IntroductionWelcome| 00:00 | (Music playing.)
| | 00:06 | Hi! I'm Anne-Marie Concepcion. And guess what?
| | 00:09 | They've done it again.
| | 00:10 | Adobe's put out a new version of InDesign with lots of new
features to thrill and amaze you. If you are already an InDesign user
| | 00:18 | this course, InDesign CS4 New Features, is just
what you need to get up to speed on all the changes.
| | 00:24 | Whether you're a print person,
interactive designer, production editor,
| | 00:28 | or just someone who likes to layout,
| | 00:30 | there are powerful new features for you.
| | 00:33 | I cover all the new features, great and small,
| | 00:36 | including the new file format, cross-referencing,
conditional text and even exporting to interactive SWF files
| | 00:42 | with just a click.
| | 00:43 | I love teaching people how to get the most out of Adobe InDesign.
I'm a longtime Adobe certified expert in the program
| | 00:50 | as well as an Adobe certified instructor.
| | 00:52 | With InDesign CS4, Adobe has taken
care of both the little things
| | 00:57 | like fitting images automatically when you place
them or making the Links panel much more useful
| | 01:02 | to big things, like Smart Text free flow and
| | 01:06 | cross-referencing.
| | 01:07 | Even built-in screen sharing to show your clients
what you are working on right from within InDesign.
| | 01:13 | What you are about to see is one of the most comprehensive
tutorials on the new features of Adobe InDesign CS4 with
| | 01:19 | over 40, 40!
Count 'em! 40!
| | 01:20 | 40 videos to give you the tools to succeed and help you
discover the new features that will turbocharge your workflow.
| | 01:28 | So let's dig in and get to know
the new features of Adobe InDesign CS4.
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| Using the example files| 00:00 | If you are a premium member of
lynda.com Online Training Library or if you are
| | 00:05 | watching this tutorial on a DVD, you
have access to the exercise files that
| | 00:09 | I use throughout this title.
| | 00:12 | Inside your exercise files folder,
you'll see them arranged by chapter and
| | 00:16 | inside a chapter number, I often
have subfolders for the individual videos
| | 00:20 | within that chapter and then the
actual InDesign files are inside there.
| | 00:25 | The Links folder for almost all of
these InDesign files is a common folder
| | 00:29 | right here; the Links folder at the
same level of the chapter folders.
| | 00:34 | Sometimes, an InDesign
file will have its own links.
| | 00:39 | If you are a monthly subscriber or an
annual subscriber to lynda.com, you don't
| | 00:43 | have access to the exercise files,
but you can follow along with your own
| | 00:47 | layout files. Let's get started!
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1. The InterfaceGetting familiar with the new interface| 00:00 | Like the rest of the Creative Suite 4
programs, the look and feel of InDesign
| | 00:04 | CS4's interface has been upgraded to
make it easier to work with and more flexible.
| | 00:10 | There are a few completely new
features too that I think you'll find
| | 00:13 | interesting. So, let's start with a
close look at the new Application Bar and
| | 00:17 | Application Frame. We are on the
Macintosh right now, looking at the default
| | 00:23 | installation of InDesign CS4
with no document windows open.
| | 00:27 | The Application Bar appears by default
on both Macintosh and Windows and it's
| | 00:32 | this extra horizontal panel above
the Control panel, the one that we all
| | 00:36 | already are familiar with. The
Application Bar, like the Control panel,
| | 00:41 | contains what Adobe is calling widgets
that have pulldown menus that give us
| | 00:46 | quick access to things that we would
normally get from the regular menus at the
| | 00:50 | top. I'll be looking at those in
details in a bit. It has a dropdown list of
| | 00:54 | workspaces and the fields where
you can search for online help.
| | 00:58 | Before we get into any of those details,
this is not look like how it looks on
| | 01:03 | Windows. On Windows, there is one
other element that is always on by default
| | 01:07 | and that's called the Application Frame
and Windows users are used to that. In
| | 01:11 | Windows, when you run a program, you
cannot see through the program to stuff on
| | 01:15 | our desktop like here, you can
see the exercise files folder.
| | 01:18 | In CS4, Adobe did add the
Application Frame concept to Macintosh but they
| | 01:24 | didn't try to on by default, so that it
would not be such a jarring change from CS3.
| | 01:30 | I'm going to turn on the Application
Frame and you can follow along too. Just
| | 01:34 | go the Window menu and at the bottom,
you'll see that there is a checkmark next
| | 01:38 | to Application Bar because it's
turned on and we are going to choose
| | 01:41 | Application Frame as well. Now, in
Windows, neither one of these menu items are
| | 01:46 | there because they are always turned on
by default and you can't turn them off.
| | 01:51 | As soon as you turned on the
Application Frame, you can see that our desktop
| | 01:54 | disappears and it's just a gray
background. It's actually kind of neat. If you
| | 01:58 | put your cursor at the lower right-
hand corner, it turns into a double-headed
| | 02:01 | cursor and you can drag it to
resize the Application Frame.
| | 02:06 | Let's say that you want to drag some
copy from a Microsoft Word document that's
| | 02:09 | opened in the background and drop it
into a Document window in InDesign, you
| | 02:14 | can still do that if you want. Otherwise,
you can click the Maximize button at
| | 02:19 | the upper left to obscure all the
other open windows of other documents and
| | 02:23 | items on the desktop.
| | 02:24 | Now, let's open up the document and
take a look at what these widgets are for
| | 02:29 | in the Application Bar. Go to File >
Open and navigate to your chapter 01
| | 02:34 | folder in your exercise folder. Just
open up Bliss_Magazine. Here is another
| | 02:44 | new feature that the documents open
by default in tabbed view and we'll be
| | 02:49 | looking at tabbed windows and working
with multiple tabbed windows in dept in a
| | 02:53 | next video.
| | 02:55 | But notice that if you don't want to
have it as a tab, you can drag the tab
| | 02:59 | downward and it turns into a regular
floating window. If you drag the title bar
| | 03:05 | of a floating window back up, it sort
of just get that little blue area right
| | 03:10 | below the Control panel, it docks it.
There is now a document dock just like
| | 03:15 | there is a panel dock. In previous
versions of InDesign, we have a document
| | 03:19 | dock as well.
| | 03:21 | Now that we have a document open, we
can see some of these widgets happening.
| | 03:24 | So, in the Application Bar there is a
shortcut for to jump to Bridge. Now, it's
| | 03:29 | been moved away from the Control
panel and it's now in the Application Bar.
| | 03:32 | We have Zoom Level and when you
have the Application Bar showing on the
| | 03:37 | Macintosh when it's turned on, you'll
notice that the Zoom Level has gone from
| | 03:42 | the lower left of the window. But
if we hide the Application Bar on the
| | 03:46 | Macintosh then it reappears. Let's do
that right now. Go to the Window menu and
| | 03:51 | you'll note that actually, we can't
turn off the Application Bar until we turn
| | 03:55 | off the Application Frame.
| | 03:56 | Now again, Windows users, just
watching enjoy, okay because you don't have
| | 04:01 | either one of these options in Windows;
they are always on by default. So, we
| | 04:06 | are going to select Application Frames
to turn it off. It automatically turns
| | 04:10 | the Window into a floating window but
now, we can go for a second trip up to
| | 04:14 | the Window menu and choose Application
Bar to turn that off and now, it looks
| | 04:18 | very CS3 like, with their regular
Control panel going across the top and now,
| | 04:23 | we have the view scale available once
again at the bottom left of the window.
| | 04:28 | But I happen to like both the
Application Bar and the Application Frame and
| | 04:34 | that's how about I'll be working
throughout the rest of this video tutorial
| | 04:37 | series with both of these turned on, on
the Mac and also, once you get used to
| | 04:41 | this on the Mac then it's
very simple to jump to Windows.
| | 04:45 | Other widgets that are available in the
Application Bar; this first one is View
| | 04:48 | option. So, instead of always having
to go to the View menu, you can choose
| | 04:53 | whether or not you want Frame Edges
showing or hiding and Rulers and Guides.
| | 04:57 | Smart Guides is a New CS4 Feature that
I will be talking about later on. And I
| | 05:01 | love this, Hidden Characters. You can
turn Hidden Characters on and off right
| | 05:05 | from the App Bar instead of having to
remember, where is it? Oh yeah, it's in
| | 05:08 | the top menu.
| | 05:09 | To the right of that, we have Screen
Mode so you can change from Normal to
| | 05:13 | Preview, Bleed, and Slug and so on.
You can still do that from the bottom of
| | 05:17 | the Tools panel but sometimes, it's
just easier to have it right up there. And
| | 05:23 | then to the right of that, there is a
new widget called Arrange Documents that
| | 05:28 | has some of the same commands as before
as far as creating a new window and the
| | 05:33 | Ranging window, but these are all fun
ways to arrange multiple windows that
| | 05:36 | I'll be talking about in the next video.
| | 05:38 | These commands as I said are still
available from the View menu and from the
| | 05:43 | Window menu. So, if you want to turn
Grids & Guides on and off, from the View
| | 05:47 | menu you can and here, they do show
the keyboard shortcuts; they don't show
| | 05:51 | them in the Application Bar.
| | 05:55 | Then we have a dropdown menu of
workspaces with some new workspaces they have
| | 06:00 | added that we'll be going through in a
bit and then a Find field. So, if I type
| | 06:05 | something in here that has to do with
Adobe InDesign, like say, for example,
| | 06:08 | indent, and press Return or Enter, it
immediately opens up the default browser
| | 06:15 | and does a Live Web Search not just
of the Adobe site or of the online help
| | 06:19 | documents, but actually just about anywhere.
| | 06:22 | So, here is an Adobe hit but here is
one from CreativeTechs, a wonderful
| | 06:26 | company on the West Coast. Here is one
right from the lynda.com, it's the third
| | 06:29 | hit under indent. We have Adobe
LiveDocs right here, which is the online help
| | 06:36 | that people can come in on. That's not
new; that was available in CS3 as well.
| | 06:41 | And down here, look at that, there is
InDesignSecrets.com, that's the blog that
| | 06:45 | I co-host with David Blatner. Actually,
this is a post that I wrote myself,
| | 06:50 | Create Perfectly - Curved Hanging
Indents. And so that's kind of interesting
| | 06:55 | field up there and a very handy
way to quickly find information.
| | 06:59 | Just a couple more things that I
want to show you; down here on the left,
| | 07:02 | notice that the Structure button is
gone, all we have here is a page pop-up
| | 07:08 | menu. So, the button that used to
open up the Structure panel for XML is no
| | 07:13 | longer. The only way to view that is to
go up to the View menu, go to Structure
| | 07:18 | and choose Show Structure or use the
keyboard shortcut. Or you can still close
| | 07:22 | it by double-clicking on
that little device or bar there.
| | 07:25 | We have this readout that I'm not
going to beginning to the very end but you
| | 07:28 | should know that this is one of the
coolest new features called Live Preflight
| | 07:32 | that you tell it what to check for and
it's just constantly checking, telling
| | 07:35 | you how many errors in the current
document there are and has a pop-up menu
| | 07:39 | that allows you to go to the Preflight panel
to search for them and fix them and so on.
| | 07:44 | Here is the Reveal pop-up menu that
used to have more commands with Version Q
| | 07:49 | but now, it is just very handy to
Reveal in Finder or if you are in Windows, it
| | 07:52 | will say, Reveal in
Explore and Reveal in Bridge.
| | 07:57 | So, the Application Frame is very cool.
Not new for Windows users; that's how
| | 08:01 | Windows works in general. But for Mac
users, it presents an interesting option
| | 08:05 | that I encourage you to try out.
| | 08:07 | Remember though, it's not turned on by
default. So, you'll have to choose it
| | 08:10 | from the Window menu to enable it.
Remember, at the bottom. But you can do that
| | 08:14 | with no documents open. If I close
this and I have it turned on and I quit
| | 08:20 | InDesign and I started again,
that will be the Application Default.
| | 08:24 | What is new for InDesign users of
any platform persuasion though is the
| | 08:28 | Application Bar going across
the top and the tabbed windows
| | 08:32 | Let's take a closer look at working
with multiple windows and new ways to
| | 08:35 | arrange and navigate them in the next video.
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| Working with tabbed windows| 00:00 | I want to talk about working with
tabbed documents in more detail, one of my
| | 00:04 | favorite new features in InDesign CS4,
and in order to do that I have opened up
| | 00:08 | a couple more documents which you
can too. They are inside the Chapter 01
| | 00:12 | folder; we have opened up sheet_v1.indd.
You can click right on the tab and it
| | 00:18 | brings the document to the front.
Same thing. I just drag to the left and
| | 00:22 | click on the tab name, and the
document window becomes active. You can also
| | 00:27 | just press Command+Tilde, that's on a
Mac, or Ctrl+Tilde on a PC, and that will
| | 00:33 | activate each one of these tabbed
document windows in order, just like you
| | 00:37 | could before when you had floating windows.
| | 00:40 | Now I find this a lot easier to work
with tabbed documents than floating
| | 00:45 | windows and also a lot easy just to
make them active by clicking right on the
| | 00:49 | tabs instead of going down the window
menu and choosing them from here. You can
| | 00:53 | still choose them from here of course
and choosing them would bring them to the
| | 00:57 | front, but I think if you work with
tabbed documents that would not be
| | 01:00 | necessary. Also notice that we have
the view scale percentage as part of the
| | 01:05 | tab, as it was before when it was it the title
bar, and the X here will close this document.
| | 01:11 | Now if you want to turn a tabbed window
into a floating window, maybe for some
| | 01:15 | reason you want to do that, all you do
is you drag the tab downward and now
| | 01:20 | this window is floating, while these
two are still tabbed. All the windows that
| | 01:26 | are still open; it's just that because
I have my application frame active,
| | 01:30 | I can't see that other document, Bliss
Magazine. It's being, it's obscured. So I
| | 01:35 | can choose it from the window menu, or
I could press Command+Tab or Ctrl+Tab.
| | 01:38 | So to put a floating window back into
tab mode, you can just drag it in there,
| | 01:44 | and you will see there is a little
blue area that lights up just like your
| | 01:47 | docking panel, but now we are docking
document window. So we have a document
| | 01:51 | docking area in addition
to a panel docking area.
| | 01:55 | Let's say that I want all these windows
to float, I could drag them one by one
| | 02:00 | and make them float, but I think it's a
lot faster to use the commands up over
| | 02:04 | here in the arrangement widget in the
Application Bar. If you click, you can
| | 02:08 | see that there are whole bunch of
graphics that stand for arrangements of
| | 02:12 | multiple windows, plus we have a couple
of commands at the bottom. So if we say
| | 02:16 | float all in windows, what that means
is that all of the documents should be
| | 02:21 | converted into floating windows. If you
want to un-float them, go back to that
| | 02:25 | same widget, and choose the very first
icon, upper left, Consolidate All. That
| | 02:31 | means turn them back all into tabbed windows.
| | 02:35 | These commands are also available from
the Window menu, Arrange flyout menu. So
| | 02:41 | you could say, Float All In Windows,
Consolidate Al Windows. Float in Window
| | 02:47 | means just this one active window,
float that guy not all of them. Now I want
| | 02:52 | to put it back, by choosing Consolidate
All from the arranged widget, and let's
| | 02:57 | take a look at some of these other arrangements.
| | 02:59 | Notice that I can choose 3-up, so now I
can see all three documents at the same
| | 03:05 | time as 3-up. You could have done this
in earlier versions of InDesign from the
| | 03:11 | arrange menu, you could choose a
arrange cascade or a arrange tile, but it
| | 03:15 | wouldn't let you do something like
this, check this out, as I drag, the
| | 03:19 | division line between these two tabbed
windows, they change, this is the where
| | 03:23 | we are changing panel sizes in Bridge,
or in iTunes, or something like that.
| | 03:28 | Let's try another one of these, let's
try one large one on the left, and two
| | 03:32 | small ones on the right, so this is
quite useful, but it's not useful just for
| | 03:36 | comparing three documents, one thing
would be for dragging and dropping from
| | 03:40 | one document to the other. I could
take this frame here, and drag and drop it
| | 03:44 | right on to this document over here, or
let's say that I want to see a another
| | 03:51 | view of this window, and to do that
I'm going to close the other two first,
| | 03:55 | just to keep things real simple during
this video, and while I'm doing, I want
| | 03:59 | you to notice, you see these little
asterisks that are appearing to the left of
| | 04:02 | some of these file names, that is the
little clue that you have made changes,
| | 04:07 | and you need to save it.
| | 04:08 | I believe that's new, now they use
asterisks in front of the file name to let
| | 04:12 | you know that the file needs saving,
but to go ahead and close these documents,
| | 04:17 | you don't need to save changes here.
So in this document, I want to create a
| | 04:22 | new window, so I go back to that
widget and choose new window. Now I have a
| | 04:27 | large version and a small version of
the same window, which means that I could
| | 04:33 | do something, like over here I could
go to my master page, and in this window
| | 04:41 | reduce the view scale to say 12.5%, and
back over here do something like change
| | 04:49 | the margins and columns, with preview
turned on. Watch the effect of those
| | 04:58 | changes on my entire document, even
while I'm just changing the master page on the right.
| | 05:03 | Another use to this-- let me go ahead
and close this up, and close up pages--
| | 05:08 | would be safe for the Story Editor.
I'm going to click inside one of these
| | 05:12 | stories with my Type tool, and press
Command or Ctrl+Plus a couple of times to zoom
| | 05:17 | in a bit. So here is another neat use
for the tabbed windows. I want to click
| | 05:23 | in side the story, and open up the
Story Editor, so I will just go up to the
| | 05:27 | Edit menu and choose Edit In Story
Editor or press Command or Ctrl+Y. The
| | 05:32 | Story Editor for some strange reason,
Adobe has decided should always open up
| | 05:35 | as a floating window, which seems to me
that it is just not taking advantage of
| | 05:39 | being of the tabbed window, features
it, so drag it back into that little
| | 05:44 | document dock, and now you have both
the Story Editor that gives you just an
| | 05:48 | editing view of the formatted story
available to you. Of course now you can't
| | 05:53 | see them at the same time, but we know
how to fix that now. Just go to Arrange
| | 05:56 | Documents and say, I wan t to see
these guys side by side. Let's move up over
| | 06:01 | here and so you see this text here we
can change, and we will say, 'hello, how
| | 06:10 | are you?' And it immediately appears
over here. So you could see your edits that
| | 06:14 | you make in Story Editor
immediately on the left.
| | 06:17 | So I think you can see how much you grow
to count on them in your day-to-day work.
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| Exploring the new workspaces and panels| 00:00 | As you have no doubt noticed in the
Application Bar we have a new dropdown menu
| | 00:05 | to manage and move around different
workspaces, or saved arrangements of panels
| | 00:11 | and menus. Now the default workspace
is called Essentials. And Essentials is
| | 00:16 | kind of equivalent to the basic
workspace in InDesign CS3. We can of course
| | 00:22 | change the default workspace if no
document is opened; that become the new
| | 00:25 | default workspace.
| | 00:27 | If you want to get back to something
that is closely equivalent of the default
| | 00:31 | workspace in the InDesign CS3, then
you want to go to the Workspace Switcher,
| | 00:35 | which is the proper name for this
dropdown menu, and choose Advanced.
| | 00:41 | The Advanced workspace includes the things
that we are in a default workspace from
| | 00:45 | CS3, like pages, layers and links. I
don't think there are as many panels in
| | 00:50 | this Advanced workspace, as there were
in a default workspace in CS3 but, one
| | 00:55 | of the nice new features is that, they
have separated out paragraph styles and
| | 00:59 | character styles, so that now you
don't have to keep switching back and forth
| | 01:02 | in the same panel group, which I think
a lot of users did on their own anyway.
| | 01:07 | Another subtle feature of these panels
is that when they are expanded from the
| | 01:11 | dock, there is no close box as there
was in CS3. So like if I have this group
| | 01:17 | open, there is no close back. So if I
just close the Layers panel, you will
| | 01:22 | have to right click to choose Close,
and that would just close just that one layer.
| | 01:26 | Another feature, when you right click
in that contextual menu or Ctrl+Click
| | 01:30 | with the one button mouse, is this
menu item, which is turned on by default,
| | 01:34 | Auto Show Hidden Panels. And what
that means, as you probably already know,
| | 01:39 | with the Selection tool selected and a
document window open, if you press the
| | 01:43 | Tab key, it will temporarily hide all
of the panels and the Control panel at
| | 01:48 | the top. And pressing Tab again will
bring it back and Shift+Tab hides just the
| | 01:54 | right-hand docked panels, and Shift+
Tab brings that back. When I press Tab to
| | 01:59 | hide them all, and because that menu
item was on, about Auto Show Hidden Panels,
| | 02:04 | if I bring my cursor all the way
to the right of the window, even
| | 02:08 | though they are temporarily hidden, it
will show the panel. So I can quickly,
| | 02:11 | for example, select something and
change its stroke from the Stroke panel.
| | 02:15 | When you bring your cursor back over the
document windows, they may hide again.
| | 02:18 | I'll press Tab to bring them all back again.
| | 02:21 | Some of the other workspaces are what
they call task workspaces. There is the
| | 02:25 | Book workspace, which contains a whole
lot of very useful panels, some of them
| | 02:29 | already expanded from the dock, and
then in the second column of panels we have
| | 02:34 | Index, Conditional Text, which is a
very cool new feature I will be taking
| | 02:37 | about in different video,
Hyperlinks and Bookmarks.
| | 02:42 | Other task-based workspaces
include Interactivity, with things for like
| | 02:46 | making interactive PDFs and exporting
SWF files, printing and proofing, and
| | 02:51 | Typography and What's New. If I open
up What's New, it's a neat new way to
| | 02:57 | quickly see some of the new panels that
are available, like the Preflight panel
| | 03:01 | and Page Transitions, and all of these
I will be covering in this video tape.
| | 03:06 | What they don't show is What's Missing.
Well, they have a What's New, but they
| | 03:09 | don't have a What's Missing. So
Navigator panel fans, I'm sorry but the
| | 03:13 | Navigator panel is no longer. If you
go to Object and Layout, Navigator is
| | 03:18 | gone. There is a twist to the
Navigator, it does live on in spirit, which I
| | 03:23 | will be talking about in a different video.
| | 03:25 | Also the Command bar. Do you remember
that used to be called the Page Maker
| | 03:29 | panel? The Command bar is no longer
here. I guess it just didn't have enough
| | 03:33 | fans to keep it going. So you have lost
two panels. But we still have plenty of
| | 03:38 | panels, in fact, that is one of my
favorite workspaces. I find this the easiest
| | 03:44 | thing to work in, because that way I
have all of the panels available at my
| | 03:47 | fingertips, and then of course my
document window is opened very conveniently
| | 03:51 | at the right.
| | 03:52 | Let us go back to Typography. I like
this very nice and classic list of panels
| | 03:58 | for Typography. Nothing really new
here as far as panels having to do with
| | 04:02 | typography, but I do want to show you
something that's slightly different in
| | 04:06 | CS4, as far as how it tracks your
workspaces. Let's say that you have chosen one
| | 04:12 | of these default workspaces or a
workspace that you saved and then you did
| | 04:16 | something like, let's see I'm going to
take Text Wrap out of there and I think that
| | 04:20 | I'm also going to open up the Info
panel. Perhaps you have arranged them
| | 04:25 | like so. And then you want to use
a different workspace, so you go to
| | 04:30 | Advanced to do something else,
and then you go back to Typography.
| | 04:34 | Well, just choosing Typography doesn't
reset it to the default. As you see, it
| | 04:39 | remembers what were the panels that
you last had opened, what were the
| | 04:42 | customizations that you did to that
workspace. Even if you quit the program,
| | 04:46 | and started up again and went back to
Typography, it would remember that.
| | 04:50 | It keeps track of the current
state of each of your workspaces.
| | 04:53 | To completely reset a workspace in CS4,
you have to go back to the Workspace
| | 04:57 | Switcher and choose Reset and then
the name of that workspace. Now that the
| | 05:03 | Workspace Switcher is part of the
Application Bar, which it turned on by
| | 05:06 | default in InDesign CS4, I think we
are going to see a lot more people
| | 05:09 | discovering the power of workspaces.
| | Collapse this transcript |
| Navigating with Power Zoom, Speed Scroll, and gestures| 00:00 | There are a few new ways to navigate
through an InDesign layout in CS4 and to
| | 00:06 | show this to you, we are still in
Bliss Magazine and I have scrolled down to
| | 00:10 | the second to last page.
| | 00:13 | First thing I want to show you is what
is called power zoom. Now you remember in
| | 00:17 | another video I mentioned that the
Navigator panel is gone. Well, this is where
| | 00:21 | the Navigator sort of lives on. Power
zoom works with the Hand tool. Normally,
| | 00:27 | the Hand tool is used to drag the page
around in the screen, to pan the view
| | 00:33 | within the window. But if you press
and hold for a minute with the Hand tool,
| | 00:38 | what's often called Patient User Mode,
you press and hold for a second, something
| | 00:43 | different will happen. You get into
power zoom mode and this red square is
| | 00:48 | right from the Navigator panel.
| | 00:50 | I'm still holding the mouse button
down and I'm dragging with the Hand tool.
| | 00:56 | When I release the mouse button,
whatever is inside that red square, will zoom
| | 01:01 | to fill the window. And that's not very
useful, except that you can change the
| | 01:06 | size of that red square. You can
change it if you have very good manual
| | 01:09 | dexterity. While you are pressing the
mouse button down, you could use another
| | 01:14 | finger to scroll the scroll wheel on
the mouse or you can use the up and down
| | 01:19 | arrows keys on your keyboard,
which I think is a little easier.
| | 01:22 | So let's say that I want to zoom in on
some of this small sidebar text, down
| | 01:27 | here. I could just drag it over here
and use my down arrow key to -- it's a
| | 01:32 | little too much, to surround that area
and then release the mouse button. And
| | 01:37 | so now I can go ahead and edit this
text then if I want to zoom back out, I
| | 01:41 | press and hold for a minute and I can
drag that same square to another location
| | 01:46 | even on another page.
| | 01:48 | So I'm just pressing, dragging,
releasing, pressing, dragging and I can use the
| | 01:59 | up arrow key to increase this little
bit and so now that's power zoom. And
| | 02:04 | again it requires the Hand tool, does
work with the keyboard shortcut for the
| | 02:07 | Hand tool, if you are on a different
tool. But then it's complicated then you
| | 02:11 | pressing all sorts of keys down on the
keyboard. So I think this might be more
| | 02:14 | useful if you directly select the Hand
tool or switch to it with the keyboard shortcut.
| | 02:19 | Tied into the power zoom is what's
called speed scroll. So let's say that we
| | 02:24 | are down here at this page and I'm
going to go ahead and make it small again.
| | 02:28 | All right and press and hold -- when
you are working in a long document, if you
| | 02:34 | want to see the same area on many
different pages, you can move the cursor to
| | 02:39 | the top or bottom of the
window and it will quickly scroll.
| | 02:42 | Now normally, you can have Auto Scroll
with the Hand tool. You can only start
| | 02:47 | dragging an actual object for Auto
Scroll to work but Auto Scroll now works
| | 02:51 | with the power zoom tools. I move up to
the top of the window and the longer I
| | 02:56 | stay there, the faster it scrolls.
So if I was working in a really long
| | 03:00 | document, I could quickly jump from
page 5 to page 93 and then zoom in on
| | 03:05 | whatever I wanted to look at on page 93.
| | 03:07 | And so that's power zoom and then you
move your mouse to the top or the bottom
| | 03:13 | of the window and hold down there for
a second, and start to scroll quickly,
| | 03:17 | that's called speed scroll. And when I
press Command+0 or Ctrl+0 on the PC to
| | 03:24 | fit in window and the feature that was
added to InDesign CS4 late in the game
| | 03:29 | was support for gestures. Gestures are
available on the newest Mac laptops, the
| | 03:33 | ones that come with multi-touch trackpads
like the Air and the latest MacBook Pros.
| | 03:38 | Gestures are a series of movement that
you can make with your fingers on the
| | 03:41 | trackpad to navigate in Apple
programs like iPhoto. But InDesign picked up
| | 03:48 | those gestures for CS4 as well. So if
you are lucky enough to have one of those
| | 03:51 | latest laptops, you can use pinching.
You have seen in the iPhone commercials
| | 03:56 | where they pinch on the screen to zoom
in or they spread their fingers apart to
| | 04:00 | zoom out, to make the screen bigger.
