ahead and delete that, and it
| | 03:09 | floats back up.
| | 03:11 | Now there is one more thing I need to
tell you about Anchored Objects and it
| | 03:14 | has to do with text wrap. Right now,
this image is causing text wrap, so the
| | 03:19 | text will not flow below it, but
if I drag it and bring it up to this
| | 03:24 | paragraph, it does not cause text wrap.
I do not know if you can see that, but
| | 03:27 | the text is actually floating right
underneath it. I'm missing some text, and
| | 03:32 | that's a disaster, what's going on? Well,
anchored objects will only cause text
| | 03:38 | wrap after the position that they are
anchored in, after the line in which they
| | 03:42 | are anchored.
| | 03:43 | So if I drag it down, it causes text
wrap. No problem, but if I move it up
| | 03:48 | beyond this position that it is anchored,
it stops causing text wrap. It won't
| | 03:52 | cause any text wrap up here. Put it
over in this column, no problem; that text
| | 03:57 | is after the position, put it up here
and it causes no text wrap at all, just
| | 04:02 | something to be aware of.
| | 04:04 | Obviously, I'm skipping over a lot
of them more advanced Anchored Object
| | 04:07 | features, but I'm covering those in
the InDesign CS4 Beyond the Basics title.
| | 04:12 | For now the important thing, is to
see that you can set up relationships
| | 04:16 | between text and objects quite easily
and quickly when you use these inline and
| | 04:20 | anchored objects.
| | Collapse this transcript |
|
|
9. Transforming ObjectsDuplicating objects| 00:00 | In the old days when we needed a copy
of something on our page we use to drive
| | 00:05 | downtown and buy a Photostat. Remember
that? Fortunately it's a little easier
| | 00:10 | now. There are about 30 different
ways to duplicate items on your InDesign
| | 00:14 | page. I'm not going to cover all of
them. I'm just going to do a few that are
| | 00:18 | the most important ones. The ones you
are going to use the most often. The
| | 00:22 | first method is to hold down the
Option or the Alt key and drag an item.
| | 00:27 | Whenever you Option or Alt drag an item,
it duplicates it. What if I want the
| | 00:32 | item to be constrained along the
horizontal or vertical axis of the page, no
| | 00:37 | problem. Add the Shift key,
Option+Shift or Alt+Shift on Windows and drag,
| | 00:42 | and it constrains it horizontally or
vertically depending on which way you are dragging.
| | 00:47 | Here's another method, under the Edit
menu I can choose Duplicate. Duplicate
| | 00:52 | will copy an object using the same
horizontal or vertical offsets that I last
| | 00:57 | used to duplicate an object. In that
case it copied at the same distance as
| | 01:02 | from this one to this one. That's
pretty handy. I'm going to delete all three
| | 01:06 | of those duplicates by selecting them
and pressing the Delete key and I'm going
| | 01:10 | to duplicate this one more time using
a different technique called Step and
| | 01:14 | Repeat. Step and Repeat gives me a lot
of precision over how many copies I want
| | 01:20 | and what their horizontal and vertical
offset should be? For example, I know
| | 01:24 | that I want this exactly 19p7 across
from 1 to the next to the next, and I want
| | 01:30 | two copies of it. I can turn on the
Preview checkbox and see what it's going to
| | 01:34 | look like even before I click OK. That
looks right, so I'll click OK and I'm good to go.
| | 01:40 | Now let's say I want one of these
objects on another page, I can copy it, go to
| | 01:45 | the next page, I'll press Shift+Page
Down and then Shift+Page Down again to go
| | 01:49 | to page 5, and then I can paste it.
But when you paste, it always ends up in
| | 01:54 | the middle of your screen. In this
case the middle of the screen also happens
| | 01:58 | to be the middle of the page, so it's
the middle of the page. That's not where
| | 02:02 | I wanted it. So I'll delete it and try
again, but instead of choosing Paste I'm
| | 02:06 | going to choose Paste in Place. The
object ends up in exactly the same position
| | 02:11 | as it was in the original page,
the same page geometry, the same X/Y
| | 02:15 | coordinates on the page.
| | 02:17 | Actually I should be a little bit more
specific when I say that, is the same
| | 02:21 | X/Y coordinates on the spread, not
the page. For example, if I come over to
| | 02:26 | this page and try Paste in Place, it
doesn't show up at all, why? Because it
| | 02:32 | actually pasted it on top of that one
over here, because it used the same X/Y
| | 02:36 | coordinates as the original page .It
started out on a right-hand page and now
| | 02:41 | it was pasted on the right-hand page.
You see I've got two objects there
| | 02:45 | instead of just the one. I'll go ahead
and delete that one. I don't need that.
| | 02:49 | Now coming back here I want to show
you one more technique that I find very
| | 02:53 | useful for duplicating objects and
that is to use the Control panel. I'll
| | 02:59 | select this object, come up to the
first field of the Control panel, the X
| | 03:03 | coordinate here and I'm going to move
this over 19p7. In order to do that I
| | 03:10 | need to do math in this field,
fortunately, InDesign can do math in any field
| | 03:14 | where there is a number. So I can type +
19p7, and it will move it over exactly
| | 03:21 | 19p7, I love this ability to do math
in the fields, I could do addition,
| | 03:26 | subtraction, multiplication, division
all those cool things, but in this case
| | 03:30 | I'm just going to move it over 19p7,
but I don't want to move it, I want to
| | 03:34 | duplicate it. Because for example if I
just hit Enter right now it will move it
| | 03:38 | over that amount, that's not what I want,
let me undo that, Command+Z or Ctrl+Z
| | 03:42 | on Windows. Come back here and type +
19p7 again, this time I want to duplicate it.
| | 03:48 | Well, remember that first trick where I
showed you that you could Option or Alt
| | 03:52 | drag the image to duplicate it, Option
or Alt means Duplicate, just keep that
| | 03:57 | in your mind. So here I'm in the
Control panel and I have typed out that little
| | 04:02 | math equation, but if I hold down
Option or Alt on Windows, and then press
| | 04:07 | Return or Enter, it applies it and
duplicates it. I can do it again by coming
| | 04:13 | up here and saying +19p7 and then
Option or Alt, Return or Enter and it
| | 04:19 | duplicates it one more time. Knowing
more than one way to perform this same
| | 04:23 | task in InDesign is helpful not just
because you can impress your friends, but
| | 04:27 | because the more ways you know how to
do something the more likely you are to
| | 04:32 | use the most efficient technique in
any given situation, that's especially
| | 04:36 | helpful when you are under deadline.