You can do the same thing in InDesign.
| | 04:04 | It also supports swiping the trackpads.
When you swipe across the trackpad, you
| | 04:09 | can turn pages or move from spread to
spread and if you use the rotate gesture
| | 04:14 | by rotating two fingers around on the
trackpad, you can rotate the selection or
| | 04:19 | even if nothing is selected, the
entire page, which is the new feature I will
| | 04:23 | be talking about in a different video.
| | 04:24 | All right, so there is a few new ways
to navigate through an InDesign document
| | 04:29 | with power zoom, speed scroll and
gestures. I think that once you start working
| | 04:33 | with the new version, you will agree
with me that between the Application Bar
| | 04:37 | and its widgets, the tabbed windows,
the new workspaces and these additional
| | 04:42 | navigation aids, Adobe has really
smooth out some of the rough edges in
| | 04:46 | InDesign. Now let's dig into some of
the coolest new features in CS4 starting
| | 04:50 | with the smart stuff in the next chapter.
| | Collapse this transcript |
| Using new file formats| 00:00 | Much of the work that Adobe put into
InDesign CS4 happened under the hood.
| | 00:05 | Huge chunks of the program were rewritten
from the ground up to boost reliability,
| | 00:10 | stability, and power. In actual use as
end users, we'll experience this in two ways.
| | 00:15 | First snappier performance, and
second, new file formats, including the
| | 00:21 | truly amazing InDesign Markup Language.
| | 00:24 | In the next few minutes, I'm going to
run through the new and modified file
| | 00:27 | formats available to us in CS4. Some
of which will effect how you are working
| | 00:32 | today. But by the end of the video, you
will have a much more well rounded view
| | 00:36 | of Adobe's intent for
InDesign, now and in the future.
| | 00:39 | I have opened up sheet_v1.indd from the
Chapter 01 exercise files, just to have
| | 00:46 | something up on screen. Some file
formats are still the same. If you go to the
| | 00:50 | File > Save As in InDesign CS4, you
will see, to your relief I'm sure, that the
| | 00:56 | file extension is INDD, just as in
previous versions, and if you need to save
| | 01:01 | in InDesign Template, it's still INDT.
I'm going to cancel out of here and show
| | 01:06 | you that also if you create a new Book,
the file extension is still INDB, as
| | 01:12 | well as Libraries are still INDL.
However, as with every version of InDesign,
| | 01:20 | they are not really backwards
compatible. You can't open up a CS4 document if
| | 01:24 | you are running InDesign CS3. Instead,
you need to export the CS4 document to
| | 01:29 | InDesign Interchange Format, INX. Just
as we had to do with InDesign CS3, if we
| | 01:34 | needed to share it with an InDesign CS2 user.
| | 01:37 | But if we take a look at File Export,
and we want to export this to InDesign
| | 01:43 | CS3 Interchange, you will see that
the Export dropdown menu looks a little
| | 01:47 | different. First of all, there is no
SVG and SVG Compressed, I know that your
| | 01:53 | heart is broken about that, because
that was such a popular format, but now
| | 01:56 | it's no longer in InDesign CS4. We do
have a couple of new file types: SWF or
| | 02:02 | SWF file, which is a self contained
little Flash file that you can export
| | 02:07 | directly from the layout, converting
an InDesign layout to a Flash file that
| | 02:11 | can include interactivity and that can
be viewed directly in the Web browser.
| | 02:15 | We also have a new one up here, Adobe
Flash CS4 Pro, XFL, which stands for
| | 02:22 | Export to Flash. That's what XFL is
for. But that allows you to open up an
| | 02:27 | InDesign file in Flash CS4 Professional,
with all of the layout geometry, the
| | 02:33 | colors, the images, and even the text
formatting intact, and editable with
| | 02:37 | inside Flash, very cool.
| | 02:39 | The final new one that we have here is,
InDesign Markup, IDML, which I will get
| | 02:44 | to you later in this video. Now
something that will affect you right away is
| | 02:49 | the new file format for Snippets. If
I create a snippet, which is a shared
| | 02:55 | chunk of an InDesign layout. It's
kind of like a Library item that doesn't
| | 02:58 | require a Library. Snippets have been
around for a while in InDesign, and there
| | 03:03 | are many ways to create them. Right
now I'm just going to select something,
| | 03:06 | it's a group of item here, and go
to File, Export, and because I have a
| | 03:11 | selection, I now have
another choice in InDesign Snippet.
| | 03:16 | The new file format for InDesign
Snippet is IDMS, and that M really stands for
| | 03:22 | Markup, because a lot the behind the
scenes coding that's been done inside in
| | 03:26 | InDesign CS4, has to do with allowing
external third party applications to do
| | 03:32 | things to InDesign files, or parts of
InDesign files, without actually having
| | 03:36 | to open InDesign. So there is this
whole markup language, and Snippet has been
| | 03:41 | affected by this.
| | 03:42 | If I export this Snippet, all that
really matters is that it just has a new
| | 03:47 | file formatting, and I can always go
ahead and import the Snippet just by going
| | 03:51 | to File > Place, or pressing Command
or Ctrl+D, like I just did. Select the
| | 03:56 | Snippet, I will turn off Replace
Selected Item, and there is my little loaded
| | 04:01 | Snippet cursor and place it.
| | 04:03 | So if you export a Snippet from
InDesign CS4, you will not be able to place
| | 04:08 | that Snippet into an InDesign CS3 file,
because it's a different file format.
| | 04:13 | However, InDesign CS4 can place CS3
Snippets. By the way, while I'm talking
| | 04:19 | about Snippets, let me show you one new
feature in CS4 that has to do with them.
| | 04:24 | If I have a text frame, I will just
drag one right here. Here is my text, and
| | 04:33 | hit Return, I can import a Snippet as
in Inline Graphic. Let's actually make
| | 04:38 | this little bigger, and then go to
File, Place, select the Snippet, and I'm
| | 04:46 | going to turn on Replace Selected Item.
Now in CS3, if you did this, even if
| | 04:50 | you had your cursor blinking inside of
the text frame, you will still end up
| | 04:54 | with the loaded snippet cursor. You
couldn't directly import it into a text frame.
| | 05:01 | You will see that it automatically
appears in InDesign CS4. Another new file
| | 05:06 | format that may affect how you are
working right now is the new file format for
| | 05:10 | InCopy. If I select the text frame,
and I could choose File Export as before,
| | 05:15 | or go directly or to the InCopy menu,
or use the Assignment panel, a new file
| | 05:20 | format for InCopy story is ICML.
And again there is that ML for Markup
| | 05:26 | Language. In the Format dropdown menu,
this is an InCopy Document CS4 style,
| | 05:32 | you could also export it as InCopy CS3
Interchange, which reverts back to the
| | 05:37 | CS3 style, INCX. Now that's what most
interested people are using in InDesign
| | 05:43 | in InCopy workflow, but I'm assuming
many of you are, and if you like to learn
| | 05:47 | more about this, you should watch my
InDesign InCopy CS4 workflow Essentials
| | 05:52 | Video. I'm going to Cancel out of there.
| | 05:55 | And finally, let's talk about that
Export Format, IDML, InDesign Markup
| | 05:59 | Language. I'm going to go back up to
the File menu, choose Export, and select
| | 06:04 | IDML, and this is going to export the
entire layout to a single file, similar
| | 06:10 | to an INX file.
| | 06:14 | Now if I wanted to, I could send this
to somebody and they could open it up in
| | 06:18 | InDesign CS4. There is the IDML file.
So you see, it will open it, and convert
| | 06:26 | it to an untitled InDesign document,
similar to opening up an INX file in
| | 06:30 | InDesign. So it is another
troubleshooting technique to sort of clear out any
| | 06:35 | kind of corruption, weirdness that's
happening in a file. In CS4, you can use
| | 06:39 | now both file formats to do that.
You could export to INX, InDesign
| | 06:43 | Interchange, and then reopen it right
back up in the same program, or you can
| | 06:47 | export to IDML, and open it back up.
| | 06:49 | So what's the difference? Well, INX is
really more for back savings; it's more
| | 06:53 | for exchanging with somebody who has
InDesign CS3. IDML is something totally
| | 06:59 | new. Let's take a look at it in the
Finder, and you can do this as well if you
| | 07:03 | are in Window Explorer. If you select
the IDML file, it's actually a compressed
| | 07:09 | group of various XML files, and it is
similar to a Zip. Now unfortunately, you
| | 07:15 | can't unzip it, or decompress it
OS10s built in Unzipping Utility. But you
| | 07:21 | should have no problems doing so on
Windows. You might need to change the
| | 07:26 | extension from IDML to Zip, before
Windows will pick it up and try to unzip it.
| | 07:32 | On the Macintosh, you need a third
party program, such as BetterZip, which is
| | 07:38 | wonderful little utility for
decompressing files, and here I have opened up
| | 07:43 | sheet_v1.idml in BetterZip and now you
can see what the ZIP file contains. It
| | 07:49 | has various XML files in these folder,
Resources, so it's got an XML file
| | 07:55 | listing all the graphics in the Excel
sheet document. All the fonts, styles,
| | 07:59 | preferences. If there is XML information,
it has the style, the Tags, Mapping,
| | 08:05 | and vice versa. It has information
about how the master pages are created, and
| | 08:10 | each individual spread, as well as an
XML file for every single individual
| | 08:15 | story in this document.
| | 08:17 | Now I came across a wonderful PDF
called Anatomy_ of_ IDML. It is included in
| | 08:23 | your exercise folder in Chapter 01
Formats. An Anatomy_ of_ IDML.pdf created by
| | 08:31 | Mike Rankin, who runs a wonderful blog
called Publicious.net, and he did this
| | 08:35 | anatomy of an InDesign Markup format
file that explains in detail what each of
| | 08:41 | these things contain, and also has a
little tip about how to open these. Then
| | 08:45 | you can open up these XML files in any
text editor. He is using Oxygen, which
| | 08:50 | is an XML editor for Macintosh,
to take screen shots. Let me show you.
| | 08:56 | The designmap file has a document
root element and then with the list of
| | 09:00 | everything else is in those packages,
in those folders. And there is a Meta
| | 09:05 | file, a list of all the fonts used in
the document, again all in XML sort of
| | 09:09 | tags. Graphics, the preferences that
were used to create this document, not the
| | 09:15 | application preferences, but the
document preferences. Styles, BackingStories,
| | 09:22 | the tags to styles, and the styles to
tags for XML workflows, and description
| | 09:27 | of the master page spreads, and
document spreads, and every single story is
| | 09:32 | listed. So like here is the actual
content of one of the stories of a text
| | 09:36 | frame in the document that
my colleague exported to IDML.
| | 09:40 | And the point of this is that if opens
up the InDesign file format to anybody
| | 09:46 | who needs to do some sort of document
processing outside of InDesign. I mean,
| | 09:50 | you could easily open up this XML file,
and enter different text here for the
| | 09:54 | content, and then when you open up
that IDML file back in InDesign, you will
| | 09:58 | have a new content. So you could
imagine the possibilities of using scripting,
| | 10:03 | or maybe third party who is going to
come up with some sort of engine to take
| | 10:07 | apart these IDML files, swapping new,
catalog items, new prices that kind of
| | 10:12 | stuff, and put it all back together again.
| | 10:15 | Considered as a whole, I think the new
file formats I have just gone over are
| | 10:19 | evidence of two separate, but equally
powerful goals that Adobe's InDesign team
| | 10:24 | are perusing. On the one hand, you have
got your Flash Integration/Cross Media
| | 10:29 | Publishing Goal, like the new Export
to SWF, and Export to XFL, to you being
| | 10:34 | able to edit the file
directly in Flash to those formats.
| | 10:38 | Then on the other side, you have the
new IDML format, that clearly signifies
| | 10:43 | Adobe's Intent and opening up InDesign
to more automated document processing
| | 10:47 | solutions, kind of like a left brain
and right brain approach. But to me the
| | 10:51 | most exciting thing is that Adobe is
still pushing this program to become the
| | 10:55 | absolutely best page layout software
for print publishing professionals.
| | Collapse this transcript |
|
|
2. Smart Guides and the Smart CursorWorking with the Smart Cursor| 00:00 | One of Adobe's favorite words to
apply to a feature is Smart. Like in
| | 00:05 | Photoshop, we have got Smart Objects,
Smart Filters, Smart Sharpen. Well
| | 00:11 | finally, InDesign has some
Smart features of its own.
| | 00:15 | One of those that is going to be
immediately obvious once you start using CS4
| | 00:19 | is the Smart Cursor. I have opened
up Bliss_Magazine from the chapter 02
| | 00:25 | exercise folder and scroll down to
Page 4 and 5, where there are some images
| | 00:30 | around here. Now, it doesn't have to be
this page that you are on; you can try
| | 00:33 | this with any image. Take the
Selection tool and just start dragging an image
| | 00:37 | around and watch the cursor. Do you
see that little readout next to it?
| | 00:42 | When you drag an image around, that
Smart Cursor is telling you the X and Y
| | 00:49 | position of the object. Now, what X
and Y position? If you look at it right
| | 00:53 | now, it says the X is 9.72 something,
something that is actually going
| | 00:58 | according to the reference point,
appear at the far left of the Control panel.
| | 01:03 | So, if you are trying to position the
left edge of this object, you can click
| | 01:07 | in any of these left edge proxy points,
I will just do the upper left-hand
| | 01:10 | corner and then start dragging again
and now, you see the cursor is reading out
| | 01:15 | the position of the upper left-hand
corner of this image because that's what I
| | 01:18 | selected in the reference point.
| | 01:20 | So that is different from the Info
panel, which you might be thinking what is
| | 01:26 | the big deal, the Info panel tells you
the same thing; it gives you an X and Y.
| | 01:29 | But the Info panel gives you an X and
Y of where the cursor is, not really of
| | 01:33 | the selected object. It does give you
the width and height of the selected
| | 01:36 | object which is always nice, but not
the X and Y position, okay. So, I will
| | 01:40 | close Info, and by the way, when you
drag out ruler guides from the rulers, you
| | 01:45 | also see the Smart Cursor and it gives
you an up-to-date readout of the ruler's
| | 01:49 | X or Y position as you drag, which is
fantastic because that means you don't
| | 01:54 | have to keep your
eyeballs on that ruler anymore.
| | 01:56 | Now, if you start dragging a corner of
a selection, the Smart Cursor changes
| | 02:02 | from X and Y to W and H, standing for
Width and Height. So, it is now reporting
| | 02:08 | to you the width and the height of this
object and if you cast your eyeballs up
| | 02:12 | to the Control panel, you will see next
to W and H, the exact same numbers that
| | 02:16 | the Smart Cursor is telling you.
| | 02:19 | So, it is just a little easier when you
are resizing to watch the Smart Cursor
| | 02:23 | and stop when you want to resize to an
exact dimension. Now, when you rotate
| | 02:29 | with either the Rotate tool or the
Free Transform tool then the Smart Cursor
| | 02:33 | shows you the angle of rotation. So, I
will choose the Rotate tool or I could
| | 02:38 | just press R to switch to it. You will
see the little icon here standing before
| | 02:42 | the point of origin. As I start dragging,
I'm just going to drag to the right,
| | 02:46 | you will see that it's telling me that
it's -20 degrees rotated and so on. What
| | 02:52 | the Smart Cursor is telling me here
again is the same as the readout in the
| | 02:55 | Control panel at the top. So, you can
see this Rotation field right here says
| | 03:00 | this -35 degrees, which is what the
Smart Cursor tells me. So, I'm just
| | 03:05 | pressing and holding sort of
nudging a little bit to wake it up.
| | 03:08 | That's the Smart Cursor. Now let's now
try that with the Free Transform tool,
| | 03:14 | which is down here. And rotate with
the Free Transform tool, we also get the
| | 03:20 | Smart Cursor. Now, what would be nice
if while you are dragging with the Free
| | 03:27 | Transform tool, that you got a cursor
readout that told you the kind of scaling
| | 03:33 | amount that you are applying to the
object that you are dragging around, watch
| | 03:37 | the scaling fields directly above this
image as I drag it. The Smart Cursor is
| | 03:42 | not quite that smart; I guess this is
version 1.0 of the Smart Cursor. So, all
| | 03:47 | of the cool things that we wished, the
smart cursor would show, not quite yet;
| | 03:51 | still even just having the Smart
Cursor available for when you are dragging
| | 03:55 | things around or resizing them is pretty handy.
| | 03:59 | If that Smart Cursor is bugging you,
you can go to Preferences, which on the
| | 04:02 | Mac is under the InDesign menu; on a
PC, it's the last item under the Edit
| | 04:06 | menu. Go to Preferences and go to
Interface, and if you don't want to see the
| | 04:12 | Smart Cursor, turn off this check box,
Show Transformation Values. Then if I
| | 04:19 | had that turned off and I start
dragging something around, we don't see any
| | 04:22 | Smart Cursors around. But you do see
some other things sort of flashing around
| | 04:25 | if you drag things. These little
alignment guidelines, well that is a topic of
| | 04:30 | another video using Smart Guides in InDesign.
| | Collapse this transcript |
| Using Smart Guides to align objects| 00:00 | As you drag and transform objects on
the page in InDesign CS4, you will see
| | 00:05 | Smart Guides, sort of wink on and
wink off. All right, that's because Smart
| | 00:09 | Guides are turned-on by default in Preferences.
| | 00:13 | And Smart Guides helps you align things
and transform them on the page, without
| | 00:19 | having to make multiple trips to the
menus, or to the Application Bar, without
| | 00:24 | having to clutter up a layout with 10,
000 Ruler Guides, and so can really save
| | 00:29 | you a lot of time, when you
are working on a busy layout.
| | 00:32 | I want to adjust those Preferences for
this video. So go up to your Edit menu
| | 00:38 | if you're on Windows and choose
Preferences from the last item in that Edit
| | 00:42 | menu, or if you are on Mac,
go to the InDesign Preferences.
| | 00:46 | You will find all the Smart Guides
Preferences are surprisingly enough with
| | 00:50 | Guides and Pasteboard. So all the Smart
Guides are turned-on by default. I want
| | 00:54 | you to do two things here. First turn
off Smart Dimensions and Smart Spacing,
| | 00:58 | which I will be covering in a different video.
| | 01:01 | And second, because so many pages of
Bliss Magazine has this green background,
| | 01:06 | I want to change the color of Smart
Guides to something that's a little easier
| | 01:09 | to see, and you will see that dropdown
menu is here underneath the controls for
| | 01:13 | changing the colors of all the other
kinds of Guides. So change it from Grid
| | 01:17 | Green to something dark like Brick
Red or Burgundy or Purple. I will choose
| | 01:22 | burgundy, and then click OK.
| | 01:25 | Now that you see at the top of page 3
and 4 of Bliss magazine, there is this
| | 01:30 | blue bowl filled with this beautiful
chocolate candies, just start dragging
| | 01:35 | that around, and you will see this
little Burgundy Guidelines pop in and out
| | 01:40 | that tell you when the object that you
are dragging is aligning with something.
| | 01:44 | For example, right now there is a
horizontal line that is extending from the
| | 01:50 | frame that I'm dragging, to the top of
the sidebar on the right. It's telling
| | 01:54 | me that the center of the frame that
I'm dragging is perfectly aligned with the
| | 01:58 | top of that sidebar.
| | 02:00 | Let me just drag over here to the
Pasteboard. I'm sort of pushing the window over
| | 02:05 | because I want to show you that when
you are dragging things in the Pasteboard,
| | 02:10 | Smart Guides are not paying attention.
It's only when a part of the object
| | 02:15 | is on top of the page that you will
see the Smart Guides start to appear.
| | 02:21 | Let's take a different object on
this same spread, this small picture of
| | 02:27 | chocolates here, and start dragging it
around, and watch the Guidelines as you
| | 02:33 | drag. See if you can tell when it's
aligning with something. That you see how
| | 02:37 | there is a pink guy coming out from the
center of it, it's telling us that it's
| | 02:41 | actually aligning. Most pink guides
mean that it is aligned with the center of
| | 02:47 | the page to the left, so this pink
margin or the Magenta Guide is here.
| | 02:52 | So not only the Smart Guides tell you
when one object is aligning with the edge
| | 02:57 | or the center of another object, but
also with Page Elements, like the center
| | 03:01 | of a column. Watch, you see how I drag
this image, and now it's showing me a
| | 03:05 | vertical, Guideline is telling me
this is now exactly in the center of the column.
| | 03:09 | As I said, you can see Smart Guides
even if you can't see the Ruler Guides.
| | 03:13 | Let's check that out. We will go up to
the Application Bar, and where you will
| | 03:20 | turn-off Guides, and then start
dragging that same image around, you will see
| | 03:25 | the Smart Guides are still appearing.
Go back up there, and turn Guides back
| | 03:30 | on, and also notice that Smart Guides
can be controlled here as well, turned-on
| | 03:36 | and off, and let's switch to preview
from the Screen-mode widget. In Preview
| | 03:44 | mode, all Guides are hidden, unless you
select something, and then you see the
| | 03:49 | frame edges of that item, but all the
Ruler Guides, and Margin Guides, and
| | 03:52 | Column Guides are hidden.
| | 03:54 | But as you drag an object or objects,
if Smart Guides is enabled, you will see
| | 03:59 | them also in Preview-mode, which is
incredibly useful, because you can do some
| | 04:04 | page layout work in aligning right
here without all the distractions of every
| | 04:08 | other Guideline known to men.
| | 04:10 | One of the tip that I want to tell
you about Smart Guide, is that what it
| | 04:14 | considers to be potential alignment
point, depends on your Zoom level, so if
| | 04:19 | you've zoomed out, and you are seeing
most of one or two pages, it's looking at
| | 04:23 | every single thing on those two pages.
If you are just trying to align this
| | 04:27 | object, say with this guy, and you
don't really care about objects in the left
| | 04:31 | hand side of the page, what you
should do is Zoom in, so I'm going to press
| | 04:35 | Ctrl + on a PC or Command + on a Mac,
a few times, and filter down what Smart
| | 04:44 | Guides will consider, and now I can
just drag and you will see that it only
| | 04:48 | considers objects that are within the
window, and not everything else on the page.
| | 04:53 | So right here it's telling me that the
center of this picture is aligning with
| | 04:57 | the top of this text frame. But if I
want to align the top of this image to the
| | 05:00 | top of that image, then I drag up and
wait for the Guideline to appear. Smarter
| | 05:06 | line is in effect not just when you
are dragging objects, but also when you
| | 05:11 | haven't decided what you want to create.
I'm going to de-select all from the
| | 05:15 | Edit menu, and switch back to normal
view. When my Type cursor is in Frame
| | 05:25 | Drawing mode, look at that little
white arrow that appears there, letting me
| | 05:29 | know that it is currently
in alignment with something.
| | 05:32 | Let me move around my screen here, and
try another shape, say that I want to
| | 05:39 | drag out a frame. Watch how the cursor
gains that little arrow that pops on and
| | 05:45 | off when it's in alignment. That
means that if I drag out of frame, this is
| | 05:48 | going to be perfectly in
alignment with the image to the left.
| | 05:53 | In addition to seeing that smart
alignment arrow appear with your cursor, as
| | 05:57 | you are just moving the cursor around
on the screen, Smart alignment also works
| | 06:02 | with the direct selection tool, when
you are working on individual points. So
| | 06:07 | say for example, I'm just going to drag
out a curvy path here, and grab one of
| | 06:16 | these points with my Direct Selection tool.
| | 06:19 | Let's say that I wanted to move this
point up to align with this point. As I
| | 06:24 | drag up, look at that, it is telling
me when it aligns perfectly. So remember
| | 06:33 | you can control whether the Smart
Guides appear or not from two different
| | 06:38 | places, one from the Application Bar,
go down to View Options, and you can turn
| | 06:43 | Smart Guides on or off, and you can
also go to the View menu down to Grids and
| | 06:48 | Guides, turn on and off here, and
there's the command key shortcut, Command+U
| | 06:53 | or Ctrl+U. The exact same one that
you use in Illustrator, if you are
| | 06:57 | accustomed to and familiar.
| | 06:59 | Now what they are going to turn on and
off is what you have turned on and off
| | 07:01 | in Preferences. Before you do anything
else, be sure to go back to Preferences
| | 07:06 | and turn on all of your Smart Guides.
| | 07:08 | On a Mac, go to InDesign Preferences
and choose Guides and Pasteboard, on a PC,
| | 07:14 | go to the Edit menu where you will
find Preferences, select Guides and
| | 07:18 | Pasteboard, and make sure that
these two options are turned back on.
| | 07:22 | I will be covering Smart Dimensions
and Smart Spacing, and Smart Rotation,
| | 07:26 | which is part of this, in the next video.
| | 07:29 | I love how the new Smart Alignment
Guides help me to layout sharp looking pages
| | 07:33 | without having to drag out 10,000
Ruler Guides, just everything can be done
| | 07:37 | right on the fly.
| | Collapse this transcript |
| Using Smart Guides for dimension, spacing, and rotation| 00:00 | Besides helping you match-up the X
and Y positions of objects on the page,
| | 00:04 | Smart Guides can also help you match
object dimensions and the spacing in
| | 00:08 | between objects and even the rotation
of the various elements on the page. All
| | 00:13 | without having to open a single dialog
box or clutter up the layout with tons
| | 00:17 | of ruler guides. Let me show you.
| | 00:19 | I'm in the same document as we were for
the other videos in this chapter, but I
| | 00:23 | have scrolled down the spread, I'm on
page 7 of Bliss_Magazine. So if you could
| | 00:29 | go ahead and scroll down and sort of
center Page 7 on the screen, where I have
| | 00:32 | just some random artwork. Before we
start working, we need to go back to
| | 00:36 | Preferences because in an earlier video,
I had turned off a couple of the Smart
| | 00:39 | Guides Preferences to keep things a
little simpler when we are first learning
| | 00:43 | about it. So, let's zip back to
Preferences, on Windows, go under the Edit menu
| | 00:48 | and choose Preferences; on a Mac, go
to the InDesign menu and go back to
| | 00:52 | Preferences, Guides & Pasteboard.
Down here in Smart Guide Options, turn on
| | 00:59 | Smart Dimensions and Smart Spacing. All
four of these are turned on by default
| | 01:04 | when you install InDesign. Also, let's
go back to the Interface preference and
| | 01:09 | turn Smart Cursor back on; we turned
that off earlier. So, remember, it doesn't
| | 01:14 | say Smart Cursor anywhere, but except
for here, Show Transformation Values
| | 01:18 | enables or disables the
Smart Cursor and then click OK.
| | 01:21 | I think it will be a little easier to
concentrate on the guidelines that Smart
| | 01:26 | guides is throwing up there, if we go
and work in Preview mode. So, you can
| | 01:30 | switch to Preview mode by tapping the
W key that's a default shortcut as long
| | 01:34 | as you have the Selection tool chosen
or anything other than text or we can
| | 01:39 | come right up here and choose Preview
from the Application Bar widget. And
| | 01:45 | let's zoom in a bit; I'm going to
press Ctrl++ or Command++ a couple of times
| | 01:50 | to remember that you can control Smart
Guides to some degree by zooming in on
| | 01:56 | the objects that you want to align,
otherwise, the Smart Guides takes into
| | 02:00 | account everything that's inside the
window and we will start aligning the
| | 02:03 | things on a page next to the current
page that maybe you don't even care about.
| | 02:07 | What we want to do is we want to change
the width of all these images to match
| | 02:12 | the width of this image, which is a
picture of vanilla beans. I don't need to
| | 02:16 | select the picture of vanilla beans,
to see what the current width is, all I
| | 02:19 | need to do is select any of these
images and start dragging and there is the
| | 02:26 | Smart Cursor appearing. And as I drag
to the left, drag on the handle, notice
| | 02:30 | the dimension lines that are
appearing below this image. The dimension line
| | 02:34 | below the picture of the candy and
then the picture of the person holding the
| | 02:38 | little ball of cocoa butter on the
right are matching, meaning right now, this
| | 02:42 | image is exactly of the
same width as that image.
| | 02:45 | You keep dragging and you will see the
dimensions lines pop up matching other
| | 02:49 | elements that are inside the window,
whatever you can see. So, we keep on
| | 02:53 | dragging until we see them appear on
the rotated picture of the vanilla beans.
| | 02:58 | And we can do the same thing with
height if we wanted to. So, if I start
| | 03:01 | dragging up on this bottom handle and
then watch for that vertical dimension
| | 03:05 | lines to appear, now I know that this
image is exactly of the same height as
| | 03:09 | that other image. And then I could
do something like choose Fitting, Fit
| | 03:15 | Content Proportionally to get that
perfectly sized in there, if I wanted to.
| | 03:19 | So, let's do the same thing; match the
widths of these two images in the middle
| | 03:23 | with the picture of the vanilla beans.
So, I just drag and now, you see all
| | 03:27 | three of these width dimensions
match and the same thing for this one.
| | 03:31 | Now, let's talk about Spacing. First,
I'm going to just drag the picture of
| | 03:37 | these cocoa beans close to this
picture on the left and you see the Smart
| | 03:41 | Alignment Guides tell me that they are
currently aligning perfectly at the top.
| | 03:46 | Now, what I want to do is, I want to
drag this picture to the left so that the
| | 03:51 | space between this picture and the
picture of the cocoa beans is exactly the
| | 03:55 | same as the space between the picture
of the cocoa beans and the picture of
| | 03:58 | candy. So, I'll get up to the align
the top and then start dragging left and
| | 04:02 | watch for the Spacing Guides to appear.
So, you get these little lines have
| | 04:08 | sort of call out in the color of the
Smart Guides and tell you when the spacing
| | 04:12 | matches. Let's do the same thing for
this one. You want to match the top corner
| | 04:18 | with the top edge of the other images.
So, I think you get the idea and now,
| | 04:23 | let's talk about matching Rotation Amounts.
| | 04:26 | I want to rotate the picture of this
candy so that it matches the picture of
| | 04:32 | the vanilla beans. You select it and
then switch to the Rotate tool or this
| | 04:37 | will also work with Free Transform,
but the Rotate tool is right here or you
| | 04:40 | just press the letter R and there is
the little Point of Origin icon meaning
| | 04:46 | it's going to rotate around that
corner and then start dragging either up or
| | 04:50 | down, we want to move up. And you can
see that the Smart Cursor is telling you
| | 04:54 | it's now rotated two degrees. Take a
close look at the upper left-hand corner
| | 04:59 | of the image that I'm rotating and
you can see the Rotation Smart Guides appearing.
| | 05:04 | As you drag, the rotation shows you how
much the angle of rotation is and what
| | 05:09 | we are doing now is keep an eye on
both that image and the picture of the
| | 05:13 | vanilla beans because when the
rotation matches, you will see the Smart
| | 05:18 | Rotation Guides appear on the picture
of the vanilla beans as well. You see
| | 05:23 | blink-on and blink-off, so it takes
a steady hand. There we go. And also,
| | 05:28 | notice that the Smart Guides change
their color to match the actual current
| | 05:32 | Smart Guide. When they are not in
alignment, they are kind of like the
| | 05:35 | complimentary color of the Smart
Guides. When they are in alignment, they
| | 05:39 | blink-in and they go into the
regular color of the Smart Guides.
| | 05:42 | So now, these two elements are
precisely rotated the same amount. Let's do that
| | 05:47 | with this one as well. So, I select
this image, switch to the Rotate tool by
| | 05:51 | tapping the R and start dragging
upwards, watching for the matching and
| | 06:01 | rotation guides on the other picture,
there we go, and release. I think you can
| | 06:05 | see how Smart Guides in InDesign CS4
will be able to save us all loads of time
| | 06:10 | when we need to precisely align, resize,
space-out and rotate objects. I know
| | 06:15 | that I still will be using the Align
panel once in a while, I assume. Let me
| | 06:20 | open it up, but in general, I think what
we can do is say bye, bye to the Align panel.
| | 06:26 | Bye, bye!
| | Collapse this transcript |
|
|
3. Smart Text ReflowAuto-flowing text with Smart Text Reflow| 00:00 | Well, you have seen Smart Cursor and
Smart Guides, now here is another new
| | 00:04 | smart feature in InDesign CS4, Smart
Text Reflow. Like Smart Guides, it's on by
| | 00:11 | default. So let me show you how it works.
| | 00:14 | First let's make sure it's turned on
by default in your copy of InDesign in
| | 00:18 | case you have been messing around. Go
to Preferences under the InDesign menu on
| | 00:21 | a Mac, go under the Edit menu on a PC
and choose Type. The Smart Text Reflow
| | 00:27 | controls are down here at the bottom
of the Type panel inside Preferences and
| | 00:31 | as you can see it's turned on by default,
however it only goes into effect with
| | 00:36 | master page text frames. So Limit to
Master Page Text Frames is checked and it
| | 00:42 | will add pages to the end of the
story. So let's see how that works.
| | 00:46 | Again it's only concerned if you are
working in a document that has master page
| | 00:50 | text frames, which a lot of InDesigners
don't use. But a lot of people who will
| | 00:55 | create long documents or textbooks and
things like that they do use. Now I have
| | 00:59 | created a document here, it's called
Long_Doc and it is inside your Chapter 03
| | 01:04 | folder, go ahead and open it up. It's
just one page long. There is some text
| | 01:08 | here on the Pasteboard and this one
page does have the master page text frame here.
| | 01:13 | If you open up the Pages panel, and
look at the icon of the page, it's based on
| | 01:19 | master page C and if you look at
master page C, the master text frame, I just
| | 01:24 | double-clicked it, to make it active,
you can see that it has two text frames
| | 01:28 | that are threaded together, which is
a master page text frame. So you go to
| | 01:33 | page C and it is not overridden yet,
okay I can't really select it but it's
| | 01:36 | there and what we are going to do is we
are going to place a story, you can go
| | 01:40 | ahead and close the Pages panel.
| | 01:43 | We are going a story into this frame.
So go to the File menu, choose Place or
| | 01:48 | press Command+D or Ctrl+D and what we
want to place is the first chapter of
| | 01:54 | Emma by Jane Austin which is actually
in the public domain right now, I got
| | 01:59 | this from gutenburg.org. Click open and
you have the loaded cursor as usual and
| | 02:05 | if you hover over the master page text
frame, you will notice that the cursor
| | 02:08 | gets the usual parenthetical sides
instead of a square icon, kind of curvy icon
| | 02:15 | and normally you would hold down the
Shift key to Auto Flow this entire story
| | 02:19 | and add pages as necessary.
| | 02:20 | But you don't have to do that with
Smart Text Reflow. All I have to do is click
| | 02:24 | right inside this frame, wait a
second and you will notice that there is no
| | 02:28 | overset, it actually went ahead and
Auto Flowed the rest of the story because
| | 02:33 | Smart Text Reflow is turned on.
| | 02:37 | So it went all the way up to page 6.
Let's zoom out a bit with Command+Minus or
| | 02:43 | Ctrl+Minus and you see this Pasteboard
text over here, just go ahead and drag
| | 02:47 | that down to the bottom of the page 6
and then choose Fit in Window again, so
| | 02:52 | we can see it a little closer, this is
actually Chapter 2. So Smart Text Reflow
| | 02:56 | works with placing files into master
page text frames but also works with
| | 03:02 | pasting. So select all of this text
by clicking inside of the Type tool and
| | 03:07 | then go in to Edit, Select All or
press Command+A or Ctrl+A, copy it to the
| | 03:11 | clipboard, click an Insertion point
after the last line of Type and Paste, and
| | 03:23 | notice that it also created an extra
page in that case. So it works with
| | 03:27 | placing, it works with
pasting and it works with typing.
| | 03:30 | So let's say, oh, I think that Jane
Austin should have added a couple more
| | 03:34 | sentences here because she didn't
really finish off this chapter. I just hit
| | 03:37 | Return a few times. So you will see
the Overset indicator appear briefly and
| | 03:43 | then it creates a new page and you can
continue typing. This is a feature that
| | 03:47 | many people ask for so that you don't
always have to manually flow the text
| | 03:52 | frame on to a new page,
InDesign will do it for you by default.
| | 03:55 | Now I know that a lot of you are
thinking well that's pretty cool but none of
| | 03:59 | my projects use master page text frames.
I would just go ahead and Auto Flow
| | 04:04 | according to the column guides and
margin guides, that's what I usually teach
| | 04:08 | people to do. Well that's what I have
got anyway, but what is very cool is that
| | 04:12 | Smart Text Reflow can work even with
regular document page text frames and
| | 04:17 | that's what I will show you in the next video.
| | Collapse this transcript |
| Using Smart Text Reflow with any story| 00:00 | The new Smart Text Reflow feature is on
by default in InDesign CS4 but it only
| | 00:05 | works for stories that are based on a
master page text frame. If you seldom use
| | 00:10 | master page text frames but you would
still like to use their cool Smart Text
| | 00:13 | Reflow feature, the one that
automatically adds pages and threaded frames to
| | 00:17 | the story as you type or paste, you
can do so, you just think to tweak
| | 00:20 | Preferences a little bit.
| | 00:22 | So as an example file that we can
play with, I have created this two page
| | 00:26 | document called Long_article.indd, and
I would like you to open it up from the
| | 00:30 | Chapter 03 exercise files. I'm just
zooming out a bit so you can see what it
| | 00:33 | looks like. It's just a two page document.
| | 00:38 | Let's go to Preferences and make
sure that Smart Text Reflow is on at the
| | 00:43 | default Preferences before we begin
and on the Macintosh go to the InDesign
| | 00:48 | menu and choose Preferences > Type;
on Windows go to Edit and choose
| | 00:53 | Preferences > Type. This Smart Text
Reflow control area is down here at the
| | 00:57 | bottom of the Type panel and the
default setting should be that Smart Text
| | 01:01 | Reflow is on and then it is
limited to master text frames.
| | 01:05 | So go down to the end of the story on
page 2, and double-click at the bottom
| | 01:11 | there to switch to the Type tool. Let's
zoom in a bit so we can see what we are
| | 01:14 | doing. See where it says Start Typing
Here, that's what I would like you to do.
| | 01:17 | Just start typing something,
anything you would like, just start typing
| | 01:21 | something. All we want to do is cause
an overset. So you wait for Smart Text
| | 01:27 | Reflow to wake up and no it's not
going to wake up. Why? Because this text
| | 01:30 | frame is not based on a master page text frame.
| | 01:33 | So you are still going to get the
regular oversets. What I would like to do is
| | 01:37 | Undo to give it the text that you
typed and this time let's turn off Limit to
| | 01:42 | Master Page Text Frames. Go back to
Preferences > Type under the Edit menu. If
| | 01:48 | you are on Windows, Preferences > Type.
And just uncheck this box. That's all I
| | 01:52 | want you to change. Just that, click
OK and type again. Start typing anything
| | 02:01 | you want right here, give
it a second and there you go.
| | 02:05 | Another page gets added. And if you
select the text frame with your Selection
| | 02:11 | tool-- Let's turn that on and now it
shows text threads again. Then you can see
| | 02:16 | how it automatically created not
just the additional page but it also
| | 02:20 | automatically created a series of three
additional threaded text frames and the
| | 02:25 | reason it's doing that is because
this master page just has these three
| | 02:28 | columns. And this is what Autoflow
would do, if you had Autoflow to File.
| | 02:32 | Now I want to delete the extra text so
there is nothing on that second page,
| | 02:38 | and you see it just sits there. You
can have Smart Text Reflow automatically
| | 02:43 | delete empty pages as you are editing
text. You will need to change something
| | 02:47 | in Preferences and I think the best
way to do this here is let's revert the
| | 02:50 | file to go back to how it was when we
first opened it up. Go to File and choose
| | 02:54 | Revert and click Yes Reverts when
it says, Are you Sure? And go back to
| | 02:59 | Preferences, this time I'm just going
to press Command+K or Ctrl+K on windows
| | 03:03 | to jump to Preferences, choose Type and
what I want to do is turn off Limit to
| | 03:08 | Master Page Text Frames but
turn on Delete Empty Pages.
| | 03:13 | All right, so let's go ahead and type
some extra text, wait a second, it's
| | 03:19 | going to add a page, now just go ahead
and press the Delete key or Backspace
| | 03:24 | key to delete that extra text and it
deletes the extra page. Other preferences
| | 03:29 | that you may want to take a look at,
let's go back to Preferences that's with
| | 03:33 | Command+K or Ctrl+K, choose Type, is
that you can have it always add pages as
| | 03:39 | Facing-Page Spreads. So it would never
just add a single page, if you are on a
| | 03:43 | right hand page and you add or paste
additional text, it would never add just
| | 03:47 | one page, it would add two page spread.
| | 03:50 | So Preserve Facing-Pages might be
something you want to worry about. For now we
| | 03:54 | really don't care; we can leave it on
or off. And then also where should the
| | 03:57 | pages be added to? The End of the
Story is the default; it will add additional
| | 04:02 | pages wherever that story ends, even
if it's in the middle of a document. You
| | 04:06 | could also have it Add Pages to the
End of the Section or to the End of a
| | 04:10 | Document. So it wouldn't mess up any
pagination that you've done, it will just
| | 04:14 | add extra pages at the very end of the
file, which is pretty useful I think.
| | 04:18 | Let's leave it at End of Story, and
click OK. Now as with the regular Smart
| | 04:23 | Text Reflow which works whether you are
placing or pasting or typing the Smart
| | 04:29 | Text Reflow with regular text frame
works the same way. We have some extra text
| | 04:33 | on the left that I have prepared and
just Select All with Command+A or Ctrl+A,
| | 04:38 | Copy it with Command+C or Ctrl+C and
we'll paste it right here at the end of the story.
| | 04:44 | Command+V, Ctrl+V, wait a second and it
adds the additional pages. I will zoom
| | 04:48 | out with Command+-. Ctrl+-, and you see
it added a whole pile of pages, and the
| | 04:52 | pages get added according to the
same master page where you are currently
| | 04:57 | typing. So you can't really have it
switched to different master page.
| | 05:01 | Let's go to the very end, the last page
that it has added and zoom in, and let
| | 05:06 | me give you couple of tips and some
more background information about when
| | 05:12 | exactly the Smart Text Reflow kick in.
If you've turned off the Limit to master
| | 05:16 | pages, you may think well does that
mean that I will never get an overset
| | 05:19 | again? And actually that's not quite
true. If you drag out of frame and type a
| | 05:24 | headline here, Here is the world's best
headline and I'm just selecting it all
| | 05:33 | and making it larger and bolder and
center it and then force it to be overset.
| | 05:40 | You can wait until the cows come home.
This is not going to create another
| | 05:43 | page. So Smart Text Reflow doesn't
work on just every single overset frame in
| | 05:48 | the document. If you've turned off
Limit to Master Page Text Frames, you will
| | 05:52 | still often end up with overset text
frames. If you don't want them to be
| | 05:55 | overset, if you want Smart Text Reflow
to take care of that, there are couple
| | 06:00 | of things you need to first. First of
all the story has to be threaded into at
| | 06:04 | least two separate frames. So if I go
ahead and below this overset text and
| | 06:10 | drag it into another frame, still not
causing an additional page, even if I add
| | 06:17 | more text to cause an over set.
| | 06:21 | The second rule is that you have to
have this story spanning at least two
| | 06:25 | pages. So I'm going to add a page
just by pressing Command+Shift+P or
| | 06:29 | Ctrl+Shift+P and then I drag this
frame on to this page. And now we have one
| | 06:36 | story that's spans two frames and it
spans more than one page and just soon as
| | 06:43 | I start typing into it to wake up
Smart Text Reflow, you'll see that it went
| | 06:47 | ahead and added a page.
| | 06:48 | Let's take a look though. It didn't,
no. Oh, I should add yet another small
| | 06:53 | headline frame at the top. Let's go to
View > Show Text Threads, you see that
| | 07:00 | the story automatically went into the
default text frame area here according to
| | 07:06 | the master pages margin and column
guides. The reason that you have these two
| | 07:11 | rows that the story has to span at
least two threaded frame and it has to span
| | 07:15 | at least two pages, they don't have to
be contiguous by the way, they can be
| | 07:19 | separated by multiple pages is because
Adobe figured quite rightly I think that
| | 07:25 | people would go insane if every time
they had an over set, you ended up with
| | 07:28 | additional pages.
| | 07:30 | It's not going to cross every single
headline or caption that's overset to
| | 07:34 | span additional pages. Only in very
special situations like this one where at
| | 07:38 | least two threaded frames are required
to hold the story and those frames are
| | 07:42 | separated and to choose separate
pages will Smart Text Reflow kick in.
| | Collapse this transcript |
|
|
4. Conditional TextDeveloping multipurpose layouts with conditional text | 00:00 | Conditional Text, now this is a very
interesting new feature in InDesign CS4.
| | 00:06 | If you are coming from Adobe
FrameMaker or have had any experience with
| | 00:10 | FrameMaker, you will no doubt see the
value right away because FrameMaker has
| | 00:14 | supported Conditional Text for a while
and I'm sure those users are very happy
| | 00:19 | to see InDesign pick it up. But
for the rest of us who don't have any
| | 00:22 | experience with FrameMaker or with
Conditional Text, I think that a common
| | 00:26 | reaction will be, why? I mean, what's
the point? It seems a bit a mystifying at
| | 00:30 | first. Why should you use it? When
should you use it? That's what this chapter
| | 00:34 | is all about.
| | 00:35 | Now I have created a sample file that
already has some conditions applied to
| | 00:39 | show you how this works and to follow
along just open up Bliss_Magazine-UK_US
| | 00:46 | from the exercise files. And then move
to page 8 and 9 in this layout, it's the
| | 00:52 | last spread in the Bliss magazine
layout that we have been working with for a
| | 00:56 | while and go into Preview Mode. You can
do that from the Application Bar widget
| | 01:02 | or from any other way that you would
like or just pressing the letter W.
| | 01:05 | Okay, so let's imagine that you are
developing Bliss magazine for two different
| | 01:09 | markets, for the United States
market and the UK market. And normally you
| | 01:15 | create probably two different InDesign
files, one for the US and one for the UK
| | 01:19 | with different prices. For example,
down here you have things in pounds, you
| | 01:24 | might have a different URL. Over here
instead of .com, it might be .co.uk or
| | 01:30 | maybe you will have created a single
file but using a UK layer that you would
| | 01:35 | hide and show. I do actually have a UK
Layer here in my Layers panel, which I
| | 01:40 | reduced to icon view just
to give ourselves more room.
| | 01:44 | So if make the UK Layer visible, you
will see like I will have a little deck up
| | 01:48 | here, turn it off. But of course you
can't really make just text selections
| | 01:53 | into their own layer, you have to be in
actual objects so how could I actually
| | 01:57 | say well com should be on this layer
but .co.uk should be on a different layer,
| | 02:01 | it can't or like this word down here,
Thanksgiving. Let me zoom in with
| | 02:05 | Command+Plus or Ctrl+Plus. That would
make no sense really in the UK. You might
| | 02:09 | want to change it to a different
holiday like let's say Boxing Day or
| | 02:12 | something. I'm going to close the Layers panel.
| | 02:14 | Well that's where Conditional Text
comes in. Let's open up the Conditional Text
| | 02:19 | panel and you won't find it listed
here in alphabetical order. Its actually
| | 02:24 | part of Type & Tables, so go down to
Conditional Text. The Conditional Text
| | 02:30 | panel is also part of one of the
Workspaces. If you open up the Workspace
| | 02:34 | Switcher from your Application Bar,
its part of the Book workspace.
| | 02:39 | So I have created a couple of conditions,
one of them is US and one of them is
| | 02:44 | UK. I'm like moving things around here
so we can see the URL and the prices and
| | 02:51 | the word Thanksgiving. If I make just
the UK condition visible and not the US,
| | 02:56 | by option or Alt-clicking in the
visibility check box. Check that out.
| | 03:02 | Thanksgiving changed to Boxing Day, .
com changed to .co.uk and the prices
| | 03:08 | changed from dollars to pounds. I
will switch back to US by option or
| | 03:14 | Alt-clicking and there is the US
condition and the UK condition and the US
| | 03:20 | condition and the UK condition.
| | 03:22 | And I just did a few examples in these
different text frames. Of course I could
| | 03:26 | have made an entire article just
appear or disappear based on the condition
| | 03:30 | that was in. Now by default in
any InDesign document, all text is
| | 03:35 | Unconditional. So if I just click on a
regular paragraph that has no conditions
| | 03:39 | applied, you will see that there is
a check mark next to Unconditional.
| | 03:42 | Unconditional text means that the text
will be visible at all times, it will be
| | 03:47 | output to any print device when you
export to PDF. It's going to appear unless
| | 03:51 | you have segregated that to its own
hidden layer but it's just a regular text.
| | 03:56 | So all text is Unconditional and then
when you want text though to appear or
| | 04:00 | disappear based on which condition
is visible then you just create new
| | 04:04 | conditions by choosing New Condition
from the Conditional panel menu or click
| | 04:10 | the little New Condition icon just
like you are creating a new style or a new
| | 04:15 | swatch and you just make a text selection
and apply that condition to the text selection.
| | 04:20 | You can import conditions from other
documents by choosing Load Conditions and
| | 04:25 | you can synchronize conditions across
a book, if you open up the book file in
| | 04:31 | the exercise folder, Book 1.indb.
This is not a real book, I just sort of
| | 04:37 | quickly threw in a few documents from
this Chapter and go to the Book panel
| | 04:41 | menu and choose Synchronize Options,
you see the Conditional Text Settings are
| | 04:46 | one of the things that you can
synchronize across multiple documents in a book.
| | 04:51 | Now in Normal view, let's switch to
Normal view from the Screen Mode widget.
| | 04:58 | The presence of hidden Conditional Text
is indicated by this difficult to miss
| | 05:06 | hidden character; this orange icon
along with the two dots above it. So if I
| | 05:10 | Option or Alt-click on US, you see that
it actually, that condition comes right
| | 05:16 | after it-- if I show both conditions,
this is what it looks like so because
| | 05:21 | neither condition is hidden we don't
see the little icon. As soon as you hide
| | 05:25 | the condition then the icon
stands in for hidden text.
| | 05:30 | So the idea of Conditional Text as any
FrameMaker person will tell you is to be
| | 05:36 | able to single source a document for
multiple purposes. Here we are doing a
| | 05:40 | single InDesign document that will go
to multiple regions but you might also
| | 05:45 | want to create a single document for a
textbook, to do both the student and a
| | 05:49 | teacher edition. And I know lot of
people are already doing that by using
| | 05:52 | Layers but you can see you can
combine Layers with Conditional Text so that
| | 05:57 | within the same text frames some text
can appear and disappear based on the
| | 06:01 | conditions that's currently visible.
When you set a condition to be visible and
| | 06:05 | others invisible then when you print
or when you export to PDF, only that
| | 06:09 | visible text gets output.
| | 06:11 | Now that you have seen a finished
Conditional Text article, I think other great
| | 06:16 | opportunities to use Conditional Text
are when you are doing a multilingual
| | 06:19 | publication. You could have some text
that's just in French and some in English
| | 06:23 | and some in Spanish and so on. Hiding
and showing based on conditions, employee
| | 06:28 | manuals, one version for some employee
and other version for the supervisors or
| | 06:33 | publications that will have different
content based on if it's going to be
| | 06:36 | commercially printed versus the PDF
version that you are going to allow people
| | 06:40 | to download.
| | 06:41 | There are so many places where you
can streamline your workflow by just
| | 06:46 | creating one document and using
Conditional Text to do many versions of that
| | 06:50 | document. Now that you have seen a
finished Conditional Text layout, one with
| | 06:54 | conditions already created and applied.
Let's do it from scratch ourselves. In
| | 06:59 | the next video, you will recreate the
conditions in this spread and I will show
| | 07:03 | you some useful tricks to
help you automate the process.
| | Collapse this transcript |
| Creating conditions and applying them to text| 00:00 | Continuing on with Conditional Text,
once again the scenario is that we are
| | 00:05 | working with a single InDesign layout
that we want to create a version for our
| | 00:09 | UK customers and another version
for our US customers. We have already
| | 00:14 | completed the US version and have
gotten started on adding some texts for the
| | 00:18 | London version and normally I would
take this frame and where it says Get Ready
| | 00:22 | London and put it on to it's own
layer and so on but actually I want to use
| | 00:26 | Conditional Text to create our two versions.
| | 00:30 | I have opened up the Conditional
Text panel from the Window menu, if you
| | 00:33 | haven't opened it up, it's under Window
> Type & Tables > Conditional Text and
| | 00:39 | all text is unconditional by default,
wherever I click. So we want to create a
| | 00:44 | condition for the US and the UK.
Let's choose New Condition from the
| | 00:51 | Conditional panel menu and call it US.
| | 00:57 | And then you have your choice of
indicators here. In normal view, text that has
| | 01:02 | had a condition applied will have non-
printing indicators applied to it. So it
| | 01:08 | will be an Underline or Highlight and
the Underline or Highlight will be Wavy,
| | 01:12 | Solid or Dashed. And you can choose a
Color. We will just go ahead and accept
| | 01:15 | the Default Indicators. So we have
created a condition but we haven't yet
| | 01:20 | applied it. While we're here, let's
go ahead and create the UK condition.
| | 01:24 | So another new condition, UK.
Unfortunately there is no add button here so that
| | 01:29 | you can create condition after
condition like you can with the new Swatches. A
| | 01:33 | request for the next version of
InDesign, yes I'm never satisfied. And let's
| | 01:38 | select some text, let me zoom in.
That way only one will appear when the US
| | 01:44 | condition is visible. So I select com
in the URL and then click anywhere in the
| | 01:52 | US condition, which
automatically puts a check mark on it.
| | 01:57 | And notice that the indicator is this
wavy blue underscore, remember I just
| | 02:04 | double-clicked it so you could see wavy,
light blue, underline. And if you hide
| | 02:09 | the US condition, you will see that
their text hides and instead is replaced by
| | 02:13 | this non-printing hidden character.
| | 02:16 | We want to add text that will only
appear when the UK condition is visible. So
| | 02:21 | you just start typing directly after
the text and we will say co.uk and this
| | 02:28 | text it comes in as unconditional by
default and we want to make it a UK
| | 02:34 | condition. So you see this as a
different indicator. And now we hide the UK
| | 02:40 | condition, and only US is showing. And
to quickly hide all the other conditions
| | 02:45 | except for the one that you click on,
hold on Option or Alt while you click in
| | 02:48 | the Visibility field, so there is the
UK, and there is the US, and the UK and
| | 02:55 | the US, and so on.
| | 02:56 | If they are both visible, they come
right after each other. Don't put a space
| | 02:59 | or anything in between these two
conditions. Okay so we also want to do that to
| | 03:07 | the word Thanksgiving over here. I
think that many users will start up by
| | 03:12 | saying, Okay we want this as a Boxing
Day, if it's for the UK, so I will just
| | 03:17 | say Boxing Day and then I will
select it and then -- okay that's the UK
| | 03:22 | condition. And they select it and it
suddenly disappears, that's because when
| | 03:26 | you apply a condition, if the condition
is currently not visible, it looks like
| | 03:32 | you are making the text go away.
| | 03:33 | So when you are applying Conditional
Texts, make sure that the condition is
| | 03:36 | visible, so that you don't freak out.
Now whenever you have Conditional Text,
| | 03:41 | unless it's just like additional text
that you want to appear, if normally you
| | 03:45 | are putting in Conditional Text to
replace other text, so that means that you
| | 03:50 | always have to create a condition for
the text that's going to be replaced. So
| | 03:54 | Thanksgiving is going to
be replaced by Boxing Day.
| | 03:58 | So in another words when you are using
conditions to create replacement text,
| | 04:02 | you always have to apply conditions in
at least pairs. One condition should be
| | 04:07 | disappeared while the other one is
visible, and vice versa. So that's the US
| | 04:12 | condition and the UK condition and we
can test it with our Option+Click or
| | 04:16 | Alt+Click test. Now there is the UK,
and there is the US. And let's do our
| | 04:23 | prices down here at the bottom.
| | 04:25 | We have US prices, let me zoom out a
bit with Command+Minus or Ctrl+Minus, I
| | 04:30 | have a little ? symbol in case you
don't happen to remember where the ? symbol
| | 04:33 | is, so we will quickly go through
here and apply the US condition to these
| | 04:39 | prices including the $ symbol. That's
where these Indicators come in handy to
| | 04:46 | make sure that you have gotten all the
characters that you want. And then I'm
| | 04:51 | going to select this ? symbol and copy
it to the clipboard. Click after the $8
| | 04:58 | into the Pound, we don't want that
space after it, and we will say 4. I'm going
| | 05:03 | to select this, copy to the clipboard,
so I can paste it in these other places.
| | 05:08 | But now I will make sure that my UK
condition is visible, remember that and
| | 05:12 | then turn on the UK condition. And
actually I think I will just copy this one,
| | 05:20 | so that you get the idea I don't want
to spend the whole time actually typing
| | 05:23 | the prices. Because I selected it
after I applied the condition then the
| | 05:27 | condition comes in as well.
| | 05:30 | There is one other place where we want
to change the condition and that is this
| | 05:34 | text. So if you want all the text in a
frame to appear or disappear based on a
| | 05:39 | condition, you can of course put on
the layer but why not just select all the
| | 05:43 | texts and apply the condition to it.