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| Rotating objects| 00:00 | I want to rotate this date, this 2009,
90 degrees on my page, how do I do that?
| | 00:07 | Well, the first thing I need to do is
select it. Done that, now I need to set
| | 00:11 | the point of rotation, do I want it to
rotate around its center or one of the
| | 00:15 | corner points or something like that,
and I can control that up here in the
| | 00:19 | Control panel.
| | 00:21 | The Reference point icon in the left
side of the Control panel lets me set the
| | 00:25 | center point of all my transformations.
Right now it's set to the lower left
| | 00:29 | corner, but if I wanted to rotate
around its center I would click the center point.
| | 00:34 | Now I can go over here to the
Control panel buttons that let me rotate 90
| | 00:39 | degrees clockwise or counterclockwise.
I'll choose that second button and it
| | 00:44 | rotates 90 degrees.
| | 00:47 | Notice that right next to that there is
a P that turns on its side, that's just
| | 00:52 | an indicator that the selected object
is rotated. Also notice that this field
| | 00:57 | has turned to 90 degrees. This is the
rotation field from the Control panel and
| | 01:01 | I can choose any rotation I want. -45
degrees, is that angle, or 45 degrees is
| | 01:08 | that angle, or I could simply replace
this with my own rotation, like I want
| | 01:13 | 23.5 degrees, great, I
can just type it in there.
| | 01:17 | Another way to rotate objects is with
the Rotate tool, that's this tool here in
| | 01:23 | a Tool panel. You can simply press
the letter R to get the Rotate tool. The
| | 01:28 | Rotate tool lets me choose any point of
transformation. For example, I'm going
| | 01:32 | to rotate this logo. First I need
to select it with the Selection tool,
| | 01:36 | remember you can always get the
Selection tool temporarily by holding down the
| | 01:39 | Command key or the Ctrl key on
Windows. Then I'll click on that group of
| | 01:44 | objects and that selects it. Let go
over the Command or the Ctrl key and I'm
| | 01:48 | back to the Rotation tool.
| | 01:50 | Now if you look closely you will see a
little crosshairs right in the middle
| | 01:53 | indicating that the point of
transformation is the middle point. I can change
| | 01:58 | that by clicking on the Reference point
in the Control panel, or even cooler I
| | 02:03 | can click anywhere I want with the
Rotate tool. For example, I'm going to click
| | 02:07 | right on the O in that number 5, right
in the middle there. Now any rotation I
| | 02:13 | make will rotate around that letter. To
rotate I simply click-and-drag. Notice
| | 02:21 | that as I'm dragging the rest of the
page might look a little strange that's
| | 02:25 | InDesign's way of speeding itself up
by turning off Transparency temporarily.
| | 02:31 | Also notice that as I rotate the
cursor shows me the angle of the rotation,
| | 02:35 | that's a new feature in CS4. If I
want to right to 30 degrees I simply drag
| | 02:40 | until it says 30 degrees and let go.
| | 02:43 | One more method for rotating objects
is the Free Transform tool. It's located
| | 02:48 | right here in the Tool panel or you
can press the letter E to get it, and
| | 02:52 | honestly, this is my favorite way of
transforming an object, rotating it or
| | 02:56 | moving it or scaling it, we will be
talking about those in later movies, but
| | 03:00 | the Free Transform tool let's you do
it all not just one of them, so I like that.
| | 03:04 | Let's say I want to rotate these boxes.
I'll Command-click on it to select it,
| | 03:09 | and now the Free Transform tool lets me
rotate by dragging anywhere outside the
| | 03:14 | boundaries, simply move the cursor
outside the boundaries and start dragging.
| | 03:18 | Once again you see the display speed up
by turning off the Transparency and as
| | 03:23 | soon as I let go the display comes back.
| | 03:26 | Click again and drag and the cursor is
showing me what angle I'm currently at,
| | 03:31 | let go and I'm done
| | 03:34 | Now that we know how to rotate
objects the obvious question is how to scale
| | 03:39 | them larger or smaller? And that's
what we will cover in the next movie.
| | Collapse this transcript |
| Scaling objects| 00:00 | It's a golden law of page layout:
nothing ever seems to be the size you
| | 00:04 | needed to be on your page. Fortunately,
there are a number of ways to scale
| | 00:08 | graphics, texts and other page items in
InDesign. Let's look at a few of them.
| | 00:13 | The first is the Scale tool. You could
simply press the S key on your keyboard
| | 00:17 | or choose it here in the Tool panel.
I'm going to scroll up here, pan up here
| | 00:23 | so I can see this object, and with the
Scale tool selected, I can click on that
| | 00:27 | object that I want to scale.
| | 00:29 | Now, I need to tell InDesign what the
point of scaling is going to be. I can
| | 00:34 | change that up here in the Control panel,
right now it's set to the upper-left
| | 00:38 | corner, but if I want to scale from
the center, I could click there. In this
| | 00:42 | case I want to click in the upper right
corner or alternately, I can just click
| | 00:47 | once anywhere I want in that image and
it sets a little cross-hair icon there,
| | 00:52 | and that means scale from that point.