So this should only appear when the UK
| | 05:47 | condition is visible. And if I hide
that condition then it just says 'Our new
| | 05:53 | web site,' which actually was how this
page already looked. It didn't have a deck.
| | 05:56 | So maybe just for some regions, it
will have additional texts. So Conditional
| | 06:01 | Text can also be for additional, not
just replacement text. You might find it
| | 06:06 | little easier to test your work by
going back to Preview mode, and then Option
| | 06:13 | or Alt clicking on these conditions to
see a change from the UK version. There
| | 06:16 | is our Pounds and Boxing Day, the
correct URL Get ready, London! To the US
| | 06:22 | condition, com, Thanksgiving, $
and we don't have that extra text.
| | 06:28 | And you can also apply conditions in
the Story Editor. If I click in the word
| | 06:34 | Thanksgiving and then go to Edit and
Story Editor, you see that you can select
| | 06:39 | texts and apply conditions as well here
and you get the same kind of indicator.
| | 06:43 | Now this little icon means that there
is hidden conditional text and if you
| | 06:48 | hover over the icon for a second, it
will tell you what the hidden conditional
| | 06:51 | text is and which condition is
governing it, which I think is pretty cool.
| | 06:56 | The one thing that I want to warn
you about when you are working with
| | 06:59 | Conditional Text is don't delete the
hidden Conditional Text marker. You can't
| | 07:03 | see that in Preview mode, let's
switch back to Normal view and these hidden
| | 07:08 | Conditional Text Indicators are a lot
easier to see in Normal view and you
| | 07:11 | don't want to delete them. So, for
example, if I click in this text frame, and
| | 07:18 | press the Delete key, you will always
get a warning from InDesign saying if you
| | 07:21 | do this, you are going to actually
delete the text. So you are not just
| | 07:24 | deleting the condition; you are
deleting actual text from there that you can't
| | 07:28 | really get back. So are you
sure, you want to do that?
| | 07:31 | So it's a good warning to keep an eye
out for and so no, of course not, I don't
| | 07:34 | want to get rid of that. Don't delete
the Marker. So congratulations, you have
| | 07:38 | passed Conditional Text 101. Fire up
the next video to learn some tips about
| | 07:43 | Conditional Texts including faster
ways to apply conditions, how to combine
| | 07:48 | conditions and working with condition Sets.
| | Collapse this transcript |
| Applying conditions quickly and creatively| 00:00 | Now, that you know how easy it is to
get started working with Conditional Text
| | 00:04 | in InDesign CS4 and how to achieve
quick results, I want to go a little bit
| | 00:08 | beyond that and show you some more
Conditional Text tricks and techniques.
| | 00:12 | To start, open up the file I prepared
called the Bliss_Magazine-Regions in your
| | 00:17 | Chapter 4 exercise folder. Once it's
open scroll down to the last spread in the
| | 00:21 | document as I have right here
pages 8 and 9, and you will see in the
| | 00:25 | Conditional Text panel that I have
added a few more conditions. If you don't
| | 00:28 | have the Conditional Text panel open
just go to the Window menu and choose it
| | 00:32 | from the Type & Tables
pulldown menu, Conditional Text.
| | 00:36 | Okay, let's take a look at the price
table down here. I'm going to click here
| | 00:41 | and press Command and Ctrl+Plus a few
times to bring it to the front. You can
| | 00:46 | see that we have a price and then we
have some hidden conditional text that's
| | 00:51 | indicated by this orange hidden
character. So we are looking at the US prices.
| | 00:56 | If I hide the US prices and show the
price in pounds, you see that the pounds
| | 01:01 | price appears directly after the US
price. So can you tell what happened? Well,
| | 01:05 | I think this is going to be very typical
once you get started with Conditional Text.
| | 01:09 | You made the condition Price - dollars,
but you forgot to apply it to the text.
| | 01:12 | You could go through here and select
every instance and click Price - dollars,
| | 01:17 | Price - dollars and so on, but there
are faster ways to do that. For example
| | 01:21 | you can do it through Find/Change.
Just go to the Edit menu and choose
| | 01:25 | Find/Change or press Command, Ctrl+F.
We can say search for a $ followed by any
| | 01:35 | digit in this story where my cursor
is blinking right here, and we want to
| | 01:41 | apply a condition and the conditions
have been added to the Change Format and
| | 01:46 | Find Format within Find/Change. They
are way down here right above XML. So you
| | 01:52 | want to change the Format to Price - dollars.
| | 01:57 | You have the choice to replace
conditions already applied to this text or to
| | 02:01 | add the conditions, because your text
can have multiple conditions, as I'll
| | 02:04 | show you in a second. Right now we
want to replace the conditions, you can't
| | 02:08 | have Unconditional plus Additional
conditions, and say OK, and then we'll find
| | 02:13 | the first instance, move this out
the way and change and find the next
| | 02:20 | instance. You could see it only found
the dollar symbol on the 1 but not the 2
| | 02:25 | because we just have one wildcard
saying one digit, we could say two digits but
| | 02:30 | then we wouldn't find
just the single digit prices.
| | 02:33 | Most InDesign users accustomed to see
as you will know, well, this is a job for
| | 02:36 | GREP, and luckily you can do the
same thing with GREP. So let's undo with
| | 02:43 | Command or Ctrl+Z a few times. It will
show again price in Pounds and price in
| | 02:48 | Dollars, and instead of doing a
Text Find/Change we'll go to the GREP
| | 02:51 | Find/Change. In GREP Find/Change we
still want our search to start with this
| | 02:56 | dollar bill sign, but because the
dollar bill sign is actually a symbol that's
| | 03:02 | used in GREP that it mean something,
we have to what's called comment it out
| | 03:06 | with a back slash, so that this means
you want to search for a literal dollar
| | 03:10 | sign, and then we want to search for
one or more digits in a row after that,
| | 03:17 | and you can do that from a GREP flyout
menu and this is not new in CS4 but in
| | 03:21 | case you really didn't explore this in
CS3, you would find look for wildcards
| | 03:26 | we want Any Digit and then go back to
this flyout menu and choose Repeat One or
| | 03:34 | More Times.
| | 03:35 | Now if you want to -- if you think
you're going to be doing this kind of search
| | 03:40 | and replace throughout the document
or in other document, you might want to
| | 03:44 | save this little code and just call it
Search for US prices, and then as with
| | 03:53 | our text Find/Change, we just want to
change the format of what it finds. We
| | 03:57 | want to apply the dollars price
conditions. And let's try this one say Find and
| | 04:05 | it found the first $8, we'll change
that, find the next one and it found the
| | 04:09 | $10, and so I trust it, we'll
just say Change All. Nice and fast.
| | 04:14 | You can click Done. Now
unfortunately one thing that you can't do with
| | 04:18 | Conditions is you cannot include them
in a style. It would make sense to be
| | 04:23 | able to create a Character Style and
include a condition within it, as soon as
| | 04:29 | you apply the Character Style it also
applies the condition, but they didn't
| | 04:32 | include that with CS4. I guess it's
too much worker or too much processing
| | 04:36 | power, but it's a great future request for CS5.
| | 04:39 | However, conditions do come through in
InDesign tagged text format. That's the
| | 04:45 | text format that InDesign can create
that includes all the codes for InDesign
| | 04:48 | styles, and if there is conditions
there are tags for the conditions as well.
| | 04:52 | So you can do some external
document processing with Conditional Text.
| | 04:57 | Now let's look at another technique or
trick of the trade with Conditional Text
| | 05:02 | that has to do with this Trade Name
issue. So the issue in our scenario,
| | 05:06 | remember sending up this magazine to
different regions, is that this is a Trade
| | 05:10 | Name Gift Creator, but the problem is
that while this Trade Name is fine for
| | 05:15 | our US and our UK customers, we
have been told by our Latin American
| | 05:20 | representative that 'Gift Creator'
translates into something sacrilegious in
| | 05:25 | Mexico. So we can't use this Trade Name.
Instead we have a different Trade Name
| | 05:29 | for Mexico. Let's make that visible,
that condition. Regalodon, which means
| | 05:34 | something like big gift.
| | 05:35 | So just like we did with the prices we
have applied an alternative condition to
| | 05:41 | alternative text but we forgot to
actually apply a condition to the text that
| | 05:45 | you replace. So Gift Creator is what we
want to show up for the Trade Name US,
| | 05:54 | but we also want it to show up with
the Trade Name UK. You might think or now
| | 05:58 | you need to make a new condition for non
-Mexican Trade Name or English speaking
| | 06:03 | Trade Name, but no, you can just go
ahead and apply the Trade Name for both of
| | 06:08 | those conditions.
| | 06:10 | So when you apply multiple conditions
to the same text, it just gets multiple
| | 06:16 | indicators. So let's zoom out again.
Once we hide both of those trade names,
| | 06:21 | there is the Mexican Trade Name, and
once we hide Mexico, there is the US Trade
| | 06:27 | Name or the UK Trade Name. By the way
if while you're working with conditions
| | 06:33 | you find the indicators to be
bothering you -- let me close Character Styles.
| | 06:38 | You can see the bottom of the
Conditional Text panel there you have pop-up menu
| | 06:42 | that lets you change whether or not
the indicators are visible. So by default
| | 06:46 | they are showing but they don't print.
If you need them to print as well,
| | 06:50 | because you need some sort of
documentation, you should choose that before you
| | 06:54 | go to print.
| | 06:55 | If you don't want them printing and
you don't want them showing up in normal
| | 06:59 | view, choose Hide. I'll put it back to
Show, and just let me quickly point out
| | 07:06 | that back up here in Find/Change,
when you are applying conditions with
| | 07:12 | Find/Change, you can of coarse select
more than one condition, that's why these
| | 07:18 | are check boxes instead of a dropdown
menu, and also that's why you have this
| | 07:22 | option Add these conditions
instead of Replace these conditions.
| | 07:25 | So I think it's a very powerful
concept to understand and very easy that we
| | 07:29 | overlook, because it's not true for
Swatches and Styles. With conditions the
| | 07:34 | same text can be tagged with multiple
conditions. Let's cancel out of here.
| | 07:39 | Once you start adding multiple
conditions you can give a little tedious
| | 07:44 | switching from one scenario to the
next. So let me go to Fit in Window, and
| | 07:49 | right now here is the US version. I
have turned on Trade Name US, Text US, URL
| | 07:54 | US and let's hide the Price in Pounds.
So we are good to go for printing this
| | 08:00 | out for the US. Let's switch to Preview mode.
| | 08:04 | Now let's say that we want to print
out or export to PDF the UK version, well
| | 08:09 | you have to turn on this one turn off
this one, turn off this one turn on this
| | 08:13 | one, turn off this one turn on that one,
turn on -- well trade name US is the
| | 08:17 | same but that might as well just to be
complete about it, there, there is the
| | 08:19 | London one. Oh Wait! We forgot to
check something in US. Oh! There you are
| | 08:23 | going to do this, and turn on this one
turn off this one, turn on this one turn
| | 08:27 | off this one, turn off
this one and turn on this one.
| | 08:29 | So it will get little tedious, and then
we also have to do the Mexican one, and
| | 08:33 | you might be doing a publications going
out to five or six different regions or
| | 08:37 | different audiences, however you're
going to be printing this. That's when you
| | 08:40 | should consider creating condition sets.
| | 08:43 | Now you don't see the condition set
controls when you first open up the
| | 08:47 | Conditional Text panel. You have to
go to the Conditional Text panel flyout
| | 08:51 | menu to choose, Show Options, and now
you can create a set from the pop-up
| | 08:56 | menu. A set of conditions is similar
to a set of layers like layer comes in Photoshop.
| | 09:03 | So the trick here is that first of all
you make the conditions visible that you
| | 09:08 | want for a specific region. So gets it
completely looking cracked and then you
| | 09:12 | create a new set. You can't create a
set and then edit the set, in other words.
| | 09:16 | So we are going to Create a new set and
we will call this US Edition, and then
| | 09:22 | you make another version visible by
turning on and turning off conditions. So
| | 09:26 | we will do the UK blink, blink, blink,
blink, blink like that, so there is UK
| | 09:32 | with there URL, Get ready, London!
There are pounds, and then you see the set
| | 09:36 | says, well there have been overwrites
to the US Edition. If you wanted to you
| | 09:41 | could redefine US Edition, so I guess
there's a sort of a way to edit it. So
| | 09:44 | redefine US Edition would be say, this
is the US Edition at the one I just told
| | 09:48 | you, sort of like redefining a style.
| | 09:51 | But instead what we wanted to do is
Create a new set and this one is going to
| | 09:54 | be called UK Edition, and now let's
slip back and forth between the two.
| | 09:59 | There's the UK Edition, there's the US
Edition and UK Edition and so on, you
| | 10:06 | can do the same thing with Trade name -
Mexico; you can make a Mexican Edition and so on.
| | 10:11 | Okay now I think that you have seen
that this new feature of Conditional Text
| | 10:15 | in InDesign CS4 isn't just a version
1.0 let's give it a shot and see if
| | 10:19 | anybody likes it. They have really
put a lot of thought into this, so by
| | 10:22 | integrating conditions into Find/
Change and GREP Find/Change, by offering the
| | 10:28 | ability to create sets of conditions
and change the indicators for conditions.
| | 10:32 | It's a pretty powerful feature right out of
the box and I really encourage you to try it.
| | Collapse this transcript |
| Making images and frames conditional| 00:00 | Think about the name of this
new feature that I have been talking
| | 00:03 | about, Conditional Text. It's only
supposed to work with text, is the point,
| | 00:09 | but are we going to let that stop us?
No way, Dr. Bombay. We want conditional
| | 00:13 | objects too. If I'm doing a regional
publication wouldn't I want some of the
| | 00:17 | images to be specific to that region
perhaps? Of course I would. So let me
| | 00:22 | show you how you can work around that
silly name of that feature Conditional Text. Eh!
| | 00:27 | What I would like you do is open up
the document that I created called the
| | 00:29 | Bliss_Magazine-Images inside your
Chapter 4 exercise folder. And this time
| | 00:34 | instead of working on the last spread
of the document, we'll work on a first
| | 00:38 | two page spread, pages 3 and 4. Here we
have a CHOCOLATE 101, a featured story
| | 00:43 | that's like a step by step with images.
| | 00:46 | Now if I wanted to make these images
conditional, perhaps I want to do a
| | 00:50 | version of this story without images
for a particular market or may be use
| | 00:55 | different images or add more images
depending on which condition I'm in. You
| | 01:00 | really can't do it if you select
something with the Selection tool. You can't
| | 01:04 | apply a condition to something that you
select with the Selection tool. You can
| | 01:08 | only apply conditions to things that
you can select with the Type tool. So, if
| | 01:12 | I switch to the Type tool then I can
apply condition. The thing is that many of
| | 01:16 | you guys know the you can make
pictures inline or anchored objects, meaning
| | 01:20 | that you can select it with the Type
tool and of course you can select tables
| | 01:24 | with the Type tool as well. You can
group frames and embed them as anchored
| | 01:29 | graphics and select those with the
Type tool. So in other words the name of
| | 01:33 | this feature should be conditional
things that you can select with the Type
| | 01:37 | tool, but they just called
the Conditional Text for short.
| | 01:40 | So, let's make these images conditional.
First, you need to select the image
| | 01:45 | and cut it to the clipboard. We are
just going to convert this free-floating
| | 01:49 | image into an inline graphic as normal.
This is not a new CS4 feature. But in
| | 01:55 | case you need to refresh you select it
with the Selection tool, you cut or copy
| | 01:59 | it to the clipboard. I'm going to cut
it and it's a good idea to paste it back
| | 02:05 | in in a paragraph that's been
formatted with auto leading, so that the text
| | 02:10 | flow automatically compensates for
the height of the image. So I'm going to
| | 02:14 | double check that this style here is
Basic Paragraph and then you have the Type
| | 02:19 | tool and you choose Paste, all right,
and so it goes right into text flow.
| | 02:24 | Now that this object can be
actually selected with the Type tool, I can
| | 02:28 | maneuver my cursor to the left of it, I
just press the right arrow key and then
| | 02:34 | Shift right arrow selects the image,
and then we close the Paragraph Styles panel.
| | 02:38 | The thing is that I need to make a
condition, so let's make a condition called
| | 02:43 | Step Images Version 1 and Step Images
Version 2, so we'll just do that really
| | 02:48 | quickly. Up here in the Conditional
Text panel menu and choose New Condition,
| | 02:54 | we'll call this Step images for the
UK and US and create another one Step
| | 03:03 | images US and they appear right here.
They might appear lower down in you panel
| | 03:13 | and you can always resize the panel if
you need to. So I still have this image
| | 03:17 | selected and we want to make, this --
we will say these were going to be for
| | 03:21 | the UK and so if I hide Step images UK,
the image appears to disappear but of
| | 03:30 | course it hasn't disappeared. It's
right here where the Hidden Conditional Text
| | 03:36 | Indicator is appearing.
| | 03:38 | Now let's put a different image in
its place for our US readers. I do have
| | 03:44 | another image out here that we'll use
as alternative image. So select that with
| | 03:50 | the Selection tool, Cut or Copy to
the clipboard, I'll just Copy this time,
| | 03:56 | switch to the Type tool. You want to
click in an insertion point directly after
| | 04:02 | the Hidden Conditional Text Indicator
and then Paste, and there is our new
| | 04:10 | image. Again we want to select it. My
cursor is blinking to the right of it, so
| | 04:15 | I'm just going to hold on the Shift
key and tap the Left arrow key once to
| | 04:19 | select that and turn on Step images UK
and select the Step images US condition.
| | 04:28 | Let me click to deselect. So there is
the US Version of this story, and now I
| | 04:34 | hide that and there is the UK
Version of the story. And if you have these
| | 04:38 | inserts then you could show and hide
everything both text and the objects that
| | 04:43 | you made conditional.
| | 04:44 | What about if yours doesn't lend
itself to this kind of inline graphics? Like
| | 04:48 | right here we have a series of images
that are coming right inside the text.
| | 04:53 | What if it's text or other frames that
exists outside of the text flow, how do
| | 04:57 | you make those Conditional? I'm going
to zoom out to fit spread in Window with
| | 05:01 | Command+Option+0 or Ctrl+Alt+0 on a PC,
like let's say these three text frames
| | 05:08 | you want to be conditional, maybe when
the UK Version is visible this is what
| | 05:14 | it says and when the US Version is
visible it has a different title may be even
| | 05:17 | a different by-line.
| | 05:19 | How do we make this conditional, but
again we're just going to turned this into
| | 05:23 | an inline anchored graphic. So we are
going to select these three frames and
| | 05:27 | group them from the Object menu and
then Cut it to the clipboard, switch to the
| | 05:34 | Type tool, click an insertion point in
any nearby text trend you know for sure
| | 05:39 | is going to stay there or you don't
want to do this like in the beginning
| | 05:42 | because we don't want this anchored
object to move with a text flow. So this
| | 05:46 | might be something you do toward the
end or with static text somewhere on the
| | 05:50 | page and not to copy your editing, and
then we Paste and it comes all weird of
| | 05:56 | course. Don't worry about it.
| | 05:58 | Move to the Selection tool and select
that anchored group. Go to the Object
| | 06:03 | menu and we are going to apply a
custom position to that anchored object, and
| | 06:06 | to do that you got a Object,
Anchored Objects options. From the Position
| | 06:12 | dropdown menu choose Custom and you
could get very careful in entering all
| | 06:16 | sorts of measurements, but for now I'm
just going to say OK, and then just drag
| | 06:22 | this guy where I want me him to go.
| | 06:23 | So I think it is sort of like aligned
right there and maybe up a little bit. Do
| | 06:28 | you notice smart guys work with
anchored graphics as well. So what is it that
| | 06:33 | we make conditional? Well we have to
make conditional its little placeholder,
| | 06:38 | its Anchored Object Marker, this symbol
right here. So we are between T and H,
| | 06:45 | hit the left arrow key once. Now
between the Marker and the T, I hold a Shift
| | 06:51 | key select to the left, and I'm not
sure if I really have this thing selected.
| | 06:55 | Let me, zoom out and probably I would
go to the Story Editor and make sure that
| | 07:01 | that anchored graphic is
selected in the Story Editor.
| | 07:04 | So easier sometimes to work with
anchored graphics that way. And while it's
| | 07:07 | here then I would apply the condition
called, let's say, this is going to be
| | 07:12 | Step Images US, okay. So Step images
US is showing and when I change to Step
| | 07:22 | Images UK then it's hiding and of
course I could create another frame that's
| | 07:29 | anchored out here and apply that
condition to it as well, but I think you get
| | 07:32 | the general idea. If there is anything
that you can select with the Type tool,
| | 07:36 | you can make conditional and you can
do all sorts of cool things once you
| | 07:40 | realize that that's possible to do.
| | Collapse this transcript |
| Combining conditional text with Smart Text Reflow| 00:00 | Here's a fairly common scenario:
writers and editors write too much text.
| | 00:04 | It won't fit inside the publication.
When that happens you either need to cut
| | 00:09 | the additional text or
you need to re-purpose it,
| | 00:13 | may be included in a PDF version of a
publication, which doesn't have the same
| | 00:18 | page limit requirements that a
commercial Press does. And in that kind of
| | 00:22 | scenario you can Single Purpose an
InDesign layout for both the commercial
| | 00:27 | printing version and the longer PDF
version of the same publication, and not
| | 00:33 | have to worry about oversets or empty pages.
| | 00:35 | We're going to do this by
combining two new features in InDesign CS4,
| | 00:40 | Conditional Text and Smart Text Reflow.
I covered Smart Text Reflow in-depth in
| | 00:47 | a previous chapter in this video,
so check it out if you'd like.
| | 00:49 | So what we are looking at right now is
the story that was written too long for
| | 00:54 | the publication Chocolate 101, and
you can see it if you open up the
| | 00:58 | publication called the Bliss_Magazine-
ShortLong.indd in your Chapter 4 exercise
| | 01:04 | folder, run pages 2 and 3.
| | 01:06 | What we are looking at is the short
version of the step-by-step story. Janet
| | 01:11 | Weiss wrote a wonderful much longer
version of the story, and I have put the
| | 01:16 | additional text over here
in a frame on the pasteboard.
| | 01:19 | What we want to do is we want to
include this text in this story so that it is
| | 01:26 | invisible on the additional pages that
it's going to need from the Export to
| | 01:30 | PDF. However, when we hide the
condition, that is the long version of her
| | 01:35 | story, those pages will be removed
automatically, and so we have a document
| | 01:40 | that fits in the signatures
required by our pre-press people.
| | 01:43 | So there are two things to do to get
started. One of them is first of all;
| | 01:47 | create the condition for this long text.
I've put my Conditional Text panel in
| | 01:51 | iconic mode over here in my panel doc,
so I'm just going to click it to open
| | 01:55 | it. If you don't have the Conditional
Text panel open, you can choose it from
| | 01:59 | the Window menu, Type &
Tables > Conditional Text.
| | 02:03 | I've already created the condition Long
- PDF and all I need to do is apply to
| | 02:08 | this text. So I'm going to click
inside this text frame, press Command or
| | 02:12 | Ctrl+A to Select All and then
clicking the checkbox next to Long - PDF and
| | 02:18 | there you see if I zoom in little bit
more, there is the indicator indicating
| | 02:24 | that this condition has been applied.
| | 02:29 | The second thing I need you to do is
to double-check your Smart Text Reflow
| | 02:32 | Settings. It's turned on by the
default, but only for text frames that are
| | 02:36 | based on master Page text
frames, which this document is not.
| | 02:40 | So to double-check your Settings go to
InDesign > Preferences > Type, if you
| | 02:45 | are or on a Macintosh, if you are in
Windows go into the Edit menu where you'll
| | 02:49 | find Preferences > Type. And the Smart
Text Reflow settings are down here at
| | 02:53 | the bottom with panel. We want to turn
off Limit to master Text Frames so that
| | 02:58 | it works with regular document page
text frames, and let's turn on Delete Empty
| | 03:03 | Pages. And we do want to add the pages
to the end of the story, sort of the end
| | 03:08 | of the section or document.
| | 03:10 | So, if it needs to add additional pages
which it will for this long version of
| | 03:14 | the story that spread will come
directly after the current spread. We don't
| | 03:18 | really need to turn on Preserve Facing-
Pages Spreads, we're only going to have
| | 03:22 | additional pages for the PDF version,
and the PDF version people will just be
| | 03:26 | looking at one page at a time.
| | 03:27 | So now that we have edited our Smart
Text Reflow Preferences we're good to go.
| | 03:32 | Select all the text that's on the
pasteboard that you have applied the
| | 03:34 | condition to, with Command or Ctrl+A,
copy to the clipboard, click F to the
| | 03:40 | last sentence of the existing
short version of the story and paste.
| | 03:44 | Give it a couple of seconds and
InDesign creates another spread, let me zoom
| | 03:49 | out and fit this spread in the window.
| | 03:53 | So InDesign created this additional
spread here, and how did these images
| | 03:58 | appear in the story because they're
in that pasteboard frame as inline
| | 04:02 | graphics, which is something
that I covered in a previous video.
| | 04:06 | So here's the long version of the story,
and from here we can export to PDF,
| | 04:11 | let's zoom out to see the entire
publication. We can export this to PDF and
| | 04:16 | then when we're ready to do a package
for the printer or create a press-ready
| | 04:20 | PDF to give to our commercial
printer, we just hide the long condition.
| | 04:25 | Once you had the long condition
InDesign automatically deletes those empty
| | 04:28 | pages because we had turned it on in
Smart Text Reflow Preferences. So check it
| | 04:33 | out for yourself, make the condition
visible by turning it on, and it adds this
| | 04:38 | additional spread with the images, we
have 1, 2, 3, 4, 5 two-page spreads, hide
| | 04:45 | it and it gets rid of that extra
spread, now we have 4 two-page spreads.
| | 04:52 | Now if you try this at home, boys and
girls let me give you some advice. In a
| | 04:57 | previous video when I was talking about
Smart Text Reflow working with regular
| | 05:01 | text frames, as opposed to ones based
on a master Page text frame, I said that
| | 05:05 | there were two rules that you needed
to follow in order for this to work. One
| | 05:09 | of them is that the story you have to
spend at least two-threaded frames, in
| | 05:13 | order for Smart Text Reflow to click
in which this story does. In the other
| | 05:17 | rule I said, was that the story have
to span at least two different pages,
| | 05:21 | which this story does not. Ah! But yes,
it does. Where is it coming from? I
| | 05:26 | actually sort of made a little trick
in here, I created another frame that's
| | 05:31 | empty on the other page and threaded it
to this beginning frame, and when I did
| | 05:37 | that the word 'These' got sucked into
this little frame here, so I just clicked
| | 05:41 | in front of the word 'These'
and I inserted a Frame Break.
| | 05:45 | If we look it in the Story Editor,
there is a little, tiny marker up here that
| | 05:51 | tells you there is a frame break.
| | 05:52 | So inserting a Frame Break Character
which I did from the Type > Insert Break
| | 05:57 | Character > Frame Break forced the
text to jump to the top of the next frame,
| | 06:03 | and because now this story spans two
different pages then Smart Text Reflow
| | 06:08 | does work for this story.
| | 06:10 | So I wanted to let you know that in
case you say, "Oh! Let me try this," and it
| | 06:14 | doesn't work for you. Make sure that
this story spans at least two pages and
| | 06:17 | two frames if you want Smart Text
Reflow to automatically work with text frames
| | 06:22 | that I'm pasting the master Page text frame.
| | 06:24 | So, here in InDesign not only do
we have this neat new feature called
| | 06:27 | Conditional Text. But it combines so
smoothly with Smart Text Reflow, I think
| | 06:33 | it's really neat, and it's integrated
so well with Find Change and GREP Find Change.
| | 06:37 | I really think that conditional text
is going to save us a whole ton of time
| | 06:41 | and a lot of work, and it's going to
open up all sorts of cool possibilities
| | 06:44 | for multi-purpose publishing
from a single source document.
| | Collapse this transcript |
|
|
5. The Customizable Links PanelDiscovering the new features in the Links panel| 00:00 | Adobe has done a ton of work with the
Links panel in InDesign CS4. In fact,
| | 00:05 | they've completely overhauled at the
code that creates and tracks links so that
| | 00:10 | the engineers could make the Links panel
do all sorts of new tricks. Let's take a look.
| | 00:15 | Open up the Bliss Magazine file in
your Chapter 5 exercise folder and just go
| | 00:20 | to any page in the file, it makes no
difference and let's opens up the Links
| | 00:23 | panel. Now my Links panel is over here,
I could reduce it to Icon View and I'm
| | 00:28 | using the Advanced Workspace, but you
can also open up the Links panel from the
| | 00:32 | Window menu or by pressing Command+
Shift+D or Ctrl+Shift+D on Windows.
| | 00:37 | So the first thing I think that you
notice is that all of the links have
| | 00:43 | thumbnails now, which is pretty cool.
It's a fast way to identify all the
| | 00:46 | different links and your document
without actually having to go to them in the
| | 00:50 | layout. And then we also have this Link
Info panel, it's open by default, close
| | 00:55 | it now for a second because it can get
a little distracting, we will open it up in a bit.
| | 00:59 | At the top we have Column headers, Name;
this one stands for Status if a file
| | 01:04 | is missing or out of date. You could
see a little icon down here, if there is
| | 01:09 | nothing that means the file is okay.
And the page number that it's on.
| | 01:12 | Now we have page numbers showing up for
links in CS3 as well, but they weren't
| | 01:17 | actually linked themselves. So if I
want to see where cocoa_butter.JPG is I
| | 01:22 | could just click the page number and
InDesign automatically jumps to the page,
| | 01:27 | zooms in to select the image and
it's selecting the image boundaries, not
| | 01:32 | actually the frame. Even though I
still have my regular Selection tool
| | 01:36 | selected. So I can click on the image
and it's actually part of the group. So I
| | 01:40 | think that's pretty handy.
| | 01:41 | Now back here in the main Links panel
in the columns note that one of these
| | 01:46 | guys has a little triangle next to it
that means this is the category that the
| | 01:50 | Links panel is sorting by, so
it's sorting by page number.
| | 01:54 | If you click it again, it will sort in
reverse order. So just clicking sort of
| | 01:58 | toggles ascending or descending order.
| | 02:01 | And notice these two guys don't have
page numbers. What's that about? Well,
| | 02:04 | this is another new feature in the
Links panel. They're called 'Parent
| | 02:07 | entries.' If you've placed the same
image or file multiple times in a layout,
| | 02:13 | you are not going to see it repeated
constantly throughout the panel, instead
| | 02:17 | InDesign will group them into these
parent entries and just tell you how many
| | 02:21 | times you've placed the image. So this
guy has been placed four times and this
| | 02:26 | InDesign file has been placed twice.
| | 02:28 | To see details about each one of
those instances, just click the Show/Hide
| | 02:33 | triangle to the left of the parent
entry, and now these links are sorted in
| | 02:37 | whatever sort order that you have. So
here is the same entry on page 4 and on
| | 02:43 | page 1 and here PB on the pasteboard.
| | 02:47 | If I wanted the links to be sorted in a
different way, I could just click that
| | 02:53 | category name, and now the links are
being sorted by Name or sorted by Status
| | 02:58 | if I had different statuses here or
sorted by Page Number, and I can reverse
| | 03:02 | sort by page just by clicking again.
| | 03:05 | What if I want the page number to be
first? You just drag the Column Header
| | 03:09 | over to the left. You can Resize the
column headers, so if you have some really
| | 03:15 | long names or short names, you can
customize exactly how you'd like it to look,
| | 03:20 | and there are ways to add more columns
of information to the Links panel, that
| | 03:24 | I'll be giving to you later on.
| | 03:25 | Now let's take a look at that
section that we've closed up when we first
| | 03:28 | started, the Link Info area. Click
that little Show/Hide Link Information and
| | 03:33 | notice that when you have a link
selected in the Links panel, the Link Info
| | 03:39 | appears. And in CS3 the only way to see
this information was to open up a model
| | 03:43 | dialog box. In CS4 it's been
integrated into the Links panel itself. So just
| | 03:50 | look at cocoa_nut.JPG, and we see
information like the format if it's CMYK or
| | 03:55 | RGB, the status of the file if it's
modified or missing the size, take a look
| | 04:01 | at this, the Actual PPI and the
Effective PPI information you can normally only
| | 04:05 | get from the Info panel appears right
here in Link Info. And much, much more
| | 04:10 | information, in fact, this is
just the tip of the iceberg.
| | 04:13 | But again, I'll be covering this in a
little bit more detailed later. The Link
| | 04:16 | Info panel also has Previous and Next.
So what you could do would be to sort
| | 04:22 | all your links by name, Select 1 and
then click the Next link and Previous link
| | 04:30 | and just quickly see if they're the
right resolution, or if you want to make
| | 04:35 | the Links panel a little larger,
notice that by default it includes the path.
| | 04:40 | You could quickly check to make sure
that all of the links are coming from the
| | 04:43 | same folder. Pretty handy!
| | 04:48 | So that's great in and of itself, but
I got to tell you it can get a little
| | 04:51 | tedious having to always select a link
and then open up Link Info, especially,
| | 04:56 | if I have it closed which I usually
do when I'm working in a Layout, though
| | 05:02 | double-clicking and a Link entry at the
top of the Links panel in the main Link
| | 05:06 | panel will open up the Link
Info section of the panel.
| | 05:09 | But I think the best solution would be
to add the most important information
| | 05:13 | about each one of my links, like say
for example their scale resolution in
| | 05:18 | Color space to the top part of the
Links panel, to the main Link panel itself.
| | 05:23 | So at a glance without having to
select the link I could see lots of
| | 05:26 | information about each one of the
assets in my Layout, and you can do that by
| | 05:31 | customizing the Links panel itself.
That's why it's called Customizable Links panel.
| | 05:36 | I'll be covering that in the next video.
| | Collapse this transcript |
| Customizing with panel options| 00:00 | The completely overhauled Links panel
in InDesign CS4 gives you a ton of a
| | 00:04 | great information right off the bat and
selecting any link inside the panel and
| | 00:09 | clicking the link info Show/Hide
button lets you get even more information.
| | 00:15 | But folks, this is just a tip of the
iceberg. There is so much more information
| | 00:20 | you can get for each one of your
links appearing down here in the link info
| | 00:24 | area and you can choose to have some
or all of these appear in the main Links
| | 00:30 | panel so that you don't
actually have to select a link.
| | 00:35 | You could see your information appear
to the right of every link name. So how
| | 00:39 | do you do these cool tricks?
With Links panel Options.
| | 00:42 | I have opened up Bliss_Magazine.indd
from the Chapter 5 02 exercise folder and
| | 00:48 | your Links panel may not match mine
exactly because I have been messing around
| | 00:54 | with the columns in resorting them.
But it is sorted by page number and when
| | 00:58 | it's sorted by page number the parent
entry type of links appear at its top.
| | 01:03 | It's OK if your Links panel doesn't match mine.
| | 01:05 | What I'd like you to do though is go
to the Links panel menu by clicking in
| | 01:09 | that little icon in the upper right-
hand corner and choosing panel Options.
| | 01:15 | Let's play around this for a bit. First
of all, Row Size, it's referring to the
| | 01:20 | row size of the top Links panel area
and thumbnails, is turned on by default.
| | 01:26 | If you like to see larger thumbnails
then what you see, just go ahead and turn
| | 01:30 | on Large Rows, and that's pretty cool,
but if you have like 50 links, it's
| | 01:36 | going to be a nightmare having to
scroll back up and down. So let's go back to
| | 01:39 | panel Options. I have a feeling that
panel Options is going to be one of the
| | 01:43 | first keyboard shortcuts I assign in my
customizable keyboard shortcuts because
| | 01:48 | I think I'll be going back and forth
between that menu items quite a bit.
| | 01:51 | We will switch back to Regular Rows;
Small Rows are really too tiny in my
| | 01:56 | opinion to work with. But I do like to
have thumbnails showing up in Link Info
| | 02:00 | as well, and you'll see when I'm done
with this panel that the thumbnail and
| | 02:05 | Link Info is always large, no matter
which size you choose here for Row Size.
| | 02:10 | So this Row Size is just referring to
the top part of the Links panel, not the
| | 02:14 | link information area that appears down here.
| | 02:16 | Now this scrolling list is all the
information and attributes that InDesign can
| | 02:23 | possibly show you some place in the
Links panel. The once that are checked are
| | 02:27 | on by default and you have the
choice of where you would like to see that
| | 02:30 | information. If you'd like to see it
in a column in the main Links panel like
| | 02:35 | how Name is now and Status is,
then turn on one of these checkboxes.
| | 02:41 | If you'd like to see this information
in a Link Info pane of the Links panel,
| | 02:45 | then you enable these checkboxes, and
as you can see many of them are checked
| | 02:49 | by default. But for example, I would
love to be able to see the Effective PPI.
| | 02:55 | The resolution of my images after I
scale them in InDesign right inside the
| | 03:00 | main Links panel got me having to
select the link and looking at the Link Info
| | 03:04 | pane. So I'm going to turn that on.
| | 03:06 | So you can have this information up
here in both the top sections as a column
| | 03:10 | and the bottom section as a list, if
you would like, or just one of the other.
| | 03:15 | Look at some of these other cool things.
You could see the ICC Profile that's
| | 03:18 | been embedded with any placed images
like from Photoshop. Layer Overrides was
| | 03:24 | turned on by default in CS3. You'd
always see that weird looking eyeball icon
| | 03:28 | next to a file if you had overridden
some of the layers in a Photoshop or PDF
| | 03:34 | or Illustrator document. And in CS4,
it's turned off by defaults for the main
| | 03:39 | link area but you do see it in Link Info.
Something is transparent or not, its
| | 03:43 | dimensions. I love this one here, Scale,
I always turn this one on whenever I'm
| | 03:47 | using CS4. Because it's so much easier
than having to select the image with the
| | 03:51 | Direct Selection tool and look in the
Control panel to see what its actual scale is.
| | 03:58 | You could see at a glance which layers
something is on, may be you'd like to
| | 04:01 | work with frame edges hidden, and
that's usually your clue, it is the color of
| | 04:05 | the frame edges to tell where an object
is layer-wise. And so if you are using
| | 04:10 | Layers you might want to turn this on,
so you can get the best of both worlds.
| | 04:14 | The File Path where it's stored on
your hard drive; the Format, Link Type and
| | 04:19 | then also some metadata from Bridge
or any other kind of Digital Asset
| | 04:25 | Management software program such as the
Author or Title or Creator of a placed
| | 04:31 | Photoshop image or PDF, any kind of
file format that supports metadata embedded
| | 04:37 | in it, can show up here in the Links
panel. So I think that I'm going to turn
| | 04:42 | on Author, also when it was last
modified, number of sub-links, this is when
| | 04:47 | you place an InDesign file to see if
there are links with in that InDesign
| | 04:52 | file, creation date.
| | 04:54 | Now these are very interesting, Folder 0,
Folder 1, Folder 2, Folder 3, what it
| | 04:59 | refers to is, this is a placeholder
for the name of the folder that contains
| | 05:04 | the link. Let's turn that on. Folder
1 is a placeholder for the name of the
| | 05:09 | folder that contains Folder 0. So by
turning on a few of these and showing them
| | 05:16 | either right at the top as a column and/
or in Link Info you can get an idea of
| | 05:22 | where your placed images are coming from.
What is the name of the drive that's
| | 05:27 | storing the original file?
You can just turn that on too.
| | 05:30 | Now these guys Story Status, Number
of Notes, Track Changes, this has to do
| | 05:34 | with the InCopy, InDesign workflow.
So if you are working in that work-flow
| | 05:38 | that's where your designer sharing
your layout with editors who are using
| | 05:42 | InCopy, in that kind of work-flow the
text frames get shared and InDesign users
| | 05:48 | can embed notes; InCopy users can turn
on track changes, stories can belong to
| | 05:52 | a particular assignment, and so it's
pretty cool that Adobe is supporting out
| | 05:57 | work-flow as well in the Links panel.
So you could select a link InCopy story
| | 06:01 | and see what assignment it belongs to
or if it has any notes or if the editor
| | 06:05 | had turned on track changes.
| | 06:07 | I will be discussing this in more
detail in a different title that I do for
| | 06:11 | Lynda.com called InDesign
CS4 Workflow Essentials.
| | 06:14 | So let's just say OK, see how
everything changed. To know we have a ton of
| | 06:20 | information and it doesn't really fit?
So let me scroll this up and I'm going
| | 06:25 | to just hover over the left edge of
the panel and drag it off to the left. We
| | 06:32 | have a lot of stuff here. Of course if
you have two monitors this might be a
| | 06:35 | lot easier to work with or if you have
a larger monitor, so it wouldn't take
| | 06:38 | up, two-thirds of your workspace.
| | 06:40 | But take a look now at all the
information that we have available to us at a
| | 06:43 | glance. This is the effective resolution,
if you forget what these little icons mean;
| | 06:47 | by the way you can hover over that
when you get the little tool tip right away.
| | 06:51 | So the effective resolution of this
cocoa_butter.JPG is 2000, and I go there.
| | 06:57 | It's this guy that we have been
looking at before, and that's the reason it's
| | 07:04 | that much. It's because it's scaled
down to 8.8%. And this is something that's
| | 07:09 | been killing me ever since I move to
InDesign from Quark Express. Because in
| | 07:13 | InDesign it's very difficult to tell
what is the scale of an image unless you
| | 07:16 | jump through bunch of hoops. The
Info panel wouldn't even show it to you.
| | 07:20 | So I always turn on, show me the scale
in the Links panel, and that way I don't
| | 07:24 | have to do anything else other than
just open the Links panel to tell what
| | 07:27 | image's scale is?
| | 07:28 | Under Author, it looks like the only
piece of artwork in this file where
| | 07:33 | somebody actually added an Author in
the metadata field was this hot chocolate
| | 07:38 | image. Yes, that seems sort of
corporate image and they put the Author in as
| | 07:45 | the name of the company. And then
Number of Sub-links, I think, if we open up
| | 07:49 | the InDesign file, let me resize the
image so we can see the full name. This is
| | 07:54 | a placed InDesign file and let's
actually jumps to one instance of it. Here we go.
| | 08:01 | This placed InDesign file is scaled 16
% and it has one sub-link, what is they
| | 08:07 | are talking about? Well, there is one
image here that is a link to the InDesign
| | 08:13 | file, whereas Choco_catalog.indd3
meaning page 3 has 3 sub-links, and that's
| | 08:22 | why it says 3 sub-links over here.
| | 08:24 | Now I said, show me Folder 0, Folder 1,
Folder 2, and these all happened to be
| | 08:27 | on the same place. So they are all in
a folder called Links, and the Links
| | 08:31 | folder is in a folder called exercise
files which is right on my desktop. But I
| | 08:37 | think you can see how this would be
very handy if you are bringing in links
| | 08:40 | from all sorts of places, which is how
I normally work when I'm laying out of
| | 08:43 | publication.
| | 08:45 | We always have the Link Info panel
to show us more information, so if you
| | 08:50 | select the link and then open up the
Link Information panel. Now you'll see,
| | 08:54 | there is the large thumbnail, remember
we have turned on Show Thumbnail in Link
| | 08:58 | Info, and then we have some of the
same information here, plus more, such as
| | 09:03 | the Full Path and the
Creation Date and things like that.
| | 09:07 | So it's really up to you, how you'd
like to customize the Links panel, which
| | 09:11 | information you'd like to see, where
you'd like to see it, what sort order
| | 09:16 | you'd like. Remember you can just
click on these sections at the top to sort,
| | 09:19 | so I'm sorting by Scale, sorting by
Effective PPI and so on. If your Folder 0,
| | 09:25 | Folder 1 and Folder 2 are showing
different file, you could sort by that, so
| | 09:28 | you could see all the images that
you brought in from a particular folder
| | 09:32 | grouped together.
| | 09:33 | To save this, you need to save it as a
workspace. Now it will remain persistent
| | 09:38 | or you're working in InDesign and
even after you click and you start up
| | 09:42 | InDesign again, it's going to say this
way, until the first time that you reset
| | 09:46 | a workspace, to reset a workspace you
go to the Workspace Switcher and choose
| | 09:50 | Reset and then the name of the
workspace that you are on or you can do the same
| | 09:54 | thing from the Window menu, reset the
name of the workspace that you are on.
| | 09:57 | That's going to get rid of
all of your customization.
| | 10:00 | If you want to save it, you'd have to
save this as a workspace. So to save the
| | 10:05 | workspace you go to the Workspace
Switcher, choose New Workspace on my Link
| | 10:11 | Info and click OK, and now if I switch
to Advanced, remember, this is sort of a
| | 10:18 | new feature of CS4 it's just because
you choose a workspace it doesn't mean it
| | 10:21 | resets it. You actually have to
choose Reset. Now the Links panel is in its
| | 10:26 | default state.
| | 10:27 | If I want to get back my Link Info
customization, I choose the workspace that I
| | 10:32 | saved with it.
| | 10:33 | Well, I love having all this
information at my fingertips. It is so much easier
| | 10:37 | to manage a project when you are
dealing with dozens or even hundreds of placed
| | 10:41 | files and InDesign layouts and PDF
documents and so on, and to be able to sort,
| | 10:48 | to be able to quickly see which images
are too low of a resolution or may be
| | 10:52 | you grabbed it from the wrong folder,
I would normally just right-click on an
| | 10:56 | image and I'm something in the link
file and say revealing finder or revealing
| | 11:00 | explorer on Windows. Now I could just
make sure that this information appears
| | 11:04 | in Link Info or in the top of the Links
panel and I only have to keep checking
| | 11:08 | the Explorer Finder to see where
I have grabbed that image from.
| | 11:11 | I can think of so many ways that this
is going to help me, and my staff and all
| | 11:16 | of my students be much more productive,
and really we just have a greater time doing it.
| | Collapse this transcript |
| New commands in the Links panels| 00:00 | Anyone can place a file into a layout.
What separates the girls from the women
| | 00:04 | is how well you handle it, when things
go blooey. When files go missing or
| | 00:09 | people change their file names or the
folders get zipped up and so on. How many
| | 00:15 | times in my life have I spent tedious
hours searching for missing links in the
| | 00:19 | Links panel, scrolling through an
endless list of stop signs indicating missing
| | 00:24 | links? Unlike this layout, which is
perfectly fine. Bliss_Magazine-Relink.indd
| | 00:30 | is inside your exercise files for chapter 05_03.
| | 00:34 | Still this is like a perfect
unnatural situation. In my normal work life, I
| | 00:39 | have all sorts of weird things
happening here in the Status column with missing
| | 00:42 | and modified links and that's why, I
was thrilled to see that Adobe has added a
| | 00:48 | whole bunch of great new commands to
make re-linking much easier. For example,
| | 00:52 | what would happen if I renamed the
folder that all of these links were in? You
| | 00:57 | can tell which folder a link is in by
selecting it and looking at Link Info.
| | 01:02 | Let me make this a little wider and
scroll down here and it says that it's
| | 01:08 | inside the Links folder.
| | 01:10 | So, let's jump there really quickly.
I'm just going to right click here and
| | 01:13 | say, Reveal in Finder. If you are in
Windows, it will say Reveal in Explorer
| | 01:18 | and there is my Links folder. Let's
rename this folder just to be evil. I'm
| | 01:23 | going to call this Links-new name and
then come back to InDesign. There is that
| | 01:29 | beautiful Stop sign appearing, all
these links are missing. So, what do I need
| | 01:34 | to do? How do I fix these quickly?
| | 01:37 | In CS4, one way is just to select all
of the missing links. So, I'm just going
| | 01:44 | to select the top one, Shift-click on
the bottom one and selecting the missing
| | 01:49 | links for the parent folder also,
is the same thing as selecting each
| | 01:53 | individual instance of that placed file.
So, there is actually only one file
| | 01:57 | that's misplaced. Then go to the Links
Panel menu and choose Relink to Folder.
| | 02:03 | So, this is the folder that I want to
relink to Links-new name, it's already
| | 02:07 | chosen for me; I will just say, Choose.
| | 02:09 | Go and have a cup of coffee while
InDesign do all the heavy lifting and there
| | 02:13 | you go. I love that feature, and I
don't know if you noticed but there was
| | 02:18 | another little goody at the bottom of
that Relink to Folder dialog box. I'm
| | 02:22 | going to show you that in a bit. In
the meantime, I want to show you a couple
| | 02:25 | of little tricks that you can do. If
there is just one image missing but it's
| | 02:29 | been placed multiple times, you would
see that the parent entry gets the Stop
| | 02:34 | sign and instead of having to search
through the entire list of links for all
| | 02:38 | of the different instances of that
one image, you can just right click or
| | 02:43 | Ctrl-click, if you have a one button
mouse, and choose Relink All Instances of
| | 02:49 | this image or Update All Instances of
this image or Embed All Instances of this
| | 02:54 | image. So that also makes it a lot faster.
| | 02:56 | Select any link and go to the Links
Panel menu and you will see that there is
| | 03:01 | this new fly-out menu called
Utilities where they have gathered various
| | 03:05 | commands together. So, all of the
Version Q stuff is down here. Also, a search
| | 03:10 | for missing links command, which has to
do with new linking preferences, which
| | 03:14 | I will get to in a bit. But this is
where the Copy Link(s) to command is. This
| | 03:18 | is a feature that I used a lot in CS3.
It's a fast way to move selected links
| | 03:23 | from one folder to another without
losing the link association to the layout.
| | 03:27 | It used to be up here in this list, so
in case you are thinking, oh! They have
| | 03:30 | got rid of it, no that's down here in Utilities.
| | 03:33 | Here is XMP File Info that opens up
the XMP File Info dialog box, which has
| | 03:38 | sort of been slightly redesigned.
You can see that it's bringing in some
| | 03:42 | metadata, which has been slightly
redesigned, but unfortunately, it is not
| | 03:46 | editable and we are hoping that
it will be fixed in an update.
| | 03:51 | Back here in Utilities, you could also
choose to Copy the Full Path or Copy a
| | 03:56 | Platform Style Path. Let's see what
that means. If I choose Copy Full Path and
| | 04:01 | then I create a text frame and
paste it, the full path started from
| | 04:11 | Users/anne-marie and then
that's the entire path to that file.
| | 04:15 | Now, I think that's going to be very
handy for people because though you can
| | 04:18 | see that information if you select the
file, you can see that information in
| | 04:22 | Link Info right here, but you can't
select it. And if you are doing something
| | 04:29 | like database publishing or you are
trying to track or coming up with a
| | 04:33 | document that's tracking where all
these images are coming from, instead of you
| | 04:36 | having to retype this, you can just go
to Utilities and choose Copy Full Path.
| | 04:43 | Copy Platform Style Path copies a
slightly different path. Let me drag out a
| | 04:49 | text frame again for that and paste
it in there and it starts out with the
| | 04:57 | actual name of the hard drive and so on.
It uses colons instead of backslashes,
| | 05:03 | which I think is a little bit confusing,
since OS 10 uses backslashes in this
| | 05:07 | path names but I'm sure some
engineer has a good explanation, why.
| | 05:10 | All right, let me just zoom out to
fit the spreading window, I just press
| | 05:14 | Command+Option+0 or Ctrl+Alt+0 if you
are in Windows and talk about another
| | 05:19 | common situation that is fixed in CS4
and that has to do with editing original
| | 05:24 | files. Let's say, in this document, I
have scrolled to Page 6 and 7 that there
| | 05:31 | is an image I want to edit and in this
case, I select it and you can see that
| | 05:35 | it's a PDF image.
| | 05:37 | This is the Choco catalog and let's
say that Oh! I got the wrong date; it
| | 05:42 | should be 2008, not 2009 and I want to
edit this and I think I will do it right
| | 05:48 | in Acrobat that's a PDF. So, I hold
down the Option or Alt key on Windows and I
| | 05:53 | double click it and I'm running in
Leopard right now and it opened up in
| | 05:57 | Preview because Preview happened to be
the default application to open a PDF.
| | 06:02 | This happens to me all the time with
GIFs and JPEGs where I normally do want
| | 06:06 | them to open up in Preview or if I was
in Windows in the Picture Viewer. But
| | 06:10 | when I want to actually edit them, I
prefer they open up in Photoshop or maybe
| | 06:14 | Illustrator or Acrobat or anywhere
other than Preview because you can't really
| | 06:18 | do much editing at all in Preview.
| | 06:21 | Now, people ask all the time, isn't
there a way to set a different application
| | 06:25 | that I can use to edit original.
Though you can't really do that in InDesign;
| | 06:30 | you can only really do that in Bridge
and that used to be the work around for
| | 06:33 | CS3. Even better in InDesign is that
you can simply right click and choose Edit
| | 06:38 | With. So now, I can say, yes, I want
to Edit With and then it lists all the
| | 06:42 | programs along with the
default program for that file type.
| | 06:46 | So, I want to edit with Adobe
Acrobat Pro and here I'm and it's opened in
| | 06:52 | Acrobat Pro. Now, let's see, let's
change this to 2008, get there on to the
| | 06:58 | Advance Editing type, there we go,
2008. And close the document, save my
| | 07:06 | changes, come back to InDesign and it
updates immediately. You can also choose
| | 07:12 | get to Edit With from lots of other
places; you can get to it from right
| | 07:15 | clicking and also from the Edit menu.
So finally, I love that new feature, Edit
| | 07:22 | With. And then there is this
really cool Auto Relinking feature.
| | 07:26 | Let's say that in my document, I have
some low res JPEGs, which I happen to
| | 07:33 | have, if I come up over here to
this little step by step at the Choco
| | 07:38 | one-on-one story, these are pretty
low res. What is a fast way to tell the
| | 07:43 | resolution? Well, of course, I should
add Effective PPI right here. So, I'm
| | 07:48 | going to come up over here and go to
Panel Options and look for Effective PPI
| | 07:55 | and have it appear in a column.
| | 07:57 | And I think, I will also add Color Space,
there we go. Yes, it's a bad boy, it
| | 08:05 | an RGB file, and it's only 155, that's
also RGB and this little guy is also RGB
| | 08:11 | and everything else is CMYK. There is
nothing inherently wrong with having a
| | 08:15 | mix of RGB and CMYK images in the same
layout; I mean that's one of InDesign's
| | 08:20 | strength after all. Most experienced
InDesign users know that once you export
| | 08:25 | it to PDF using any of the common
press-ready PDF presets, InDesign will
| | 08:29 | automatically convert those RGB images
to CMYK, giving you the same end result
| | 08:35 | as though you had converted the RGB,
the CMYK in Photoshop before you replaced it.
| | 08:40 | Still now, I've worked for enough
clients to know that there are many managers
| | 08:43 | who insist that there should be no
RGB images inside an InDesign layout and
| | 08:48 | they may very well have very good
reasons. So, this could be something that you
| | 08:52 | want to check for and replace. So,
let's say that in this workflow, we are
| | 08:56 | accustomed to placing low res images
just for layout, just for design and then
| | 09:00 | as one of our last steps before we
sent it on to the commercial printer, we
| | 09:04 | have replaced the low res with high res
| | 09:06 | So, let's say, these are the three low
images that we want to replace with the
| | 09:09 | high res How can we do that because
the high res image might have a different
| | 09:13 | file extension, which they do; they
are actually PSD files or TIFF files. You
| | 09:17 | could, of course, relink one image
at a time and relink to a completely
| | 09:21 | different image with a different
extension but you couldn't do it as a group;
| | 09:25 | you couldn't grab a whole bunch of
separate images and say, relink to the high
| | 09:29 | res versions of all these please.
| | 09:31 | No? Well that's because you are using
CS3. So, when you are using CS4, you can
| | 09:35 | do that. Let me show you what I mean.
I'm going to select these three low-res
| | 09:40 | images and relink them to their high
res replacements. So, I select these
| | 09:44 | three, I go to our friend, Relink to
Folder that I used at the very beginning
| | 09:49 | in this video and it was these guys
that I mentioned earlier; these little
| | 09:55 | extra things at the bottom of this
dialog box. You could say, match same file
| | 09:59 | name and extension, that is the default
but you could say, match the same file
| | 10:02 | name but with a different extension.
| | 10:04 | So, I know that my high res files are
in my chapter 05 exercise folder, 05_03
| | 10:15 | right there and they all end with psd.