In other words, that point will stay
| | 00:56 | stationary and everything
else will scale around it.
| | 00:58 | Now, to scale, I simply click and drag.
But if I drag down here, it scales it
| | 01:04 | disproportionately. That's not very
attractive. Let me Undo that, Command+Z or
| | 01:08 | Control+Z on Windows. So instead, I'm
going to hold down the Shift key when I
| | 01:13 | drag, and Shift+Dragging will scale
it proportionally, height and width
| | 01:17 | proportional. When it gets to be the
way I want, I let go over the Mouse button
| | 01:21 | and it is scaled.
| | 01:23 | Let's look at some other ways to
scale objects on the page. I'll use the
| | 01:27 | Selection tool and drag this logo over
here. It's a group of objects and I can
| | 01:31 | scale all of them at the same time.
The first way I'm going to do that is to
| | 01:35 | scale it with the Scaling fields in
the Control panel. I'll set this to let's
| | 01:40 | say 85%, and when I press Enter,
couple of things happen. First of all, it
| | 01:45 | scales based on the point of scaling
which again is the upper-right corner
| | 01:49 | right now. Second thing we notice is
that it reverts back to 100%. I'll be
| | 01:54 | talking about that behavior in just a
minute, but I just wanted to point out
| | 01:57 | that it is changing back to 100%.
| | 01:59 | Also note that the height and width
stay proportional because of this little
| | 02:03 | Chain icon. If I wanted to scale it
disproportionately, I could click on that
| | 02:07 | to break the link between these two
fields, but I usually like leaving that
| | 02:11 | turned on because I don't like
things to get out of proportion.
| | 02:15 | I can also scale this object by holding
on the Shift key while I drag it. Note
| | 02:19 | that this scales because there is no
actual text in here or graphics. These are
| | 02:23 | simply outlines. So all I have to
do is hold down Shift to keep it in
| | 02:27 | proportion, height-width proportionate
and drag, and I'll move it into place.
| | 02:32 | In this case, it's a text frame and I
want to make it larger. So if I simply
| | 02:37 | drag a corner and make it larger with
or without the Shift key, it doesn't
| | 02:41 | really work. It makes the frame bigger,
but doesn't scale it any bigger. So I'm
| | 02:46 | going to Undo that, Command+Z, Ctrl+Z
on Windows. And this time, if I want to
| | 02:50 | scale the frame and the contents
whether those contents be text or graphics, to
| | 02:56 | scale the frame and its contents, you
have to hold down the Command key or the
| | 02:59 | Ctrl key on Windows.
| | 03:01 | So Command or Ctrl+Drag will
scale it, but once again it scales it
| | 03:07 | disproportionately. Remember, the
keyboard shortcut for making it proportional,
| | 03:11 | that's right, the Shift key.
| | 03:12 | So I'll Undo that yet again, and I'm
going to hold down Command and Shift, and
| | 03:18 | if I do a Command and Shift and Drag,
then it scales it proportionally. It
| | 03:24 | scales the frame and all the contents.
That's a little bit too big. I'm going
| | 03:28 | to Command+Shift-click, and I'm going
to hold on just for a moment before I
| | 03:32 | move my Mouse Cursor. I'm holding on
the Mouse just for about one second, and
| | 03:35 | now when I start dragging, I can
actually see its scale. I don't just get a
| | 03:40 | blue line around it. I can actually
see its scale, and that's helpful for
| | 03:43 | identifying exactly how big it should be.
| | 03:46 | Note that behind that object, some of
the page looks a little bit odd. That's
| | 03:49 | just InDesign's way of speeding up the
calculations it takes to display stuff
| | 03:53 | on screen. It kind of turns off some
of the transparency effects temporarily
| | 03:57 | while I'm dragging that way. As
soon as I let go over the Mouse Button,
| | 04:01 | everything kicks back in.
| | 04:02 | Alright, I want to scale this graphic
next. I want to crop it a little bit
| | 04:06 | first. Note that if I drag these
corner points, it crops it. It doesn't scale
| | 04:11 | anything. It simply resizes
the frame around the image.
| | 04:14 | Now, I would like to scale it,
and I could scale it using that
| | 04:18 | Command+Shift+Drag or Ctrl+Shift+Drag.
But in this case, I want to scale it
| | 04:22 | with keyboard shortcuts. The keyboard
shortcuts for scaling are kind of broken
| | 04:27 | in InDesign CS3, but in CS4, they have
fixed them again and it's really quite
| | 04:32 | useful if you would like
working interactively like that.
| | 04:34 | The keyboard shortcuts for
scaling on a Mac are Command+Comma or
| | 04:39 | Command+Period. On Windows, you just
use the Ctrl key instead, Ctrl+Comma or
| | 04:44 | Ctrl+Period, and that will
scale by one percentage at a time.
| | 04:49 | So Command+Comma will scale down one
percentage at a time. It's getting a
| | 04:52 | little bit smaller each time I press
that keyboard shortcut, or I can add the
| | 04:57 | Option or Alt key to do it in 5%
increments. So Command+Option+Comma or
| | 05:02 | Ctrl+Alt+Comma will scale in larger
increments, 5% increments. To scale larger,
| | 05:08 | you use the Period (.) key instead. So
Command+Option+Period or Ctrl+Alt+Period
| | 05:13 | scales up in 5% increments.
| | 05:16 | So this is nice and is very useful
for scaling interactively if you kind of
| | 05:20 | like to do it visually. Notice that
it was scaling based on the upper-right
| | 05:24 | corner again because in the Control
panel, the upper-right corner was selected.
| | 05:29 | So that point is what stayed still
while everything scaled around it.
| | 05:33 | One last feature I need to show you
for scaling is the Free Transform tool. I
| | 05:38 | showed that in the last couple of
movies, but I love it. So I'm going to keep
| | 05:40 | showing it again and again. Press the E
key to get the Free Transform tool and
| | 05:45 | then any object that I have selected,
will transform. In this case, I can
| | 05:49 | rotate. We saw already, I can rotate
by clicking outside the object. I can
| | 05:54 | Scale it however by clicking on one of
the side or corner handles. Just click
| | 06:00 | and drag and it rotates. In this case
disproportionately, so I'll Undo that,
| | 06:04 | and I'll hold down the what? That's
right, the Shift key. Shift+Drag with the
| | 06:09 | Free Transform tool will
scale it proportionately.
| | 06:11 | Now, earlier on I pointed out that the
percentage values in the Control panel
| | 06:17 | always seem to revert back to 100%.