However, they have the same beginning
| | 10:20 | part of the name. So, this won't work
if you name them choco_warmer low-res and
| | 10:25 | choco_warmer hi-res; you have to make
sure that you use the same file name. But
| | 10:29 | now, I can say, match the same
filename that use extension, psd, and say
| | 10:34 | Choose. There they are with a much
higher effective resolution at CMYK.
| | 10:40 | One last cool thing to show you and
that is in Preferences. Go to InDesign
| | 10:45 | Preferences if you are on the Mac or
under the Edit menu, choose Preferences if
| | 10:48 | you are on Windows. Down to File
Handling, now we have a rich little grouping
| | 10:54 | of option from which to choose in the
Link section down here. In CS3, there is
| | 10:59 | only one item and that was
equivalent to Preserve Image Dimensions When
| | 11:03 | Relinking. So that's still here
and it's still turned on by default.
| | 11:07 | But there are two options having to
do with what happens when you open a
| | 11:10 | document. By default, as you know,
when you open up a layout, InDesign
| | 11:13 | automatically checks the link status.
And if links are missing, it will do a
| | 11:18 | little search for them. So, if the
links aren't in the old location, it will
| | 11:21 | happen to look for a folder called
Links at the same level as the InDesign
| | 11:26 | layout or maybe one or two levels
above there. It's got the secret little
| | 11:29 | algorithm that uses to search for missing links.
| | 11:32 | But sometimes you are opening up a
document and you know the links aren't
| | 11:35 | there; they are on the server at work
and you are working at home and it's
| | 11:39 | going to take forever for you to
check of the links and look for them. You
| | 11:42 | would rather just open up and don't
even worry about the link status. To do
| | 11:45 | that, you just turn that off. So, you
can turn off Check Links before Opening
| | 11:49 | Document, which automatically turns
off Find Missing Links before Opening Document.
| | 11:55 | Once you open up the document,
InDesign is constantly running a background
| | 11:59 | process where it is checking for the
status of all your files. And so, there is
| | 12:04 | no way to say never check the links;
it's going to check them at some point but
| | 12:08 | this just allows you to get started a
lot quicker working with your layout file.
| | 12:13 | And then this little guy down here.
I'm going to turn this back on before I
| | 12:15 | forget, Default Relink Folder. Most
Recent Relink Folder or Original Relink
| | 12:21 | Folder. On our blog at InDesignSecrets.
com, this question comes up about once a
| | 12:25 | week; how come InDesign keeps going to
the wrong folder whenever I go to place
| | 12:29 | a file or relink a file?
| | 12:31 | And here is your choice. If you say,
whenever you want to relink, if you have
| | 12:36 | chosen Original Relink Folder, that
means that InDesign will automatically jump
| | 12:41 | to the folder that originally have the
image before you ever relinked it. If
| | 12:45 | you choose instead Most Recent
Relink Folder then the first time that you
| | 12:49 | choose Relink while you are working in
a project, it's actually going to go to
| | 12:54 | the folder containing the InDesign
layout itself and you will have to navigate
| | 12:58 | to the folder containing the new image
or the new version of the file that you
| | 13:02 | want to relink to.
| | 13:03 | But then, the next time that you
relink that image or any other image in the
| | 13:06 | layout, it's going to jump to that
folder that you just relinked from. So the
| | 13:10 | Most Recent Relink Folder, which is
usually the one that you want if you do a
| | 13:14 | lot of relinking because you are
constantly relinking two folders contained in
| | 13:18 | another folder on another server, for
example. The default choice is Original
| | 13:23 | Relink Folder. When you choose relink,
it's going to the place where you
| | 13:26 | originally placed the link from. But
just keep that in mind that you do have a
| | 13:30 | choice here in the Links Preferences.
| | 13:34 | So, the redesigned from the ground up
Links panel in InDesign CS4 makes it
| | 13:39 | easier than ever to manage all the
Link files in my layouts. You know what I
| | 13:43 | think that Adobe has done here, has
gone above and beyond what many users have
| | 13:47 | found for. It's like an embarrassing
wealth of goodies that are there and I
| | 13:51 | can't wait to take advantage
of all these in my projects.
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|
|
6. Image Layout HelpersUsing Auto-Fit to place images| 00:00 |
The first 10 minutes into using
InDesign CS4, you are going to start to notice
| | 00:05 |
something strange and quite wonderful,
whenever you place an image by dragging
| | 00:10 |
out of frame with loaded place cursor
and that is that it automatically fits.
| | 00:15 |
It's called Autofit.
| | 00:17 |
You no longer have to do the
fitting dance, where you place an image by
| | 00:21 |
dragging out a frame of course it
doesn't fit and then you have to go up to the
| | 00:25 |
Object Fitting menu and continuously
do things like Fit Frame Proportionally,
| | 00:30 |
Fit Content to Frame. Instead things
come in perfect right from the get-go.
| | 00:35 |
Let me show you what I mean. Open up
the Sell_Sheet_1.indd document, which is
| | 00:41 |
inside your Chapter06, exercise files
in 06_01. Just a simple two-page cell
| | 00:48 |
sheet for this chocolate company plus
No.5. And then scroll down to Page Two
| | 00:54 |
where we have some empty space and
then move it over to left a little bit, we
| | 00:57 |
will bring in images right here in the
paste board. Then go to file Place and
| | 01:03 |
choose any image that you would like,
here in the Links-more folder inside the
| | 01:07 |
Chapter06 exercise files.
| | 01:10 |
I'm going to grab cocoa_butter.JPG,
click Open and we get the usual thumbnail
| | 01:17 |
preview. And that's something you can
turn off and just close down in your
| | 01:19 |
computer by the way in Preferences.
And then also dragging right here in the
| | 01:23 |
Pasteboard and notice, first
of all look at the Smart Cursor.
| | 01:27 |
The Smart Cursor is telling me what
is the current Scale Percentage if I
| | 01:32 |
release the mouse button at this
point. So if I release mouse button then
| | 01:35 |
Cocoa_butter picture would be at 18%
scale of X and Y. So it is always going to
| | 01:41 |
come in proportionally scaled and
it's always to come in kissed with to the
| | 01:45 |
frame that I'm dragging out.
| | 01:46 |
Notice that even if I drag to the left,
there is no way InDesign is going to
| | 01:51 |
let me make this a disproportionately
scaled frame. That's Autofit, and I don't
| | 01:56 |
need to determine any preferences or
change anything. That's how they come in
| | 02:00 |
by default in CS4. So release
the mouse button and here it is.
| | 02:04 |
Now from this point on I could have of
course gone ahead and crop the image, I
| | 02:08 |
could double click on the image to
switch to the Direct Selection tool and then
| | 02:13 |
drag the image around within cropping
frame and so on. Now let me show you
| | 02:18 |
something, I'm going to get the loaded
cursor back, I'll just press Command or
| | 02:22 |
Ctrl+Z a few times to get the loaded cursor.
| | 02:25 |
If you need to override what InDesign
wants to do with the frame, you can go
| | 02:29 |
head do that but you need to hold on
Shift Key as you drag. So let's say for
| | 02:34 |
example that I needed this image to
come in a long horizontal frame. I can hold
| | 02:40 |
the Shift key now I can go ahead and
drag where I would like. Notice that this
| | 02:44 |
smart cursor changes from showing me
scale percentage to the width and height
| | 02:48 |
of the frame.
| | 02:51 |
When I release the cursor the image
still comes in size proportionally so it
| | 02:55 |
still autofits just as though I had
gone up to the Object menu and choose
| | 03:00 |
Fitting > Fit Content Proportionally.
| | 03:04 |
If I go up to the File > Place and
select a bunch of images and there is my
| | 03:12 |
loaded place gun showing me the number
of images that I have selected. I can go
| | 03:17 |
head and quickly drag out a whole bunch
of frames and they all come in fitting
| | 03:21 |
exactly correctly. It saves all of us
layout designers a heck of lot of mousing around.
| | 03:28 |
| | Collapse this transcript |
| Placing via Contact Sheet Cascade| 00:00 | In the older version of In Design in CS3,
if you had multiple files loaded into
| | 00:05 | the place cursor, you could use little known
command to drop all of them in the page at once.
| | 00:10 | You just have to hold down the
Command or Ctrl and Shift keys and click. It
| | 00:15 | wasn't very useful though, because
you had no control over the image frame
| | 00:18 | size. They all come in at 100% and they
were overlapping like this. If you want
| | 00:23 | see what I'm talking about open up Sell_
sheet_1-casacde.indd in your Chapter06
| | 00:29 | exercise files, 06_02 to be
specific. And then scroll down to Page 2.
| | 00:39 | Here I have had, I believe, six
images loaded and then held on
| | 00:43 | Command+Shift+Click and this is how
they would come in version CS3. Well they
| | 00:48 | fixed that in CS4 and there is this
really cool new feature called Contact
| | 00:53 | Sheet Cascade. But lets get rid of
this mess by just selecting them all with
| | 00:59 | Selection Tool, just drag little
marquee key around them all, and then press
| | 01:02 | the Delete or Backspace key.
| | 01:04 | Let's say that you want to add some
images to this column. And you have a big
| | 01:07 | folder full of different images that
could possibly go here. You weren't quite
| | 01:10 | sure which one you wanted to use. And
it will be nice just to put a whole bunch
| | 01:14 | of them off to the site, so that you
could visually compare them and grab the
| | 01:18 | ones that you wanted. Here
is how you can do them in CS4.
| | 01:20 | Go to File > Place and select a bunch
of images, I have some in the Links More
| | 01:25 | folder in the Chapter06 folder, and
just grab six images. Don't grab choco_home
| | 01:33 | because it's kind of a weird one so
website screen shots. Just going to Grab on
| | 01:37 | 1, 2, 3, 4, 5, 6, that's fine, and then
click Open. And as with CS3, you get a
| | 01:46 | preview of all the different images
that are loaded in the Place cursor, along
| | 01:50 | with the number telling you
how many total are loaded.
| | 01:53 | Now before you click or drag or do
anything, hold down the Command+Shift keys
| | 01:59 | if you are in a Mac, or the Ctrl+Shift
key if you are on Windows. Notice how
| | 02:04 | the cursor changes to a little
miniature grid and then start dragging. What's
| | 02:09 | happening here is that you are dragging
out a grid into which InDesign is going
| | 02:14 | to place these images. It's going to
create an image frame of whatever size the
| | 02:20 | gridlines indicate. Unfortunately you
really don't know how large each little
| | 02:25 | rectangle is. All you know is the
overall size of the context sheet, which is
| | 02:29 | what the smart cursor is telling you.
| | 02:31 | But once you start dragging, you hold
down the Command+Shift or Ctrl+Shift
| | 02:35 | keys, once you start dragging, you
can release those keys, keep your mouse
| | 02:39 | button held down and then you can use
the Arrow keys on your keyboard to change
| | 02:43 | the grid. So I'm tapping the Up Arrow
to increase the number of rows, or the
| | 02:49 | Down Arrows to decrease it. And the
Right Arrow to increase the number of
| | 02:53 | Columns, or the Left Arrow to decrease it.
| | 02:57 | If I wanted to make a six rectangle
grid, then I could just manipulate the
| | 03:02 | number of rows and columns so that I
only have six for example, this one right
| | 03:05 | here. Then when I release the mouse
button, all six images are placed into each
| | 03:11 | one of those grid rectangles in their
own separate image frames. But as usual
| | 03:16 | with CS4 all of the images come in
autofitting by default. So you really don't
| | 03:21 | have to worry about making your grid
lines too skinny or too tall because
| | 03:26 | you'll see the complete images no
matter which size the grid lines are when you
| | 03:30 | release the mouse button.
| | 03:31 | Let's undo that, press Command or Ctrl
+Z so you have the loaded Place then
| | 03:37 | again. And this time when you hold
down Command+Shift or Ctrl+Shift and start
| | 03:41 | dragging, notice that it remembers how
many columns and rows you had the last
| | 03:46 | time. Release the Command+Shift key,
and grid remains. This time I would like
| | 03:50 | you create fewer boxes than what we need.
| | 03:53 | So we have six images loaded, I'm going
to press my down arrow key to just make
| | 03:57 | a three boxes going across. Release
the mouse button and you'll see that the
| | 04:02 | three images are placed and then three
more are still here in your Place gun.
| | 04:06 | So what does that mean? Let me say that
you could load up, say, 100 images into
| | 04:10 | the Place gun, and then you could go
page by page through documents, dragging
| | 04:15 | out a grid of 10 images, or 8 images per
page. Think, think, think, really fast.
| | 04:22 | Let's Undo that, and this time let's
drag out a grid that has too many grid
| | 04:27 | boxes. Hold down Command+Shift when
you start your drag, then you can release
| | 04:31 | those keys. Use the arrow keys on
your keyboard to increase the number of
| | 04:36 | columns and rows, and then release the
mouse button. If you have too many, not
| | 04:41 | a big deal. I mean it just ignores the
extra grid lines. So you don't have to
| | 04:44 | be very careful about exactly
how many boxes that you have.
| | 04:47 | Now I know what you are thinking.
Perfect application for a yearbook. Well I
| | 04:52 | guess you could use the Contact Sheet
Cascade method to quickly layout dozens
| | 04:56 | or hundreds of headshots in your book.
But its not just for your book, it comes
| | 05:00 | in handy in all sorts of situations.
Like in this small example. Let's say that
| | 05:04 | we want to place three images in
this column on the second page of our
| | 05:08 | Sell_sheet. And we want the three
images to be exactly the same width and
| | 05:12 | height and we would like them
spaced apart exactly the same.
| | 05:15 | Well let's just use our cool Contact
Sheet Cascade for that. Go to File, Place,
| | 05:22 | load up three likely images. I think
I'll grab fountain and hot_choco. We can
| | 05:30 | use of course any images that you want,
and then I'll grab cocoa_butter again,
| | 05:34 | and click Open. Then position your
cursor near where you want to place these
| | 05:40 | images and hold down Command+Shift or
Ctrl+Shift and start dragging. Then just
| | 05:47 | drag in the overall area
that you have to place in.
| | 05:50 | Now notice the Smart Guides appear to
help you align things, and I talked about
| | 05:55 | Smart Guides in a different video, if
you need more help with that. Now I have
| | 05:58 | released the Command+Shift keys on my
keyboard so I can tap the Up and Down
| | 06:04 | arrows just to make three rows and one
column. I'm tapping the Down arrow to
| | 06:08 | make three rows and Left arrow to
reduce the number of columns. Now these three
| | 06:14 | images will perfectly fit inside
these frames and they will be separated by
| | 06:18 | that amount of space.
| | 06:20 | If the images were too small to fit
because they come in Autofit, if they are
| | 06:23 | not of the right proportion or
whether they are too small, you could always
| | 06:26 | press the keyboard short cuts for the
fitting commands, because all three of
| | 06:29 | these are still selected. So I could
press for example, Command+Shift+E to
| | 06:33 | center the content or something like
that, but actually these came in perfect
| | 06:36 | so my job done.
| | 06:38 | I think that the Contact Sheet Cascade
feature is pretty cool and I'm always
| | 06:43 | looking for opportunities to
use it. I hope you will too.
| | Collapse this transcript |
| Reviewing updated image commands| 00:00 | InDesign CS4 brings us a few more
little fixes that I would like to make sure
| | 00:04 | that you know about when it comes
to working with images and links.
| | 00:08 | There is couple of images scaling
fixes that people have been requesting for
| | 00:12 | ages; improved handling of placed
InDesign files and CS4 supports a major new
| | 00:17 | feature in Illustrator CS4
files, multiple artboards.
| | 00:22 | So let's check these out in this
document that you could open called
| | 00:25 | Sell_Sheet_1b.indd inside your
Chapter 6 exercise files in 6 03 folder.
| | 00:32 | Once it's open, I'd like you to select
the large image on page 1, a beautiful
| | 00:39 | picture of the hot chocolate and
because we are going to be talking about
| | 00:42 | scaling, let's make sure that, we can
tell what is the current scale amount of
| | 00:45 | this image by adding that to Links panel.
| | 00:48 | So open up the Links panel and I'm
going to resize it, make it a little bigger
| | 00:54 | and then go to the Links panel menu and
choose Panel Options and if you are not
| | 01:00 | sure what I'm doing here, I did cover
the Links panel in a different video,
| | 01:03 | very cool features here.
| | 01:04 | Then go to Show Column and choose Scale.
That way we can see inside the Links
| | 01:11 | panel main area what is the
scale of all our placed images.
| | 01:14 | When an image or any other kind of
linked file is at 100% exactly, its empty
| | 01:20 | here, which I think is kind of the pane;
it should say 100% maybe in the next version.
| | 01:25 | So we know that this image is already
at 100 % and I could double-click on it
| | 01:30 | with my Selection Tool to get the
Direct Selection Tool and you can see in the
| | 01:34 | Control Panel that it is indeed at 100
%, select it with the Selection Tool.
| | 01:38 | So what's the big deal? Well, they have
resurrected a CS2 keyboard shortcut.
| | 01:44 | In CS2, if you wanted to scale from the
keyboard, you could press, if you are on a
| | 01:49 | Mac, Command+> or <. Actually Command+Period
or Comma, but I think if it is greater than
| | 01:55 | or less than. Because greater than, you move up;
and less than, you make it smaller. That would scale an
| | 02:01 | image and its frame in 1% increments.
You add the Option or Alt key on Windows
| | 02:08 | to that keyboard shortcut
to scale it in 5% increments.
| | 02:12 | So for example, if I press Command+
Option+>, Command+Option+Period, the
| | 02:17 | image scales up in 5% increments.
That's what happened in CS2, and it's
| | 02:22 | happening in CS4.
| | 02:24 | What was different in CS3 was that
using a keyboard shortcut would only resize
| | 02:29 | the frame; it would not affect the
scale of the image. The only way to affect
| | 02:34 | the scale of the image was to switch to
the Direct Selection Tool first, select
| | 02:39 | the image and then use the keyboard shortcut.
| | 02:40 | So you could hither scale the contents
or the container, but not both at the
| | 02:45 | same time, and I guess engineering-
wise it's more correct, but users were so
| | 02:50 | accustomed in earlier versions of
InDesign to be able to use one keyboard
| | 02:54 | shortcut and scale that image up and
down including its frame. Dad Adobe was
| | 03:00 | listening I guess, and they
fixed it in CS4. I love that.
| | 03:05 | By the way, if you do want to use the
keyboard shortcut to resize the frame and
| | 03:10 | not affect the image, you can do that.
There is a command for it. It's just
| | 03:14 | that there is no default keyboard
shortcut for it, but they added it in CS4.
| | 03:18 | Go to Edit > Keyboard Shortcuts, and
of course you will have to create a new
| | 03:23 | set; I'll just call my Default copy 1,
because you can't edit the default setting.
| | 03:27 | In the Product Area in which you can
see they have sort of organized it a
| | 03:30 | little better this time, go down to
Object Editing and you will see that
| | 03:35 | Decrease scale by 1% and by 5% have
these keyboard shortcuts and there is an
| | 03:40 | increase scale as well. But then they
have broken out the size one which does
| | 03:47 | not have a shortcut.
| | 03:48 | So you can go ahead and assign
shortcuts, if you just want to be able to use
| | 03:51 | the keyboard to change the cropping
frame and not the actual image itself, not
| | 03:56 | the size or scale of the image inside
the frame. I really don't care about that
| | 04:00 | so I'm going to cancel out of there, and
let's go onto another improved feature.
| | 04:05 | Scroll down to page 2. I want to
close my little link in so to give this a
| | 04:10 | little bit more breathing room.
| | 04:11 | Here on page 2, we have three placed
files here on right-hand side. These first
| | 04:18 | two, if you select them, you'll see
in your Links panel there are InDesign
| | 04:23 | files, INDD files, and this one down
here is the same brochure, except it's the
| | 04:29 | PDF of the InDesign file. So, the PDF
has been placed and whenever you see next
| | 04:34 | to PDF or INDD a page number that
means that it is not the first page that's
| | 04:40 | being placed. It is in an interior
page which you can choose when you turn on
| | 04:43 | Show Options when you are
importing an INDD or PDF file.
| | 04:47 | Now here is the issue. Here we have
the cover of the InDesign brochure and as
| | 04:52 | well as a placed interior page, page
3, and I'd like to edit page 3. So I
| | 04:59 | Option+Double-Click or right-click and
choose Edit With and we'll just choose
| | 05:04 | Adobe InDesign CS4. There is no
other program that can open it.
| | 05:08 | What does it fix? It brings us right
to page 3. This is new in CS4. In CS3 it
| | 05:13 | would always bring you to page 1 of the
document, even if you are at page 17 or
| | 05:17 | 95 or something like that.
| | 05:19 | So a nice little fix that just makes
things a little bit smoother in your
| | 05:22 | workflow. Unfortunately, they did not
carry that through to PDFs, which I would
| | 05:28 | have loved to see. You have a PDF that
is obviously page 4 of the PDF has been
| | 05:33 | placed and I say Edit with Acrobat;
it opens up to page 1 of the catalog.
| | 05:41 | Finally, InDesign CS4 can place any
artboard within a multiple artboard
| | 05:47 | Illustrator file, and it's one of the
big new features in Illustrator CS4.
| | 05:50 | Finally, you can create multiple
pages in CS4, simple called the multiple
| | 05:54 | artboards. If you want to check that out,
go to File > Place, and I prepared a
| | 06:01 | multiple artboard Illustrator file for
you in the Links folder which is at the
| | 06:06 | same level as all of your
exercise files with different chapters.
| | 06:10 | So select Links and then scroll down
to surf items board.ai. Make sure that
| | 06:17 | Show Imports Options is turned on; turn
off Replace Selected Item just in case
| | 06:21 | you have them selected. Or of course
you can always use the shortcut, which is
| | 06:25 | Shift+Open. Hold down the Shift key
when you click Open, which forces open up
| | 06:29 | the Import Options dialog box
even if this isn't selected.
| | 06:32 | And now we see that although this is an
AI file. On the inside, it's a PDF, and
| | 06:39 | it has multiple artboards, four of
them, and you can flip through here and
| | 06:43 | choose the ones that you want to place.
So I feel I like that one on page 3,
| | 06:47 | and as with the PDF you can choose
where it's going to crop and I will just
| | 06:50 | say, I'd like you to bring it down to
the artwork, that's fine, and I don't
| | 06:55 | want a transparent background, perfect!
| | 06:57 | Click OK and I will drag out the image,
that's like that, and then you can see
| | 07:04 | that up in the Links panel, it
tells you that you have placed the third
| | 07:07 | artboard in that AI file.
| | 07:09 | So every little bit helps, right? The
return of the CS2 method for scaling
| | 07:13 | images from the keyboard is most welcome,
but again, if you preferred the CS3
| | 07:18 | method you could sort of do that
just by editing the keyboard shortcuts.
| | 07:21 | I love the new features with the
placed InDesign files and Illustrator file
| | 07:25 | support for multiple artboards.
Muchas gracias, Adobe!
| | Collapse this transcript |
|
|
7. Cross ReferencesGetting familiar with cross references| 00:00 | On of the most often requested
features from InDesign users has been the
| | 00:04 | ability to create an automatically
update Cross-References in a layout and
| | 00:09 | those users and the rest of us will be
thrilled to see that InDesign CS4 now
| | 00:14 | includes a dedicated Cross-Reference feature.
| | 00:17 | If you are not quite clear on what
the big deal is, imagine living without
| | 00:21 | Paragraph Styles. That you have to
format all your text manually throughout a
| | 00:25 | document and anytime you wanted to
update the formatting like make all subheads
| | 00:29 | bold, for example. You have to go
through and select every subhead, make it
| | 00:32 | bold. Well, that's what a lot of
InDesign users have had to live with when it
| | 00:36 | comes to Cross-References.
| | 00:38 | Anytime they insert it, a bit of a
sense that refer to something else in the
| | 00:42 | layout and then what they refer to
changes position, changes pages changes its
| | 00:47 | name. They have to go back and manually
update all those Cross-References. Let
| | 00:52 | me show you what I mean and let me show
you how the new Cross-Reference feature
| | 00:55 | works in InDesign CS4.
| | 00:57 | Open up Choco_catalog-01, which is
inside your exercise folder for chapter07 in
| | 01:03 | the 07_01 sub-folder and this is a
catalog for the same chocolate company for
| | 01:09 | which we have been working with Bliss
Magazine in the other videos. When it
| | 01:13 | opens, go to page 2 and cast your
eyeballs at this text frame down here.
| | 01:20 | Specifically the second paragraph
which says to get a preview of these see
| | 01:26 | "favorite flavors" on page 4, so to
get a preview of these new flavors, go to
| | 01:31 | page 4. So, I go to page 4. I'm
pressing Command+J or Ctrl+J to open up the Go
| | 01:36 | To Page dialog, 4. And what's on page 4?
Nothing is on page 4; they mean this
| | 01:45 | one here, over here page 5. All right,
favorite flavors, is on page 5. So,
| | 01:52 | that's one mistake already.
| | 01:53 | Now, if I change favorite flavors to
favorite chocolate flavors, then I have to
| | 02:02 | remember when I go back to page 2 to
update the page number to page 5 and
| | 02:11 | update favorite flavors to favorite
chocolate flavors. If I insert a page
| | 02:19 | before page 5, now I will do that up
here really quick by right clicking in the
| | 02:24 | Pages panel and we will insert a couple
of pages before page 2. So now favorite
| | 02:34 | chocolate flavors is on page 7. If I
go back to my reference to it, it still
| | 02:39 | says page 5 and I have this okay now
it's on page 7 and so on and so forth.
| | 02:45 | Now, if you have been paying very
close attention, you may have noticed that
| | 02:49 | this little guy down here did update
its page number. It used to say, for more
| | 02:54 | information see "our locations" on page
7, but after I added the two additional
| | 02:59 | pages, it says page 9. Why is that?
That's because this is an actual
| | 03:04 | Cross-Reference. This is the Cross-
Reference that I inserted earlier before I
| | 03:09 | saved this document. So let me
show you how you can access those
| | 03:12 | Cross-References.
| | 03:14 | There is a dedicated Cross-References
panel. However, I guess it doesn't have a
| | 03:19 | lot of money, so it has to have a
roommate and that's Hyperlinks. If you open
| | 03:23 | up the Hyperlinks panel, if you go to
Window > Interactive > Hyperlinks, you
| | 03:30 | will see Cross-References has the
first floor and Hyperlinks has the second
| | 03:34 | floor. It's because Hyperlinks and Cross
-References are actually pretty closely
| | 03:38 | related, but in the panel menu
you will see that both Hyperlink and
| | 03:42 | Cross-Reference commands are available.
| | 03:46 | If you don't think you are going to
remember, to get to Cross-References I have
| | 03:49 | to choose Hyperlinks, don't worry about
it. You can go to the Window menu, down
| | 03:53 | to Type & Tables where it makes sense
for Cross-References to be and look,
| | 03:57 | there is an entry for Cross-References.
And that will open up the Hyperlinks
| | 04:01 | panel, which has the Cross
-References living there.
| | 04:03 | The Cross-References panel is also
part of the Book Workspace that comes with
| | 04:08 | InDesign CS4. So if I switch to it, you
will see there is Hyperlinks as part of
| | 04:13 | the Book Workspace. But I'm going back
to Advanced because I like that one of
| | 04:16 | the best. When I double click any word
in this Cross-Reference, you will see
| | 04:20 | that it becomes highlighted in the
Cross-References panel and I can use these
| | 04:25 | arrows to see both, the text that I'm
referencing from and what I'm referencing
| | 04:31 | to, what we call the source of the
selected Hyperlink or Cross-Reference and
| | 04:36 | the destination of that Cross-Reference.
| | 04:38 | Right now we are in the source. If I
say go to the destination, you will see
| | 04:43 | this is the destination. It is
referencing this paragraph that says "our
| | 04:48 | locations" and if I zoom in very
closely, you will see that there is a hidden
| | 04:53 | character that stands in these two
little dots that look like a colon means
| | 04:58 | that this is a Cross-Reference
destination. Let me zoom out a bit and let's say
| | 05:05 | that I decide to change "
our locations" to our offices.
| | 05:12 | Notice that the Cross-Reference panel
immediately says it needs to be updated.
| | 05:16 | If you hover over this tool tip, the
referenced paragraph has changed. Click
| | 05:20 | the Update button to update the
source text. And I could go ahead and click
| | 05:24 | this right here. By the way whenever
you print or export to PDF, you will be
| | 05:28 | prompted if you have any out-of-
date Cross-References and InDesign will
| | 05:32 | automatically update them before you.
| | 05:34 | Dido! If you open up a document that
has some outdated Cross-References, so in
| | 05:38 | that way they work like links.