You don't have to do it that way though.
| | 06:21 | InDesign gives you a preference. Let's
go take a look at that. I'll go to the
| | 06:26 | Preferences dialog box, under the
InDesign menu on the Mac or under the Edit
| | 06:29 | menu on Windows, and I'm just going
to go to General Preferences. Inside
| | 06:35 | General Preferences, there is this
feature called When Scaling, what do you
| | 06:39 | want to do? Do you want to apply to
content or adjust scaling percentage?
| | 06:43 | I find this terminology kind of
confusing. So let me see if I can explain it
| | 06:47 | better. Apply to Content; means do it
the way we have been seeing it, always
| | 06:51 | revert back to 100%. Apply to the
Content and then the content immediately
| | 06:56 | becomes its own 100% size again. But
Adjust Scaling Percentage means, remember
| | 07:01 | how I've scaled something. Let's choose
that and click OK and see how it works.
| | 07:06 | If I scale this image, I still have
the Free Transform tool selected. So I'm
| | 07:10 | simply going to Shift and Drag that larger.
| | 07:13 | Now, look what happens to Control panel,
it remembered the scaling. It went up
| | 07:17 | to 142% and it stayed there it didn't
revert to 100%. If I make it small, I can
| | 07:24 | make it way tiny down here. It
remembers it used to be 100%, now it's only 29%.
| | 07:30 | So that Preference lets you remember
the scaling and that can be very useful.
| | 07:35 | On the other hand, it can be a real pain.
| | 07:38 | Let me show you what I mean. I'm
going to select this text frame, and if I
| | 07:43 | scale this now, I'll scale it a little
bit bigger. When I scale this, it looks
| | 07:47 | good until I choose the text. If I
select the text with the Type tool, because
| | 07:53 | now, look at the Type size up here, it
says 17 points and then in parenthesis
| | 07:58 | 21.76. What does that mean? That means
the text is actually 17 points large,
| | 08:05 | but it appears as what it were 21 points large.
| | 08:09 | So I see this whole parenthesis thing,
and this really confuses a lot of
| | 08:13 | InDesign users. This is just mind-
boggling why do I get this parenthesis? Well,
| | 08:18 | the parenthesis come from this
preference, when you have that preference turned
| | 08:21 | on and you scale a text frame, you are
always going to get both original and
| | 08:26 | appearance of size up
there in the Control panel.
| | 08:29 | Now, if you don't like that, and if
you want to set it back down to 100% size
| | 08:34 | again, you can do that for one object
at a time or actually I can do this for
| | 08:38 | multiple objects. I'll select both of
those. And in the Control panel fly-out
| | 08:42 | menu, choose Redefine Scaling as 100
%. That means the size it is right now
| | 08:49 | should be the 100% size. It's like
reset everything, remember it the way it is
| | 08:54 | right now, and this is now 100
%. You see it says 100% up here.
| | 08:58 | So even if I choose that text with
the Type tool, you can see I don't get a
| | 09:03 | before and after kind of view, I get
just the type size that it is. But, if I
| | 09:08 | later scale that one more time, well,
I'm going to get those parenthesis again.
| | 09:12 | So it's an option.
| | 09:14 | I have to tell you I personally, do
not like leaving this Preference set to
| | 09:18 | Adjust Scaling Percentage. I like it
the way it works by default, Apply to
| | 09:22 | Content. But it's completely up to you,
you need to figure out what works for
| | 09:25 | your work-flow. Click OK and by the way,
I do want to point out how can I tell
| | 09:31 | what scale is applied to that graphic.
No matter what your Preference is set
| | 09:36 | to, I can always tell the scaling for
a graphic by clicking on it with the
| | 09:41 | Direct Selection tool. I'll click on
that graphic and we can see that, that
| | 09:45 | graphic, that image is set to 22%.
Choose the image with the Direct Select
| | 09:49 | tool, and it will always tell you
the correct scale on that image.
| | 09:54 | Now of course, while you can scale
your text and vector are all you want
| | 09:58 | scaling bitmap images like this does
have an effect on their quality. If you
| | 10:03 | scale a Photoshop image up, its
resolutions goes down; you scale it down and
| | 10:07 | the resolution goes up. It's just
something to keep in mind while scaling
| | 10:11 | objects on your page.
| | Collapse this transcript |
| Skewing objects| 00:00 | Skewing an object helps give it a sense
of perspective or dimensionality or it
| | 00:05 | can draw attention to an object by
making it look odd. For example, I'll select
| | 00:09 | this object and I'll shear it with the
Shearing tool. What's that? You don't
| | 00:14 | see a Shearing tool on here, well,
that's because it's hiding underneath the
| | 00:17 | Scale tool. I'll click and hold for a
moment and then I can see the popup menu
| | 00:22 | that I can choose Shear tool.
| | 00:25 | Now, I set the point of shear. Right
now it's set to the Center Point. But I
| | 00:29 | could choose any of the point on the
reference here or I could simply click
| | 00:33 | once and it will add a crosshair and it
will shear around that point. That is,
| | 00:37 | this point will stay stationary and
all the rest of it will shear around it.