Then I will go ahead and update the
| | 05:41 | Cross-Reference and now let's jump to
the source and you will see it's updated
| | 05:47 | that automatically. If I get rid of
those empty pages here, pages 2 and 3 and
| | 05:55 | go back to page 2, it automatically
updated the page number. So there are some
| | 06:00 | things that InDesign will
automatically update, some things that you will be
| | 06:04 | prompted to click, the Update icon at
the bottom of the Cross-Reference panel.
| | 06:09 | So that's the beauty of Cross-
References. They are tracked within the layout
| | 06:13 | and can update automatically, saving
you time, not just in creating them. But
| | 06:18 | also in making sure that they are up-to
-date as the layout and text changes.
| | Collapse this transcript |
| Creating cross references| 00:00 | Creating and inserting cross-references
into your layouts is easy with InDesign
| | 00:05 | CS4's powerful new Cross-References
feature set. I sense that you seem
| | 00:12 | skeptical. Cross-Reference is easy,
yeah. Let me show you what I mean.
| | 00:16 | Open up the Choco_catalog_02 document
which is inside your chapter07, exercise
| | 00:22 | folder, inside the 07_02 folder and go
to page 2 of this catalog. If you don't
| | 00:29 | have the Cross-References panel open,
go ahead and do that now. Go to Window >
| | 00:34 | Type & Tables and choose Cross-
References and note that in this text frame, on
| | 00:41 | the lower left of page 2, we have two
Cross-References. One says, see "favorite
| | 00:46 | flavors", if you select favorite
flavors you will see that nothing gets
| | 00:50 | selected in the Cross-References
section of this panel. But if you look at the
| | 00:55 | other Cross-Reference, see "our
locations", you see it does get selected. So
| | 01:00 | that means that this is an
actual Cross-Reference; this is a fake
| | 01:04 | Cross-Reference that someone inserted manually.
| | 01:06 | What we will do is we are going to
actually fix this. We are going to make it
| | 01:09 | into an actual Cross-Reference. So
begin by deleting this text, see "favorite
| | 01:15 | flavors" on page 4. Let me zoom in a
bit, so it's a little easier to see. You
| | 01:19 | want to delete everything starting from
the opening double quote until the page
| | 01:24 | number; you can leave the period there
and then press your Delete key. Let's
| | 01:28 | add a space because we don't want
to delete the space, we want the
| | 01:31 | Cross-Reference to be separated
by a space from the preceding word.
| | 01:35 | Before we actually choose Insert New
Cross-Reference, we need to find out what
| | 01:39 | Paragraph Style that text that we are
referencing in is formatted with and you
| | 01:44 | will see why in a second. But what we
are actually looking for, if you go to
| | 01:49 | page 5. I'm pressing Command+J or Ctrl+
J, hitting 5 and going there, is this
| | 01:55 | text right here, favorite flavors. So
we are seeing, say favorite flavors,
| | 01:59 | which happens to be on page 5 not
page 4 and to figure out what is the
| | 02:04 | Paragraph Style for this text open up
your Paragraphs Styles panel, if it's in
| | 02:09 | the dock on the right-hand side or
from the Window menu in Type & Tables
| | 02:12 | sub-menu and you will see the
Paragraphs Style is category. So just keep that
| | 02:16 | in mind, we are going to use
that in about five seconds.
| | 02:19 | Go back to page 2. So click an
insertion point by where we are going to insert
| | 02:26 | this Cross-Reference and I'm going to
move my window over, so you can get a
| | 02:30 | good preview of it as I create the
Cross-Reference. I'm just going to click
| | 02:34 | this button at the bottom of the
Cross-Reference panel, Create New
| | 02:37 | Cross-Reference and here is the dialog
box. Now as we actually make selections
| | 02:45 | in here, there is no preview check box
but you will see that it automatically
| | 02:49 | previews as we work. Your choices of
what to refer to are text inside any kind
| | 02:55 | of paragraph in this document or if
you have created text anchors, any of the
| | 03:00 | text anchors that you have already created.
| | 03:02 | Now we are going to create text anchors
a little later in this video. For now,
| | 03:07 | make sure that Paragraph is selected
under Link To and the document should be
| | 03:11 | the name of the current document Choco_
catalog_02. Now do you remember the name
| | 03:15 | of that Paragraph Style that we want
to reference? Its category, so what
| | 03:20 | happens here on the left is that
InDesign is listing all of the Paragraph
| | 03:24 | Styles inside the selected document.
| | 03:25 | So you can reference any text, anywhere
in the file. You just have to know what
| | 03:31 | is the Paragraph Style that it's linked
to, if you don't remember or maybe you
| | 03:35 | weren't very careful with your
paragraph formatting, you could say All
| | 03:40 | Paragraphs. If you select All
Paragraphs, then InDesign lists every single
| | 03:46 | paragraph in the entire document. Not
the entire paragraph, just snippet, so if
| | 03:50 | it's a very long paragraph you will see
it just puts in the first few words and
| | 03:53 | it has dot, dot, dot after it. But if
you hover over that, you will see the
| | 03:57 | text of the entire paragraph.
| | 03:59 | Let's go back and select category and
on the right InDesign lists snippets of
| | 04:05 | every paragraph in this document that
is formatted with the category Paragraph
| | 04:09 | Style and the one that we want is
favorite flavors. So when you find the
| | 04:13 | referenced paragraph that you want,
just select it and InDesign immediately
| | 04:17 | inserts the Cross-Reference using the
default formatting. So you can see it's
| | 04:21 | got this rectangle around it that we
don't like and that's because by default
| | 04:25 | it puts a Visible
Rectangle around Cross-References.
| | 04:29 | Now, that's more useful for a
Hyperlink. If we were going to export this to
| | 04:33 | PDF, this would be a clue to users in
the PDF that they could click on favorite
| | 04:37 | flavors here and it would jump them to
page 5. But there are better ways to do
| | 04:41 | that and besides we are not going to
be outputting this to PDF, so we really
| | 04:45 | don't care to signal the people that
this is an automatic Cross-Reference kind
| | 04:49 | of thing; so just choosing
Invisible Rectangle for that to go away.
| | 04:53 | It's also applying the default Cross-
Reference Format that happens to be the
| | 04:58 | Full Paragraph along with the Page
Number. So that's the full paragraph of text
| | 05:04 | followed by the page number. There
are a number of built-in Cross-Reference
| | 05:08 | formats you can choose from like, if
didn't want the page number, you could
| | 05:12 | just say Full Paragraph. There are
other variations that I will show you what
| | 05:16 | the difference is in a bit but then
there is also Text Anchor Name if you were
| | 05:20 | using a Text Anchor or you can
just say, just the Page Number.
| | 05:23 | So if you want to say, 'see our blurb
about favorite flavors which is on page'
| | 05:28 | and then you would insert the Cross-
Reference and you say, I just want the Page
| | 05:31 | Number. So you can do that as well, but
let's leave it at Full Paragraph & Page
| | 05:35 | Number for now and click OK and you
will see that the new Cross-Reference has
| | 05:40 | been added to the panel. Let's select
this and jump to the destination and test it out.
| | 05:46 | If we said favorite chocolate flavors,
you see that we get an immediate alert
| | 05:55 | that it needs to be updated. So I can
select it and update that Cross-Reference
| | 05:58 | by clicking the Update icon at
the bottom and then if we go to that
| | 06:02 | Cross-References source, you will see
that it updated there automatically as well.
| | 06:07 | Now, when you have inserted a Cross-
Reference, it's hard to tell in layout if
| | 06:13 | it's an actual Cross-Reference or if
it's something that you just typed in
| | 06:16 | manually. If you happen to have the
Hyperlinks and Cross-References panel open,
| | 06:21 | selecting text within the Cross-
Reference will select that Cross-Reference. You
| | 06:26 | see if I click elsewhere and start
clicking around and selecting things, there
| | 06:30 | is nothing highlighted here in Cross-
References. But if I click anywhere inside
| | 06:35 | the reference then it becomes
highlighted, so that's one way to tell if
| | 06:39 | something was manually entered or not.
| | 06:41 | I think an easier way to tell though
is to open up the frame in the Story
| | 06:44 | Editor. The Story Editor is under the
Edit menu, choose Edit in Story Editor or
| | 06:50 | press Command+Y or Ctrl+Y and you
will see that the Cross-References are
| | 06:55 | surrounded by these little tags and
this little guy stands for a Page Number.
| | 07:00 | If you are wondering which part of
this text is part of the automatic
| | 07:03 | Cross-Reference that InDesign inserted
on its own and what did I typed myself,
| | 07:08 | you can tell right away from here.
Everything in between these two little arrow
| | 07:11 | guys is automatically generated text
via the Cross-Reference, same thing for down here.
| | 07:16 | I'm going to close the Story Editor
and jump to favorite chocolate flavors
| | 07:22 | destination and let's take a look at
this little frame inside the Story Editor
| | 07:27 | as well. Go to Edit, Edit in Story
Editor and there is little icon here that
| | 07:33 | stands for a destination of a Cross-
Reference. If you accidentally delete that,
| | 07:39 | like if I just swipe right here over
favorite and press Delete or backspace, I
| | 07:45 | have accidentally deleted that little
icon for the Cross-Reference and so in my
| | 07:50 | Cross-Reference panel, going to get
this scary little red flag that says, The
| | 07:54 | referenced paragraph or text anchor is missing.
| | 07:57 | So the paragraph isn't actually
missing, it's just that the one that we
| | 08:00 | inserted when we created it is missing.
I'm going to Undo and yeah its back and
| | 08:06 | that's why I recommend and if
you are doing a lot of work with
| | 08:08 | Cross-Referencing then you be very
careful about editing your text and make
| | 08:13 | sure that you always have hidden
characters showing. So if I chose Hide Hidden
| | 08:17 | Characters, then you wouldn't even to
be able to tell that there was a little
| | 08:21 | hidden character marker here.
I'm going to turn it back on with
| | 08:24 | Command+Option+I or Ctrl+Alt+I in
Windows. So keep Hidden Characters turned on
| | 08:29 | and or work in the Story Editor. I
press Command+Y or Ctrl+Y; I don't want to
| | 08:35 | delete both of these. I will just
select the word favorite and change it to so-so.
| | 08:40 | So that way we didn't actually delete
the little marker, we just deleted the
| | 08:44 | text and we can update this as
necessary. So the general idea of working with
| | 08:49 | Cross-References is that you will
probably have in your documents specific
| | 08:53 | Paragraph Styles that you will be
referencing all the time. For example, if
| | 08:57 | these items had captions underneath
them with figure numbers, you would style
| | 09:02 | that figure number in a certain way,
that way when you go to insert a new
| | 09:05 | Cross-Reference. I'm just going to
click an insertion point and open this up;
| | 09:09 | then you would always be going to the
same Paragraph Style and choosing figure
| | 09:12 | one, figure two, figure three and so on.
| | 09:14 | So you don't always have to keep track
of every single Paragraph Style, usually
| | 09:18 | when you are creating a document that
is structured in such a way that it needs
| | 09:22 | Cross-References, you will have two
or three Paragraph Styles that are
| | 09:26 | dedicated to the paragraphs that will
often get referenced. Now I mentioned
| | 09:30 | earlier there is another way rather
than linking to a Paragraph Style, you
| | 09:33 | could link to a Text Anchor and
that's a nice quick and dirty way to create
| | 09:37 | something to which a Cross-Reference can point.
| | 09:40 | To create a Text Anchor you can just
click any insertion point or select some
| | 09:44 | text. I will just select Custom Candy
here and in the Hyperlinks panel you need
| | 09:49 | to choose, New Hyperlink Destination.
So because the Text Anchor is actually a
| | 09:55 | hyperlink and you will see there is
dropdown list, Page, Text Anchor, URL, what
| | 09:59 | kind of hyperlink we want to Text
Anchor. And it's automatically picking up
| | 10:03 | what I had selected but I could call
it anything I want it. So I could call
| | 10:06 | that Candy product or something like
that and then click OK. Now unfortunately,
| | 10:13 | it doesn't appear here, I really wish
we had a way to see a list of all the
| | 10:16 | existing text anchors but it
will appear in the dropdown menu.
| | 10:20 | Let's say, that back here on page 2, I
want to say let's add a sentence that
| | 10:25 | says, "We have a new product. Check
it out. Candy thing on page" and now we
| | 10:38 | want to insert the page number that
Cross-References what we just added.
| | 10:43 | Instead of going to Cross-References,
Create New Cross-Reference, I could do
| | 10:47 | that; I just want to show you an
alternate way. You can also do it right from
| | 10:51 | the Type menu. So even without the
panel open, you can insert and create
| | 10:56 | Cross-References. Go to the
Type menu, down to the Hyperlinks &
| | 10:59 | Cross-References and choose Insert
Cross-Reference. This time you want to
| | 11:04 | choose Text Anchor and now its nice and
simple to choose from and this is going
| | 11:09 | to list all of the text anchors that
you have available in your document.
| | 11:12 | So I chose Candy product and it
immediately inserted the Full Paragraph & Page
| | 11:19 | Number, down here on page 5. You see
how it says, "custom candy assortment" on
| | 11:23 | page five. Now maybe I don't want that
all I want is the page number, so I will
| | 11:28 | go the Cross-Reference Format and say I
just want the page number and the only
| | 11:31 | thing is I probably didn't need to add
the word, page, before this. So I could
| | 11:36 | delete that myself but its
automatically inserting page 5.
| | 11:39 | Notice, by the way, that I don't have
to change the rectangle to Invisible
| | 11:43 | Rectangle because this setting here is
sticky. So the first time you change the
| | 11:48 | appearance, that's going to be the new
appearance for all the others Hyperlinks
| | 11:52 | and Cross-References that you add to
the document, which makes life a little easier.
| | 11:55 | Now you see, I told you it was easy.
All you need to do is start with your text
| | 12:02 | cursor blinking some place and then
from there you just say Insert or Create
| | 12:06 | New Cross-Reference, whether they are
based on Paragraph Styles or specific
| | 12:11 | text anchors that you have created, its
pretty straight forward. And I love how
| | 12:15 | Adobe included all the different Cross-
Reference Formats in that dropdown menu
| | 12:19 | because it makes it easier for me to
insert exactly the type of Cross-Reference
| | 12:23 | that I need.
| | Collapse this transcript |
| Cross-referencing multiple documents| 00:00 | When you are using the new Cross-
References feature set in InDesign CS4, the
| | 00:05 | text that you are referencing to, it
doesn't have to be in the same document as
| | 00:09 | the one where you are inserting the
reference. It can be in any other InDesign
| | 00:13 | CS4 file that you can open.
| | 00:15 | To experiment with this on your own,
open up the Choco_catalog-03 layout file,
| | 00:21 | that's inside your exercise folder for
chapter07, in the 07_03 sub folder and
| | 00:27 | go to page 2. Let's say, that we want
to insert a cross-reference right here in
| | 00:32 | between these two paragraphs to
something that's in another document. The first
| | 00:37 | thing to do is to actually insert the
cross-reference and so you can do that
| | 00:42 | from the Cross-References panel or
from the Type menu. The Cross-References
| | 00:46 | panel is under the Window menu, Type &
Tables > Cross-References or we can go
| | 00:54 | directly to Type > Hyperlinks & Cross-
References > Insert Cross-References.
| | 00:58 | You can choose to Link To either Text
Anchor or Paragraph of any document that
| | 01:07 | you would like. If I chose Paragraph,
InDesign immediately lists all of the
| | 01:12 | Paragraph Styles in this current
document. But notice in the Document dropdown
| | 01:17 | menu, I can choose Browse. So choose
Browse, navigate to the chapter07 folder,
| | 01:23 | 07_03, Sell_Sheet_1.indd file and
click Open. Now InDesign lists all of the
| | 01:32 | Paragraph Styles in that document
and it also opens the document in the
| | 01:36 | background as you can see.
| | 01:39 | So I can select any of the Paragraphs
Styles that are in Sell_Sheet_1.indd, and
| | 01:45 | any text that's been formatted
with that style appears and it can be
| | 01:49 | automatically added to this document as
a cross-reference. But actually what I
| | 01:54 | want to Link To is a Text Anchor and
prior to this, I had already created a
| | 02:00 | couple of Text Anchors in Sell_Sheet_1.
indd. So I can just go ahead and choose
| | 02:05 | it. So Caramel Sticks is on page 2 and
the reason is its automatically being
| | 02:11 | inserted here in my document is
because the currently chosen format under
| | 02:15 | Cross-Reference Format is just simply
Page Number. I could choose Text Anchor
| | 02:20 | Name and the name of this Text Anchor,
the name that I gave it when I created
| | 02:24 | it was Caramel Sticks or I could choose
Paragraph Text, which is I guess lower
| | 02:30 | case Caramel Sticks. It's what the
text says actually in the document, in
| | 02:34 | Sell_Sheet_1 I supposed to the
name of the Text Anchor and so on.
| | 02:38 | We choose a different one, coming soon
page and I think that I'm just going to
| | 02:43 | say, Page Number and then I will click
OK. Now before this cross-reference, I'm
| | 02:49 | going to zoom in and I'm going to type
some text, "We have more products". I'm
| | 02:56 | going to close this to see it better. "
We have more products--just look at page
| | 03:09 | 2 in our Hot Chocolate brochure." Which
is the title of the Sell_Sheet document
| | 03:19 | and you can click on Sell_Sheet_1.indd
that's open in InDesign and you can see
| | 03:25 | that on page 2, it's talking about coming soon.
| | 03:29 | So that's what we linked to, is we
linked to page 2 in this document. Now let's
| | 03:34 | says, that in this document we add a
page before page 2. Let's go ahead and do
| | 03:39 | that, I just going to drag a page. So
now whatever is on page 2 becomes page 3
| | 03:44 | and close this document, saving the
changes. Notice how the Choco_catalog page
| | 03:52 | automatically updated to page 3. So
you can do these cross-references across
| | 03:57 | multiple documents.
| | 03:58 | Now it's probably not that often that
you are going to be referencing something
| | 04:01 | in a completely different document,
I just want to show you that it was
| | 04:05 | possible. Go ahead and close this file,
you don't have to save any changes and
| | 04:09 | now go and open up a book that I put
into the chapter07 folder because I think
| | 04:17 | this application, it would be much
more common for people who are using
| | 04:19 | cross-references across multiple
documents. Inside the Catalog-book folder,
| | 04:25 | which is inside your 07_03 exercise
folder, select the file called catalog.indb
| | 04:31 | and click Open.
| | 04:32 | Now this is an InDesign book file, what
you would create if you went to File >
| | 04:36 | New and chose Book. Now teaching you
how to create a book or what a book file
| | 04:41 | is all about is beyond the scope of
this video. But if you are interested, I
| | 04:46 | encourage you to watch some of the
video titles that David Blatner has done for
| | 04:50 | the Lynda.com, such as InDesign
Essential Training or InDesign Beyond the
| | 04:54 | Basics where he covers this in-depth.
But basically a book is like a collection
| | 04:59 | of documents, these are separate
documents that can be opened just by double
| | 05:03 | clicking on them and you see this
document is just one page long but because
| | 05:07 | it's in a book, it's automatically
being numbered as page 2 and so on.
| | 05:09 | So let's say, that you are working as a
team on a book and you want to insert a
| | 05:14 | cross-reference. Well, we would just go
to Intro and let's zoom out. We open up
| | 05:20 | the book from the Book panel, which is
what you always do when you are working
| | 05:23 | in a book. For more information and we
want people to go to the flavors because
| | 05:30 | we are talking about flavors here. So
we want to insert a cross-reference, I
| | 05:32 | will type a space and then I want to
insert a cross-reference. This time I will
| | 05:37 | insert a cross-reference just by going
directly to the Type menu, going down to
| | 05:41 | Hyperlinks & Cross-References and
choosing Insert Cross-Reference.
| | 05:46 | Now the document that I want to link to
is part of this book, its flavors, and
| | 05:55 | so just as I showed you with the Sell_
Sheet, with the Hot Chocolate brochure.
| | 05:59 | When you choose the document,
InDesign lists all of the Paragraph Styles in
| | 06:04 | that document and the one that has a
text that we want is category. So we will
| | 06:09 | say, favorite flavors, it says on page 4.
Let's say Invisible Rectangle so that
| | 06:17 | we don't get that ugly rectangle
around it and that's all that we need.
| | 06:21 | So you see it is automatically
inserting a cross-reference to the correct page
| | 06:25 | number even though this is not in the
current document. We just leave it like
| | 06:29 | that and say OK and then in this
current document if I add another page, I'm
| | 06:35 | just going to press Command+Shift+P
or Ctrl+Shift+P, which inserts another
| | 06:41 | page. I will add a few; I
will just keep pressing it.
| | 06:45 | You see how in the book file, InDesign
automatically updates the page numbers
| | 06:49 | of the rest of the document in the Book
and then I come back to page 2 here and
| | 06:55 | let's zoom in a bit. It automatically
updated it to page 7, which is the second
| | 07:03 | page of the flavors document; you
will find in Update All Cross-References
| | 07:08 | command in the Book panel menu.
| | 07:10 | So being able to insert and track cross-
references across multiple documents is
| | 07:15 | a huge feature. If you don't believe me,
ask anyone who is ever needed to do
| | 07:19 | that manually which is like every
InDesign user on the planet up until CS4 cannot.
| | Collapse this transcript |
| Customizing cross reference formats| 00:00 | The new Cross-Reference feature in
InDesign CS4 comes with a number of default
| | 00:05 | formats that you can choose from for
your Cross-References. But there are
| | 00:09 | variations on the same theme, I mean,
when it comes down to it, do you want the
| | 00:13 | referenced text and page number or
just the text or just the page number.
| | 00:18 | Luckily, Adobe included the ability
to modify any of these Cross-Reference
| | 00:22 | formats and create your own. So
let me show you how that's done.
| | 00:26 | Open up the Choco_catalog-04 InDesign
document that's inside your chapte07,
| | 00:31 | exercise folder, inside the 07-04 sub
folder and go to page 2. This is the
| | 00:37 | document we have been working on
throughout this chapter. Remember that these
| | 00:41 | bold lines here on page 2 are Cross-
References. The one down here is an actual
| | 00:47 | Cross-Reference. This one is a
manually created Cross-Reference. So to get a
| | 00:52 | preview of these Choco things, see "
cacao nibs" on page 4. Somebody just
| | 00:58 | actually typed this in by hand and what
they are referring to are these things
| | 01:03 | here, Cacao Nibs, they are cacao beans
that have been roasted and broken into
| | 01:06 | small bits and so on.
| | 01:08 | All right, so let's go back to page 2
and we will fix this by getting rid of
| | 01:17 | the manually entered text and
we will replace it with an actual
| | 01:20 | Cross-Reference. But this time we will
use a custom Cross-Reference format. So
| | 01:25 | select this text in the second
paragraph here, in the text frame and press the
| | 01:29 | Delete key or Backspace key, add a
space because we want our Cross-Reference to
| | 01:34 | come in after space and then insert a
new Cross-Reference. You can do that from
| | 01:38 | the Cross-References panel. Just by
clicking on Create New Cross-Reference
| | 01:43 | button at the bottom or you can go to
Type, Hyperlinks & Cross-References,
| | 01:48 | Insert Cross-Reference, either way works fine.
| | 01:50 | Once again we want to Link To >
Paragraph, which means some paragraph text
| | 01:55 | somewhere in this document and make
sure that the document is the current
| | 01:59 | document, not some other document if
you were working on it before. And then on
| | 02:02 | the left, let's select, a Paragraph
Style. So if we chose Accent Text then
| | 02:09 | InDesign shows us all of the text in
this document that has been formatted with
| | 02:13 | Accent Text; actually just the first
few words of every paragraph. If you
| | 02:19 | select a Paragraph Style where the
paragraphs are a bit longer than just a
| | 02:23 | couple of words, then you will see
that they end with a dot, dot, dot. But if
| | 02:27 | you hover over that paragraph
you will see the entire paragraph.
| | 02:31 | I want to choose a Subhead. So scroll
down to Subhead and here are the various
| | 02:38 | Subheads, so if I said, chocolate
perfection. If I select it, then you will see
| | 02:45 | that InDesign automatically puts it in
here and it's using the Cross-Reference
| | 02:50 | Format, Full Paragraph & Page Number.
If I choose Subhead numbered and said
| | 02:57 | cacao nibs, you see that it
puts in, 1.cacao nibs on page 4.
| | 03:02 | Now the question that a lot of users
have is, what is the difference between
| | 03:05 | Full Paragraph & Page Number and
Paragraph Text & Page Number. This Subhead
| | 03:11 | numbered style has automatic numbering
as part of its style definition. So when
| | 03:16 | you say Full Paragraph & Page Number,
you are telling InDesign if this style
| | 03:21 | includes automatic numbering I want you
to include the automatic number in the
| | 03:25 | Cross-Reference. If you don't want to
include the number, choose just Paragraph
| | 03:30 | Text & Page Number. So even though the
paragraph has automatic numbering, it
| | 03:35 | won't be included in the Paragraph
Style. The other built-in formats are just
| | 03:41 | the Text or just the Page Number and if
you working with Text Anchors then you
| | 03:47 | have these as well.
| | 03:48 | Now, let's say, that we want to apply
the Format, Paragraph Text & Page Number
| | 03:54 | to this, but we don't want the quote
marks around the paragraph text. All of
| | 03:58 | these formats include quote marks,
whenever you are quoting text and I really
| | 04:03 | don't like that. So how can you
change it? Well, you can edit the
| | 04:06 | Cross-Reference Format, that's what
this little pencil icon is over here,
| | 04:10 | Create or edit Cross-Reference formats.
Go ahead and click that and you will
| | 04:14 | get the Cross-Reference Formats
dialogue box; on the left is a list of all of
| | 04:19 | your current Cross-Reference Formats
and on the right is the currently selected
| | 04:24 | one along with its definition.
| | 04:26 | Now you can go ahead and edit any of
these default formats unlike a basic style
| | 04:31 | or like your default set of keyboard
shortcuts, all of these are editable. But
| | 04:35 | that always makes me nervous, if I'm
going to edit something I would rather do
| | 04:38 | it to something I create my own, so I
can always go back to this. So I would
| | 04:42 | always click the plus (+) icon down
here, which will duplicate the selected
| | 04:48 | Cross-Reference Format with the Number
(1) after it, the number two and then
| | 04:52 | I'm just going to rename this. I
will call it text and number no quotes.
| | 04:58 | So how do I get rid of quotes? Well,
you just edit it, right here; you can
| | 05:02 | click inside this field and change
anything that you would like. So these bits
| | 05:07 | of text in between the tags are
actually that, they are tags, they are like XML
| | 05:12 | tags. The stuff that's not enclosed
tags is just regular text string, so you
| | 05:18 | can change the text strings as much
as you would like. So I could say, the
| | 05:23 | world's best page, whatever. Notice
that when you are editing a Cross-Reference
| | 05:29 | Format, you can also automatically
apply a Character Style. So that when it
| | 05:34 | gets inserted into the text run, it
will be formatted with any kind of
| | 05:38 | character styles that you have
included in this document; I don't want to do
| | 05:41 | that for this one.
| | 05:42 | So I'm going to turn it off
because I kind of like the fact that the
| | 05:45 | Cross-Reference picks up the formatting
of the surrounding text. But there are,
| | 05:48 | I'm sure are many instances when you
would like your Cross-References to look
| | 05:52 | different than the rest of the text.