| | 00:42 | Now I click and I drag, and as I drag,
you can see it shearing. Once I get it
| | 00:49 | looking the way I want, I let go over
the mouse button and it's done. That
| | 00:54 | looks pretty good, but it would look
even cool with the Drop Shadow. I'm just
| | 00:57 | going to click that Drop Shadow button
in the Control panel and that adds that
| | 01:01 | default Drop Shadow right below it.
| | 01:03 | I like it. Let's look at another way
that you can shear something. Let's drag
| | 01:07 | this text up here and I'm going to
shear it by changing the Shear Field in the
| | 01:11 | Control panel. That's this field
right here. I'll change it to let's say 45
| | 01:16 | degrees, and hit Enter and you can
see that it shears over, or I can use a
| | 01:21 | negative number in here to shear
the other way -45, there you go.
| | 01:27 | By the way, if I don't like the look of
this, I can always zero this out again
| | 01:31 | in the Control panel or I could right-
click on this little P icon, and if I
| | 01:36 | right-click, I see a Context menu that
says Clear Transformations. Choose that,
| | 01:41 | and all the transformations applied to
this particular object are cleared out,
| | 01:45 | but I kind of like that. Let's try it,
let's do it even more extreme though.
| | 01:49 | 60, yeah, that's wacky. I'll move it
down here. The last method I want to show
| | 01:56 | you for shearing objects is the Free
Transform tool. It's right here in the
| | 02:00 | Tool panel or you can
press the letter E to get it.
| | 02:03 | In this case, I want to transform this
image inside the frame. I'm not going to
| | 02:07 | change the frame itself, just the image.
So I actually need to get the Direct
| | 02:12 | Selection tool first and select that
image inside the frame and then I'll press
| | 02:16 | E to get the Free Transform tool, we
have looked at the Free Transform tool in
| | 02:21 | the past couple of movies and we
have seen how you can use it to scale or
| | 02:25 | rotate your images, but you can also
use it to skew, and it's kind of weird the
| | 02:29 | way you do it though.
| | 02:31 | You need to place the cursor on top of
one of the side handles, click the mouse
| | 02:35 | button down, but don't start moving it
yet, and then hold down the Command key
| | 02:40 | on the Mac or Ctrl on Windows. This
lets you skew and Scale at the same time.
| | 02:47 | When you let go over the mouse button,
it's done, it's a very strange looking
| | 02:51 | page, but maybe that's the effect you
are going for. Unfortunately, there is no
| | 02:55 | way to do true perspective in InDesign.
If you need that effect, you will have
| | 03:00 | to use Adobe Illustrator instead.
| | Collapse this transcript |
| Mirroring objects| 00:00 | Well flip-flopping isn't such a good
thing in politics; it can be a great thing
| | 00:04 | in page layout especially when
pictures are facing the wrong direction. There
| | 00:09 | are several ways to flip or mirror an
object, but the basic way is to select it
| | 00:13 | on your page, come up to the Control
panel and choose one of the flip buttons.
| | 00:18 | Let's say I want to turn this around,
click on the Horizontal Flip and the
| | 00:22 | image turns around. Also note that the
P icon up here in the Control panel has
| | 00:27 | been flipped as well indicating that
the selected object has a transformation
| | 00:31 | applied to it. The weirdest part
about flipping objects is that the Control
| | 00:36 | panel gives you some strange feedback.
For example, minus (-) 100% in the
| | 00:41 | vertical scale and 180 degrees
rotated that doesn't make any sense to me at
| | 00:46 | all, but that's the way it works.
| | 00:48 | Now let's go to the next page by
pressing Shift+Page Down and I'm going to show
| | 00:52 | you another mirroring technique. I'm
going to select this image and show you
| | 00:56 | how you can create sort of a pseudo
reflection look. I'm going to Option or
| | 01:02 | Alt-click on this Vertical Flip button
but before I do that I'm going to make
| | 01:07 | sure that the reference point in the
left side of the Control panel is set to
| | 01:11 | the proper location because wherever
that black dot is that's where it's going
| | 01:15 | to flip based on.
| | 01:17 | In this case, it's based on the middle
of the bottom of the frame and that's
| | 01:21 | exactly what I want. I want to flip
right around that point there. So again I
| | 01:25 | Option or Alt on Windows Click on that
flip, and you can see it makes a perfect
| | 01:31 | duplicate exactly mirrored along its
bottom edge. So now I'll scroll down here
| | 01:36 | and I need to make this frame a little
bit smaller. Right now, it's going all
| | 01:40 | the way on to the way on to the page
support and little bit on to the other
| | 01:42 | page. That's not good.
| | 01:44 | So I'm going to choose the Free
Transform tool, which you have seen in earlier
| | 01:48 | movies. So we can get by pressing the E
key and then I'm going to click on this
| | 01:53 | handle down here. I'm going to click,
but not move my mouse yet because I want
| | 01:58 | to hold down the Command key on the Mac
or Ctrl key Windows that lets me scale
| | 02:02 | and skew at the same time. We learned
that in the last movie and we are going
| | 02:06 | to skew it until it looks kind of
like reflection and then let go over the
| | 02:10 | mouse button, there we go.
| | 02:11 | So now we have a reflection of that.
It's a little bit too good of a
| | 02:15 | reflection. Usually reflection is kind
of fade out a little bit. That's okay we
| | 02:19 | can do that. Let's go up to the
Effects pop-up menu in the Control panel and
| | 02:24 | choose Directional Feather.
| | 02:26 | This is difficult to see all on the
screen at the same time but basically I
| | 02:30 | want a feather to be right along the --
well it's the bottom of the image, but
| | 02:35 | it's the top of the image technically
because the image is flipped over. So I'm
| | 02:39 | going to turn of the Link icon here
and just change the top of my image by
| | 02:45 | holding down the Shift key and
pressing the up arrow, that increases by large
| | 02:50 | increments, in this case one pica at a
time and because the Preview checkbox is
| | 02:54 | turned on I can actually see the
effect on the document page as I'm working
| | 02:58 | which is really handy.
| | 03:00 | I want to bring this up to about 7
picas and then click OK. So now I have a
| | 03:05 | reflection that fades out. Looks a
little bit still too good almost. I would
| | 03:11 | like to fade it, fade the whole
thing back a little bit so I'll go to the
| | 03:13 | EFFECTS panel and change the Opacity
to maybe 50%, deselect everything with
| | 03:20 | Command+Shift+A or Ctrl+Shift+A on
Windows. Go on to Preview mode by pressing
| | 03:26 | the W key and we can see that's
a pretty good mirroring effect.
| | 03:31 | I love that. I can do these kinds of
creative effects right on my InDesign
| | 03:34 | page, instead of relying on
other programs. It's amazing.
| | Collapse this transcript |
| Transforming objects again| 00:00 | What if I want to select both of those
objects and move them over to the right
| | 00:03 | a little bit? That looks pretty good,
kind of indented. Now I would like to
| | 00:07 | apply this same
transformation to all of these objects.
| | 00:10 | So I'll select all four of them and
I'll use Transform Again that's up in the
| | 00:15 | Object menu, Object > Transform Again.
And now you will see there is four
| | 00:20 | options here Transform Again, Transform
Again Individually, Transform Sequence
| | 00:24 | Again and Transform Sequence
Again Individually, that's a mouthful.
| | 00:29 | I'm just going to choose the first
one Transform Again or I could press
| | 00:32 | Command+Option+3 or Ctrl+Alt+3 when I
do that, it transforms all four of these
| | 00:40 | with the same movement that I did last.
Let's look at that menu one more time.
| | 00:45 | The difference between Transform Again
and Transform Sequence Again has to do
| | 00:49 | with how many transformations it will
do. A transformation is a movement, a
| | 00:54 | rotation, a scaling all of those things
because I did Transform Again, it will
| | 01:00 | only do the last transformation I
did before, in this case, moving those objects.
| | 01:05 | Let's look at different example. I'll
select this image. I'll switch the Free
| | 01:09 | Transform tool by pressing E and I'll
Rotate, Scale and even Skew this image.
| | 01:18 | We looked at how to do those in the
previous movies in this chapter. Now I want
| | 01:22 | to apply this same effect to all these
other frames. So I'll switch back to the
| | 01:27 | Selection tool by pressing V and I'll
select each one of these by holding down
| | 01:31 | the Shift key.
| | 01:32 | If I choose Transform Again, it will
only skew those objects but if I choose
| | 01:37 | Transform Sequence Again it will
transform them by scaling them, rotating and
| | 01:42 | skewing them.
| | 01:43 | Now what about the difference between
Transform Sequence Again and Transform
| | 01:47 | Sequence Again Individually? Well,
when I use Transform Sequence Again, it
| | 01:52 | treated all the objects that I had
selected as though they were a single group.
| | 01:56 | There are not actually grouped, but it
treated them as though they were. Let me
| | 02:00 | undo that with Command+Z or Ctrl+Z on
Windows and show you the other option.
| | 02:06 | Transform Sequence Again
Individually, when I choose that each one is
| | 02:10 | transformed in turn, not as a group.
It's a subtle difference but it's an
| | 02:15 | important one. I want to repeat that
this do it again features only work for
| | 02:20 | transformations like scaling,
moving, rotating and skewing.
| | 02:24 | I'm hoping that in a feature version
of InDesign, we will get a feature that
| | 02:27 | will repeat anything that we do but in
the mean time Transform Again does the
| | 02:32 | trick most of the time.
| | Collapse this transcript |
|
|
10. Character FormattingApplying basic character styling| 00:00 | Once you have text in InDesign how do
you format it? How do you make it look
| | 00:04 | pretty? Well let's take at tour
though your options for text formatting.
| | 00:08 | To format text I'm going to choose
the Type tool and select the text on my
| | 00:12 | page. I'll zoom into 200% by pressing
Command+2 or Ctrl+2 on Windows just so we
| | 00:18 | can see this text little bit better.
The basic Type formatting features can be
| | 00:23 | found up in the Control panel. You can
also find them in the Window > Type &
| | 00:28 | Tables > Character Formatting panel.
But you know what, everything that's in
| | 00:33 | our Character panel shows up in the
Control panel. So I don't even go there,
| | 00:37 | it's tempting to go there but I don't
even open that anymore. I just use the
| | 00:41 | Control panel.
| | 00:41 | Now the Control panel changes,
depending on context that is what is selected on
| | 00:46 | the page but it also changes depending
on your workspace. Right now, I have the
| | 00:51 | Essentials workspace selected here in
InDesign and I see a certain set of text
| | 00:56 | formatting in the Control panel, but if
I change this to Typography, now I see
| | 01:02 | a different set. The Control panel is
very customizable and each workspace has
| | 01:07 | its own set of formatting features up
there. Generally, when you are messing
| | 01:11 | around with text you want the
Typography workspace because it gives you the
| | 01:15 | most number of features in the Control panel.
| | 01:18 | The first field in the Control panel
is the Font field, when I click on the
| | 01:22 | Font menu I can see a list of all the
fonts available on our system. To the
| | 01:27 | left of each font name there is an icon
that tells us what kind of font it is,
| | 01:32 | if it's an O, it's an Open Type Font.
If it's two t's it's a True Type Font. If
| | 01:37 | you see a little T with 1 after it,
it's a Postscript Type 1 Font. So that can
| | 01:41 | be helpful, if you have a lot of
different sorts of fonts on your system.
| | 01:44 | To the right of the font name there is
a sample of that font that can be very
| | 01:49 | useful, if you can't remember what a
font looks like. Some fonts are broken
| | 01:53 | down into families and when that happens,
you have a submenu that comes off the
| | 01:57 | right side. So we can see each of the
different styles. If I change this to
| | 02:01 | Optima Regular, it changes on our page
of course and then it also changes the
| | 02:06 | Font Style to Regular here in
this second field of a Control panel.
| | 02:11 | The Font Style pop-up menu is simply
another way of getting to each of those
| | 02:15 | styles within the family, Regular,
Italic and so on. By the way, there is a
| | 02:20 | myth going around that you should not
press the keyboard shortcuts for certain
| | 02:24 | font styles. For example, if I select
these words down here I shouldn't press
| | 02:29 | Command+Shift+B or Ctrl+Shift+B on
Windows to apply the Bold style to it. But
| | 02:35 | that's not a problem in InDesign. It's
really safe to do that because InDesign
| | 02:39 | will never apply a font that doesn't
truly exist on your system. That is when I
| | 02:44 | press that keyboard shortcut, it
change the style up in the Control panel to Bold.
| | 02:50 | If I select some other text here and
do Command+Shift+I or Ctrl+I+Shift on
| | 02:54 | Windows. It changes to Italic but it's
okay. It's safe because it changes the
| | 03:00 | Menu item here to Italic. If the font
does not have a true italic that keyboard
| | 03:05 | shortcut will not do anything. By the
way, I want to select this text again and
| | 03:09 | change the font one more time and I
want to throw out one more keyboard
| | 03:12 | shortcut that I think you should
know and that is Command+6 or Ctrl+6 on
| | 03:17 | Windows because that keyboard shortcut
always jumped to the first field in the
| | 03:21 | Control panel.
| | 03:22 | So if you are trying to change your
font quickly, let's say from Optima to
| | 03:26 | Minion, all you have to do is press
Command+6 or Ctrl+6 on Windows and then
| | 03:30 | just type the letter M. It guesses what
font you want. You have to type enough
| | 03:36 | of the font name in order for it to
guess properly. So here I type M and then I
| | 03:42 | and then N and it gets to Minion Pro,
if that's what I wanted I can simply
| | 03:46 | press Return or Enter.
| | 03:48 | Okay, let's look at a few either font
formatting features. We can change the
| | 03:52 | Size of the font in the third field
here that the second over on the top. This
| | 03:57 | is the Size of the font and while there
are number of sizes listed here in the
| | 04:01 | menu if you want a specific size just
type it in. I'll select that and say I
| | 04:06 | want this to be exactly 39 points,
which wasn't in that menu, press Enter and it changes.
| | 04:12 | Now the fourth field here is Leading
and QuarkXPress users find this kind of
| | 04:17 | strange because in QuarkXPress,
Leading is a paragraph format. It applies to
| | 04:21 | the entire paragraph. In InDesign, it's
a character format. So you can apply it
| | 04:26 | to a single letter if you want to. For
example, Alt-select this letter t in the
| | 04:30 | middle of that paragraph and change
its Leading to something larger, maybe 24 points.
| | 04:35 | Notice that the entire line moved
down because the rule in InDesign is, the
| | 04:40 | entire line should have the Leading of
the largest Leading of the any character
| | 04:45 | on that line. So if I change the
Leading of the single character it affects the
| | 04:49 | entire line. It's kind of strange but
you get used to it after a while and if
| | 04:53 | you don't get used to it I
want to show you a trick.
| | 04:57 | There is a preference to make it work
more like QuarkXPress. I'm going to go
| | 05:01 | the InDesign menu on the Mac or the
Edit menu on Windows and choose Preferences
| | 05:06 | and then here I'm going to choose Type
Preferences. There is lot of options in
| | 05:11 | here that let you control how text
works in InDesign but one of my favorites is
| | 05:16 | Apply Leading to Entire Paragraphs.
| | 05:18 | In general, I would like InDesign
working in its own way, not trying to copy
| | 05:22 | QuarkXPress but this is one of those
tings that I almost always have turned on
| | 05:27 | because I really feel that Leading
should almost always apply to an entire
| | 05:31 | paragraph. So I'll turn that on,
click OK and it doesn't change any Leading
| | 05:36 | that's already in a document like this
weird Leading in here. But as soon as I
| | 05:41 | change any other Leading within this
paragraph, for example I'll change this
| | 05:44 | one to 11 points; it applies it to the
entire paragraph. It's almost a macro;
| | 05:49 | it always applies that same Leading
value to all the characters in the
| | 05:53 | paragraph. To me that's the way it
should normally work. So I like having that
| | 05:57 | preference turned on.
| | 05:58 | By the way, if you agree with me and
you like that preference tuned on all the
| | 06:02 | time, you might want to set that
preference when no documents are open. Any
| | 06:06 | preference that you change when no
documents are open is applied to every new
| | 06:10 | document you create from now on. So
that's a good one to change when no
| | 06:14 | documents are open in my mind.
| | 06:16 | Okay, just a few more character
formatting features that I want to throw out
| | 06:19 | before we move on. One is Kerning;
let's say I don't like the Kerning between
| | 06:25 | the J and the O. I'll zoom into 400%
here so we can look at that and we say,
| | 06:28 | well I don't really like the Kerning in
here. Kerning, if you don't know is the
| | 06:33 | distance between two letters. So we
can change that distance by adjusting the
| | 06:38 | Kerning value.
| | 06:39 | The Kerning value is listed up here in
the Control panel with this little AV
| | 06:43 | icon. Right now, we can see that the
current Kerning value is 5. Now, it's in
| | 06:49 | parenthesis, which means that InDesign
pulled that value out of the font itself
| | 06:54 | because most fonts have Kerning pairs
built into them. That is there are values
| | 06:58 | for what the J and O next to each
other should look like right in the font.
| | 07:03 | InDesign looked in the font, saw
that the J and O should have 5 units of
| | 07:08 | Kerning added in between that space and
so it went ahead and did it. But to me
| | 07:13 | that's too much space, so I can change
it to whatever I want. I could pull it
| | 07:17 | out of the pop-up menu or I could
just type it myself. I'm going to choose
| | 07:20 | something like -50 and you can see that
the J and the O moved closer together.
| | 07:25 | Let's look at two other options in the
Kerning pop-up menu, Optical and Matrix.
| | 07:30 | Matrix simply means use whatever in the
font, whatever the font designer put in
| | 07:34 | the font, go ahead and use that,
but Optical is something special.
| | 07:38 | Optical means InDesign should look at
the shape of the every character and then
| | 07:43 | make decisions about how close or how
far apart those characters should be
| | 07:47 | based on their shapes. It's really
quite intelligence. I think it's amazing and
| | 07:51 | I'll often select all the text in my
document and simply change it to Optical.
| | 07:56 | It usually makes very good choices
about how characters should sit next to each
| | 07:59 | other, sometimes far better than the
original font designer I think, but
| | 08:03 | sometimes you might want to go in there
and tweak it a little bit manually just
| | 08:06 | between individual characters like
here once again I'll make that little bit closer.
| | 08:11 | Okay, lastly let's talk about Tracking.
Tracking some people call Range Kerning
| | 08:16 | because it's basically the amount of
space between each character over a range
| | 08:20 | of text. This headline up here, I'll
zoom back with the Command+Minus or
| | 08:25 | Ctrl+Minus. This headline here has a
lot of Tracking applied to it. It must,
| | 08:31 | because look at all the space between
each character. I can change this to a
| | 08:35 | smaller amount just simply by choosing
it from the pop-up menu or set it to 0
| | 08:39 | to remove all extra
spacing between each character.
| | 08:42 | Now there is no Tracking, there is
no additional space in between these
| | 08:46 | characters but sometimes with headings,
sometimes you actually want to make it
| | 08:49 | tighter space, sort of bringing each
of those characters tighter together
| | 08:52 | that's what the negative numbers are
for? If I set this to -25, you see that
| | 08:57 | the whole headline just kind
of tightens up. I like that.
| | 09:00 | Of course, all of this is just a
beginning when it comes to formatting text.
| | 09:04 | In the next movie, we will dive much deeper
and explore more advanced character styling.
| | Collapse this transcript |
| Applying advanced character styling| 00:00 | In the last movie we looked at the
basics of character formatting. Now let's
| | 00:04 | look at a few more important styling
options you have. I'm going to select this
| | 00:08 | frame and zoom into 200% with Command+2
or Ctrl+2 on Windows. And then I'll
| | 00:13 | double-click on it with the Selection
tool to switch to the Type tool. Let's
| | 00:16 | say I want to make this P taller than
it is right now. I could change its font
| | 00:21 | size, but what if I want
it taller but not wider?
| | 00:25 | Well, in that case I would use the
Vertical Scaling feature. I can change this
| | 00:29 | to any percentage I want basically,
I'll make it twice as large by setting it
| | 00:33 | to 200%. I'll do the same
thing with this O over here.
| | 00:38 | Now I can change the horizontal
scaling of some other text, for example, I'll
| | 00:43 | change that ur to 150% as wide. And I
can do the same thing to this text. That
| | 00:52 | got so wide that it pushed it right
out of the text frame. So I'll make it a
| | 00:55 | little bit smaller. There we go. Now
this might not look pleasant to you but if
| | 01:00 | that's the kind of effect you want then
that's how you get it. Just because you
| | 01:04 | can do those things
though doesn't mean you should.
| | 01:07 | Let's look at a couple of other
interesting features. What if I want this O to
| | 01:10 | be lower down, to lower the baseline?
Well I'll use Baseline Shift, that's this
| | 01:16 | feature over here in the Control panel,
that little A with an arrow underneath
| | 01:20 | it. And I'll click this down arrow
button to lower the Baseline Shift or I
| | 01:25 | could simply replace this field with
whatever value I want, like -10 pt.
| | 01:28 | There are all kinds of wacky text
formatting features up in the Control panel.
| | 01:33 | For example, Text Skew. Skew means how
far should an object lean over, sort of
| | 01:39 | tilt over, right now it's set to zero
degrees. But if I set it to something
| | 01:43 | large like 40 degrees, you can see it
pushes that all over, it just leans it right over.
| | 01:49 | I can do the same thing to that P for
a dramatic effect. If I want to push it
| | 01:54 | to the left and set it to the right, I
use a negative skew, -40, would push it
| | 02:00 | to the left. Alright now that we have
made that really unpleasant looking,
| | 02:03 | let's go try and apply some
formatting, some place else.
| | 02:06 | I'm going to select this text down
here, and give it an underline, the
| | 02:10 | underline feature is right here. It
says T with a little line under it. If I
| | 02:15 | click on that, it applies a default
underline, I'm not sure exactly how thick
| | 02:19 | it is, but it uses the same colors of
the text and it's a little bit down from
| | 02:23 | the baseline of the text there.
| | 02:25 | Well what if you want to fine-tune that?
What if you want to thicker underline
| | 02:28 | or thinner underline or maybe move it
up or down? No problem. InDesign lets you
| | 02:33 | totally customize your underlines.
I'll select that text again and instead of
| | 02:37 | clicking on it, I'm going to hold down
the Option key or the Alt key when I click on it.
| | 02:42 | That opens the Underline Options
dialog box. Here we can make this underline
| | 02:47 | look almost anyway we want. For example,
I'll set the weight to a little bit
| | 02:52 | thinner, maybe a half point line. I
can change the type to any of my regular
| | 02:56 | line styles including Wavy or a
Dotted or something like that.
| | 03:00 | Let's use a Dotted one, then I can
change my offset to move that line up or
| | 03:05 | down. By the way it's a good idea to
have the Preview check box turned on here,
| | 03:09 | so you can see the effect while you are working.
| | 03:12 | I can use the arrow keys on my
keyboard to move the offset up or down and we
| | 03:16 | can see |
|
|