The thing that you need to remember to do
| | 05:55 | here is to choose Save. So save
your changes so far and then click OK.
| | 06:00 | Now because I just created that
and saved it, it is the selected
| | 06:03 | Cross-Reference Format and our Cross-
Reference has updated automatically. There
| | 06:08 | are no quote marks and it says it's on
the world's best page. I will get rid
| | 06:12 | of, the world's best page; that was a
joke. On page, all I want to do is to get
| | 06:18 | rid of the quotes. So that's pretty
cool that you can edit to what's happening
| | 06:22 | inside those Cross-Reference
Formats, but folks that's not all.
| | 06:26 | Let's do another one. Lets select a
subhead that includes a lot of text like,
| | 06:31 | let's say, description and here we have
the description of a lot of these items
| | 06:36 | and let's say that we want cacao nibs
to be included and we don't want the page
| | 06:42 | number, we want the actual full
paragraph plus the page number. I will say
| | 06:46 | Paragraph Text plus Page Number. Well,
now look, it doesn't puts in the entire
| | 06:50 | paragraph. Isn't there some way to say,
we only want the first word or couple
| | 06:54 | of words? Well, yes there is,
again click the Edit icon to edit this
| | 07:00 | Cross-Reference Format and I always
will add my own Cross-Reference and we will
| | 07:05 | call this text and number limited.
| | 07:10 | So what we are going to do is, I'm
going to keep the paragraph text in quotes
| | 07:14 | but I actually don't want the entire
paragraph text. So I'm going to select it,
| | 07:19 | the entire tag including the opening
and closing and press the Delete key on my
| | 07:23 | keyboard. Now my cursor is still
blinking in between those two tiny quote marks
| | 07:27 | and unfortunately there is no way to
make this type bigger. But what I'm going
| | 07:31 | to insert in its place is a partial
paragraph. You see that there is pop up
| | 07:37 | over here where you can insert
these automatically tagged placeholders.
| | 07:42 | So we have Partial Paragraph, we also
have Chapter Number, File Name which is
| | 07:46 | interesting or even Character Style.
You can say that, it's supposed to include
| | 07:51 | all the text that's formatted with a
certain Character Style. We have to know
| | 07:54 | the name of the Character Style before
we get here but what we want is Partial
| | 07:58 | Paragraph. The reason I want to show
you this one is because this is how you
| | 08:02 | can limit a Cross-Reference to a
certain number of characters or certain number
| | 08:05 | of words. It's not as simple as
creating End Nested Style but it's not that bad
| | 08:10 | either. Do you see this part where it
says full paragraph with a delimiter and
| | 08:15 | then it's in empty set of double quotes.
| | 08:17 | So its hard to see but I'm going to
just click there, then use my left arrow
| | 08:21 | cursor to get in there and I want to
know what is the delimiter, what is the
| | 08:24 | stop character. And the stop character,
I don't know if you can see it but do
| | 08:28 | you see I only prepared these
paragraphs by inserting an End Nested Style
| | 08:32 | character here after the first two or
three words that I want it included in
| | 08:36 | the Cross-Reference. I want you to
stop when it gets to an End Nested Style
| | 08:40 | character in this paragraph just
include those words that come before it. And
| | 08:45 | from this little pop up menu is where
you can choose your stop characters or
| | 08:49 | basically anything that you want to
include as part of the regular text string
| | 08:53 | inside a Cross-Reference.
| | 08:54 | Way down here at the bottom, we have
End Nested Style, which comes in a special
| | 08:59 | format. Now what is include delimiter
means? That means should it include that
| | 09:03 | delimiter inside the Cross-Reference
here. So I really don't want it included
| | 09:08 | so I will see false, I don't need an
End Nested Style hidden character here.
| | 09:12 | But it's more for things like when your
delimiter is a colon or a semicolon or
| | 09:16 | an Em Dash, do you want to include
the delimiter inside the Cross-Reference
| | 09:20 | text. Sometimes you do, sometimes you don't.
| | 09:23 | So that's what I'm going to do and
then I'm going to click Save and click Ok
| | 09:28 | and notice that now it just says cacao
nibs on page 4 because that's where my
| | 09:33 | End Nested Style character was and
it didn't include the End Nested Style
| | 09:37 | character here because I said include
delimiter false. We will see some of the
| | 09:40 | other ones, save time and money, even
though the paragraph goes on and on and
| | 09:44 | on. You can see the entire paragraph;
I had inserted an End Nested Style
| | 09:48 | character here.
| | 09:51 | So we are like into advanced Cross-
Reference editing but why not because it's
| | 09:57 | actually pretty simple to do and kind
of fun. If you want to share your custom
| | 10:01 | Cross-Reference formats or you need to
load somebody else's, here is what you
| | 10:05 | do. I'm going to click OK. You do it
from the panel, from Cross-References &
| | 10:11 | Hyperlinks panel and all you do is
you choose Load Cross-Reference Formats.
| | 10:16 | So it's just like moving Paragraphs
Styles or Characters Styles from one
| | 10:19 | document to the other. You can't really
export them but you can import them. So
| | 10:23 | you would say Load Cross-Reference
Formats and then you would point to some
| | 10:27 | other InDesign document that has those
custom Cross-Reference Formats inside it.
| | 10:32 | So that's it, I mean Adobe has done an
incredible job with this first release
| | 10:37 | of the Cross-References feature. In
other programs Cross-References are for
| | 10:41 | very advanced users and also they
have stringent requirements regarding the
| | 10:45 | structure of the document and how
Paragraph Styles are applied and so on. But
| | 10:49 | in InDesign CS4 not only are they easy
to insert and track but the incredible
| | 10:54 | power that advanced users have
in regards to the format of those
| | 10:58 | Cross-References make the feature
suitable for a wide variety of projects,
| | 11:02 | layouts and users. So there you have it.
| | 11:05 | Adobe, I think has done an
incredible job with this first release of the
| | 11:09 | Cross-References feature. I have seen
how it works in other programs and there
| | 11:13 | Cross-References are really for
advanced users and they often have stringent
| | 11:18 | requirements regarding how the document
is structured, how the Paragraph Styles
| | 11:22 | are applied, what can be the Cross-
Reference, what can't. But not so on
| | 11:26 | InDesign CS4, there are so easy to
insert and to track and also the incredible
| | 11:32 | power that you get in that editing Cross
-Reference Format dialogue box. I think
| | 11:37 | it makes the feature suitable for a
wide variety of user levels, layouts and projects.
| | Collapse this transcript |
|
|
8. Text Formatting HelpersCreating nested line styles| 00:00 | Nested styles are a favorite tool of
savvy InDesign users, but ever since they
| | 00:05 | were introduced many users have wondered,
why can't I specify the end of a line
| | 00:10 | as my stop character for this style?
| | 00:12 | Well, with InDesign CS4, the wondering
is over because you can now include a
| | 00:17 | Nested Character Style on a line by
line basis in addition to regular Nested
| | 00:21 | Character Styles. Let me
show you how this works.
| | 00:25 | Open up the Choco_cat_01 layout file
which is inside your Chapter 08 exercise
| | 00:31 | files in the 08-01 sub-folder and go
to page two and three. Check out these
| | 00:39 | descriptions here for these items. We
want to create a nested line style, so
| | 00:45 | just double click inside one of them
with your Selection tool to turn it into a
| | 00:49 | Type tool and open up the Paragraph
Styles panel over here in the dock at the
| | 00:53 | right or from your Window menu,
choose Type and Tables and choose Paragraph
| | 00:56 | Styles. The name of the style is
description. I'm going to move this over to
| | 01:01 | the right so we can see it a little
better, and double-click Description to
| | 01:05 | open up the Paragraph Style options
and down here go down to Drop Caps and
| | 01:10 | Nested Styles, and you will see that it
added another section for a Nested Line Style.
| | 01:15 | Now, if you are not familiar at all
with the nested styles, or you would like a
| | 01:18 | little refresher, let me show you
that really quickly. Under Nested Styles,
| | 01:22 | choose New Nested Style, all right and
let's click Preview, turn Preview and
| | 01:28 | under Nested Styles in that dropdown
menu on the far left, click it, and choose
| | 01:34 | one of these. These are the character
styles that are currently inside the document.
| | 01:39 | So let's choose Red Text as the
character style and we would like it apply to
| | 01:44 | the first two words. You will need to
click in as a blank area below it to see
| | 01:49 | a full preview and you will see the
first two words have been colored red for
| | 01:54 | all of those paragraphs that are
styled with the description paragraph style.
| | 01:59 | But notice that in the stop character
dropdown menu there is no lines. You can
| | 02:03 | say two sentences, two words, two
characters and so on and that's what they
| | 02:07 | have done down here under Nested Line Styles.
| | 02:10 | Now, they are not listed here as a line
because they are actually two separate
| | 02:14 | things. So you can have both nested
styles and nested line styles, and they
| | 02:19 | will combine. Let's say in addition to
the first two words being red, we want
| | 02:23 | to create a new line style, and the
Character Style is going to be small caps
| | 02:30 | for first line. So you see that we
still have with the first two words are red,
| | 02:36 | but the first line is in small caps,
click OK, and let's check this out.
| | 02:43 | Now of course you could have made the
first line small caps manually but the
| | 02:49 | problem is that every time you edit
the text, you would have to remove that
| | 02:53 | formatting from some words
and add it to additional words.
| | 02:56 | Here, you can see that as we edit the
text, in our office, I'm typing, that
| | 03:02 | automatically keeps up with that.
Let's delete the word Hand. So it does very
| | 03:07 | well keeping up with our changes. Now,
let's go back to the Paragraph Style
| | 03:13 | options for description back down to
Drop Caps and Nested Styles and let's play
| | 03:18 | with this little bit.
| | 03:19 | First I'm going to remove the regular
Nested Style that's making the first two
| | 03:24 | words red just by selecting it and
clicking Delete, and now down here, let's
| | 03:29 | make the first line red, and then we
will add another Nested Line Style that
| | 03:37 | applies none for one line and then we
will add another Nested Line Style that
| | 03:43 | repeats those first two commands. So
you have got a quick overview and say
| | 03:48 | repeat the last two lines, clicking
some blank area and now, every other line
| | 03:55 | gets your line style,
which I think is very cool.
| | 04:00 | You could do something patriotic with
the red and blue lines or just for fun,
| | 04:04 | instead of red text; let's change
the style to Blue Highlight which is
| | 04:10 | something that I've created earlier,
which puts a blue line behind the text. I
| | 04:16 | guess this would look better if the
text was justified. So I'm going to say,
| | 04:20 | Left Justify, click OK. And now, all of
our paragraphs have this repeating line
| | 04:30 | as though they were in the table. I
think it's a lot of fun to play with, but
| | 04:34 | more importantly, it makes
automatic formatting just that much easier.
| | Collapse this transcript |
| Dynamic GREP styles| 00:00 | If you have ever needed to nest the
Character Style inside a Paragraph Style in
| | 00:04 | InDesign but weren't able to because
you couldn't figure out a definable
| | 00:10 | pattern that you could tell InDesign,
all right after this bullet or after the
| | 00:14 | first sentence apply the Character
Style and instead wish that you could use
| | 00:18 | some GREP code to tell InDesign when to
do that. Well CS4 has you covered; this
| | 00:24 | new GREP Styles feature that you will
find in every Paragraph Style options
| | 00:28 | dialogue box lets you do just that.
| | 00:32 | Insert some GREP code that tells
InDesign when you encounter a match inside
| | 00:37 | this Paragraph Style, please apply this
Character Style. It's fantastic and if
| | 00:42 | you have never used GREP before, and
why haven't you?!, it's great. Keep
| | 00:46 | watching, because you will see how
easy it is to include in your Paragraph
| | 00:49 | Styles and how it can solve some of the
thorniest formatting problems known to mankind.
| | 00:55 | Open up the Choco_cat_02.indd file
which is inside your chapter08, exercise
| | 01:03 | files in the 08-02 sub folder and
let's say for example that you wanted to
| | 01:09 | apply a Character Style, say, the one
that just colors text red to all the
| | 01:15 | prices in this document. Now it would
be not a big deal for this Paragraph
| | 01:20 | Style. Let's open up our Paragraph
Styles; we could just edit the price
| | 01:23 | Paragraph Style. Well, yeah except for
down here when we actually don't want
| | 01:26 | the word, for, to be red. So then we
could go through and manually apply a
| | 01:32 | Character Style but that would be
difficult or we could include a Nested Style
| | 01:36 | but some of these prices that are
inside the description paragraph would be
| | 01:40 | difficult to setup with the Nested
Style because they don't know, will have
| | 01:44 | same stop character.
| | 01:45 | So that's when you would use just the
regular GREP, Find/Change. All right, so
| | 01:49 | let me just briefly show that to you,
if you go to Edit and choose Find/Change,
| | 01:55 | you could go to the GREP panel. Just
click GREP and what you want to find is
| | 02:00 | GREPs for the pattern. You don't need
to know GREP totally; you could just use
| | 02:05 | this fly out menu. For example, if we
know that we want to find a digit, we
| | 02:10 | could come here on to Wildcards and
say, Any Digit and actually we wanted
| | 02:15 | whether there is one digit or two digits.
So we come back here and say, Repeat,
| | 02:18 | One or More Times.
| | 02:22 | Now before it finds a digit, we want
it to find a dollar sign but I happen to
| | 02:29 | know that dollar signs are actually one
of the codes used in GREP. So I'm just
| | 02:33 | going to put a back slash there. So
it's going to find dollar sign, two digits
| | 02:39 | followed by a period. All right. Which
also needs to be backslashed out because
| | 02:44 | it means something in GREPs and then
we will do the same. We need any digit
| | 02:49 | repeated one or more times. So
I'm just copying and pasting.
| | 02:52 | So let's see if that works, I'm
going to click right here and say in this
| | 02:56 | Story, find and it found that instance,
Find next, found that instance and so
| | 03:04 | on and so on. You see how it finds
it but doesn't get the parenthesis. So
| | 03:08 | that's how you do a Find/Change. So
you could say find this and apply the
| | 03:14 | Character Style, red text and you
could go though the entire document and
| | 03:19 | change all the prices to red. But
what happens if you add a price later on,
| | 03:24 | then you have to remember
to run the Find/Change again.
| | 03:27 | So the whole point of a GREP Style
is to include this little guy inside a
| | 03:33 | Paragraph Style. So I'm going to
select this and choose Copy and actually I'm
| | 03:38 | also going to save, in case I ever want
to use it again. If you just click the
| | 03:41 | little disk icon at the top, you can
save your GREP query. So I'm going to call
| | 03:46 | this, US Prices and then I will
click Done, I don't really want to do any
| | 03:52 | Find/Change. So let's include that
GREP Style inside the Paragraph Style for
| | 03:58 | description, which is what all these
paragraphs are formatted with. So just
| | 04:03 | double click description to open up
the Paragraph Style Options and you will
| | 04:07 | see an entry here for GREP Style, right
below Drop Caps and Nested Styles. Read
| | 04:14 | the instructions, Click New GREP
Style button to create a GREP style.
| | 04:17 | There it is, New GREP Style, and it
looks a little different than the Nested
| | 04:22 | Style. It's kind of strange, Apply
Style, okay here is the familiar dropdown
| | 04:27 | menu of Character Styles. So we want
red text, To Text, and it already has some
| | 04:34 | built-in GREPs. This GREP means any
digit that's repeated one of more times, as
| | 04:39 | you already know, since I just showed
you. You do have the fly out menu here
| | 04:43 | and just as we were using in Find/
Change, so you could build that yourself.
| | 04:46 | Unfortunately, there is no access to
any saved GREP queries. So that's the
| | 04:51 | feature request already for CS5, but I
did have the foresight to copy what I
| | 04:57 | had entered before. So I will just
paste it here and we have our Preview turned
| | 05:02 | on. So let's see, if it's
working and there it is.
| | 05:05 | So it is applying it to all the prices
within the description style but not to
| | 05:11 | the prices in the price style because
we didn't include that GREP Style in the
| | 05:14 | price Paragraph Style and I will click
OK. Now here is another place where GREP
| | 05:20 | Styles might come in handy, go to
page 2 in this document and look at this
| | 05:29 | quoted passage of text, Our customer
service manager told us, "Even my husband
| | 05:35 | said, "'These flavors are amazing."'
Now the issue here -- and this is brought
| | 05:40 | up in some of the InDesign forums
recently is that, depending on the typeface
| | 05:46 | when you have a double quote enclosing
a single quote, its really hard to tell
| | 05:50 | what's happening.
| | 05:51 | There is hardly any kerning in
between these two and so users come up with
| | 05:55 | various solutions. But a friend of mine
named Dave Saunders came up with a way
| | 06:00 | to use GREP Styles to solve this.
What you do is you create a style called
| | 06:04 | track out that all it does is apply the
positive tracking amount to a character
| | 06:09 | that you select and then
you use that in a GREP Style.
| | 06:11 | Let me show you how that would work.
So GREP Styles are included in the
| | 06:15 | Paragraph Styles. So first we want to
know what is the Paragraph Style and that
| | 06:20 | is Body. So I double click Body, go
down to GREP Style, add a New GREP Style,
| | 06:26 | we want to apply the style called
track out which I have already included in
| | 06:30 | your example file to what -- now
actually getting double quotes and single
| | 06:35 | quotes is really easy to search
for in GREP, you just type them in.
| | 06:38 | So whenever there is a double quote
followed by a single quote -- and I'm just
| | 06:42 | typing it in directly from the
keyboard and I click down here and can you see
| | 06:47 | that it immediately track these guys out.
It did not track out the closing one,
| | 06:52 | so I'm just going to add another one.
So apply track out as well to the other
| | 06:58 | way, a single quote followed by a
double quote. Now there might be some
| | 07:02 | fancy-schmancy way to do this in one
GREP command. But the point is that you
| | 07:06 | can apply multiple GREP Styles within
the same Paragraph Style and I will say,
| | 07:11 | OK.
| | 07:12 | Let's check it out, see there we have
much more space. It applies it on the fly
| | 07:16 | as you are typing or as you paste text
in. So if I type a double quote and then
| | 07:20 | a single quote, the GREP Style
automatically took care of that. How abut down
| | 07:24 | here, when you have Em Dashes and they
come a little too close to text, some
| | 07:29 | people will go through and insert a
thin space on either side. But we can do
| | 07:33 | the same thing with the GREP Style.
| | 07:36 | Let's open up Body and we will add
another GREP Style and this time we still
| | 07:43 | want to do track out for this one, they
don't have all to be the same style of
| | 07:46 | course and we want to apply it to
Any Character. So go to Wildcards, Any
| | 07:53 | Character because what if a six or
seven comes before an Em Dash. Any Character
| | 07:58 | followed by an Em Dash, say OK and we
got a little bit of breathing room here,
| | 08:07 | pretty neat. So thank you Dave Saunders.
She is the one who came up with using
| | 08:11 | GREP Styles as the way to do kerning
tables inside InDesign CS4 or of course
| | 08:16 | you can use it just to apply
Character Styles based on patterns like how I
| | 08:20 | showed you with prices.
| | 08:21 | One last thing is when I started
learning about GREP Styles and Nested Line
| | 08:26 | Styles and so on, I wondered well, who
wins? I mean like what happens if you
| | 08:31 | apply a GREP Style to something that
already has a Character Style or that has
| | 08:36 | already a Character Style because of a
Nested Line Style. Well, the good news
| | 08:40 | is they all add up, they
don't cancel each other out.
| | 08:43 | Normally you cannot apply more than one
Character Style to an instance of text.
| | 08:48 | So we have -- this could either be
blue or it could be red; but it can't be
| | 08:55 | both. But if the text has a Character
Style applied because of a Nested Style
| | 09:01 | and then another one because of a Line
Style and then another one because of a
| | 09:05 | GREP Style; they all add up.
They don't cancel each other out.
| | 09:09 | Now what happens if they do have
conflicting information? Now what happens if
| | 09:12 | one style calls for red, the other one
calls for blue and other one calls for
| | 09:16 | green, who wins? Well, I did a little
testing and if you open up your Layers
| | 09:21 | panel, I have a little hidden layer
called trumping, what trumps what? So
| | 09:26 | little chichi here for you; in the
Pasteboard let me zoom in a bit, when
| | 09:32 | multiple characters styles and manual
formatting have been applied to the same
| | 09:36 | run of text, and they have
conflicting setting like different colors or
| | 09:40 | different cases which
technique, which method wins?
| | 09:44 | Well, the answer is anything that you
manually apply and locally format wins.
| | 09:49 | That will always take precedence no
matter what Character Styles have been
| | 09:53 | applied automatically to text. If you
select it, go to the Character panel and
| | 09:57 | change the Type Size for example
that's going to be the size. So that trumps
| | 10:01 | all else including a manually applied
Character Style but if something is being
| | 10:06 | formatted automatically with the
Character Style because of the GREP Style, you
| | 10:10 | can overwrite that with another
Character Style or manual formatting. And then
| | 10:16 | GREP Styles, they will be Nested Styles.
| | 10:18 | So if some phrase inside a paragraph
is automatically formatted with a Nested
| | 10:23 | Style but then in that same Paragraph
Style you call for a GREP Style, that
| | 10:26 | says, in case you find something in
parenthesis, make it italic. Then it's
| | 10:30 | going to be italic even though that
Nested Style might have said roman.
| | 10:34 | Both of those beat a Nested Line Style.
So the Nested Line Style is like our
| | 10:38 | low man on the totem pole. But not the
lowest man on the totem pole, which is
| | 10:42 | just the basic text formatting that
comes in because of the Paragraph Style
| | 10:46 | itself. So there is Anne-Marie's
hierarchy of formatting in InDesign CS4 and I
| | 10:52 | think no matter what kind of automatic
Character Style formatting you need to
| | 10:55 | apply to your documents. InDesign
CS4 is going to have you covered.
| | Collapse this transcript |
| Editing tables in the Story Editor| 00:00 | Tables in InDesign have always been
great to work with, a very robust feature.
| | 00:05 | But one downside was that you can only
edit them in the Layout view, not the
| | 00:08 | Story Editor. Well, if you haven't
guessed from the title of this video that is
| | 00:13 | fixed in InDesign CS4. Text and tables
is fully editable in the Story Editor
| | 00:18 | including-- and this is my favorite
part of all-- including overset text.
| | 00:23 | So open up the Choco_cat_03.indd file
in your Chapter 8, exercise folder in the
| | 00:30 | 08_03 sub folder, and go to pages 2
and 3, which is a slightly redesigned
| | 00:35 | version of the Bliss Company chocolates,
catalog that we have been working with
| | 00:39 | so far. Now let's just talk about
overset text and the Story Editor in general.
| | 00:43 | So you see here on page 2, we have an
oversets of this text frame. And if we go
| | 00:49 | to Edit > Edit in Story Editor, you can
see that the overset text is demarcated
| | 00:55 | by this red line, and
there is an overset brake mark.
| | 00:58 | So instead of actually having to
resize that frame, which might be perfectly
| | 01:02 | sized, or continue it into another
threaded frame to see the overset text. We
| | 01:08 | can edit the overset text right here
without touching the layout at all. So for
| | 01:12 | example, if I just got rid of the word,
include and got rid of this carriage
| | 01:18 | return and made a space. Then you can
see that it immediately fits, not only
| | 01:23 | does the oversets brake line disappear
from the Story Editor. But in the Layout
| | 01:27 | view, you can see that it now
perfectly fits and the overset mark is gone.
| | 01:31 | So until CS4, that kind of editing work
in the Story Editor was impossible with
| | 01:38 | tables. So here we have a table that
has two cells, with overset text. Let me
| | 01:43 | zoom in and in the table cell, overset
is indicated by this red circle thing.
| | 01:48 | How can a table cell be overset? You
might be thinking, aren't table supposed
| | 01:53 | to grow and shrink dynamically as you
add and remove text? Yes, of course. So
| | 01:58 | the designer gets their hands on it and
a designer says, "Hey, I think the rows
| | 02:02 | should be exactly the same height."
| | 02:05 | And the row height that I have decided
on was, let me open up the Table panel
| | 02:09 | from the Window menu, exactly 6 picas.
So if the hapless writer happens to
| | 02:18 | write a few more word that won't fit
in the 6-pica line height, you are going
| | 02:22 | to get an overset text. Normally, the
way to fix this, since you couldn't open
| | 02:26 | it in the Story Editor, would be to
change the row height to an at least
| | 02:31 | measure. So that, it shrinks and
expands as necessary, but then see that ruins
| | 02:36 | the table geometry. And I remember
editing stories in tables like this very
| | 02:41 | often, where I have to remember to
drag down a ruler guide at the original
| | 02:45 | overset location. So I could remember
how much I have to edit in order to get
| | 02:49 | it back to fit, it's a big nightmare.
| | 02:51 | So let's undo that with Command+Z or
Ctrl+Z, close the Table panel and instead
| | 02:56 | we are going to open this, in the
Story Editor. Go to the Edit menu, choose
| | 03:00 | Edit in Story Editor or press Command+Y
or Ctrl+Y. And now the entire contents
| | 03:06 | of the text frame containing the table,
including the text contents of the
| | 03:10 | table appears in the Story Editor. Now
in Macintosh, it opens up as we floating
| | 03:15 | window sort of obscuring just a lit
bit of the layout. I know on Windows it
| | 03:20 | opens as a floating window
obscuring the whole layout.
| | 03:23 | One thing you can do in CS4 is to dock
the Story Editor window to the little
| | 03:29 | window docking area, underneath the
Control Panel. And now you can flip back
| | 03:34 | and forth between the Layout view and
the Story Editor view, or you can also go
| | 03:39 | up here to the Application Bar widget
called Arrange Documents and view them
| | 03:43 | side by side. So that as you are
editing the Story Editor, you can see it,
| | 03:49 | immediately take affects
over here in the Layout view.
| | 03:52 | But I'm going to go back up here, and
choose Consolidate All to make them just
| | 03:56 | regular tabbed windows because I want
to concentrate for a minute on this cool
| | 04:00 | way to work with tables in the Story
Editor itself. So at the very top of the
| | 04:04 | window, we have a little icon that
stands for, there is a table here, and it
| | 04:10 | has a show/hide triangle. So you could
click on it to hide the contents of the
| | 04:14 | table, and this is what we would only
see in CS3. But it appears expanded by
| | 04:19 | default and here is how it works. First
of all, every row is noted by this blue
| | 04:26 | label, okay. So we know that there is
header row, and then 1, 2, 3 rows in the
| | 04:32 | table, and you see that, this is a
header row, 1, 2, 3 rows in the table.
| | 04:39 | Each column is marked off by this
dashed line. So in the first header row,
| | 04:45 | there are only two columns. How can
that be? Well, that's because the designer
| | 04:49 | must have merged to these columns but
in every other row there are 1, 2, 3
| | 04:57 | columns. They are also demarcated on
the left with that same dashed line. When
| | 05:04 | you see overset text, it's pretty
obvious if the text that is outside of this
| | 05:09 | overset brake marks. So I'm just going
to go ahead and get rid of a whole bunch
| | 05:13 | of text to make everything fit, say
make that a capital M and we will do this.
| | 05:21 | We will just keep it as, using only
Dutch chocolate that should make it fit.
| | 05:27 | And go back here, not quite, we still
have one more word left over. So let's
| | 05:34 | say between that fits, between your
tongue and the roof of your mouth. Give it
| | 05:39 | a second, does it fit? Looks
like it, and it perfectly fits.
| | 05:44 | All right, so one last bonus tip that I
want to tell you about, in addition to
| | 05:48 | being able to edit tables in the Story
Editor, is that you can now also insert
| | 05:52 | notes in the story and notes are
available from the Type menu now. In CS3 they
| | 05:59 | used to have their menu. Now they are
down here in Type > Notes and you can see,
| | 06:04 | New Notes and add a note for yourself,
Hey Joe, do you think this sounds good?
| | 06:15 | Notes are ways for designers to
communicate with the other designers who might
| | 06:19 | be working on the same document or in
an InDesign and InCopy workflow, its
| | 06:23 | waste for designers and editors to talk
back and forth because the same note is
| | 06:27 | embedded in the story that's shared.
And notes can be viewed in the Layout view
| | 06:32 | by this little icon and just covering
over the top, after note icon, opens up
| | 06:37 | the Notes panel to see the contents of
the note and you can navigate notes, in
| | 06:41 | that really notes tutorial.
| | 06:42 | But I want to show you that before you
could not insert a note in a table and
| | 06:46 | companies that relied on notes a lot
were very frustrated that except for, you
| | 06:50 | could do it before any bit of text
except for stuff in the table. So they have
| | 06:54 | to like, put a little fake text frames
next to it to insert their notes. If you
| | 06:58 | open this up in the Story Editor, you
see that notes appear in a much easier
| | 07:02 | way to read, they appear in-line,
inside a lone note frame that can be
| | 07:06 | collapsed and expanded.
| | 07:08 | I just wanted to throw that little
bonus tip out at you that's also new in CS4.
| | 07:13 | And being able to edit a table text
right in the Story Editor makes it much
| | 07:17 | easier to work with densely formatted
tables, I think. And of course to deal
| | 07:21 | with those pesky overset text
situations. So I say, thank you, Adobe.
| | Collapse this transcript |
| Working with rotated spreads| 00:00 | When you are working with rotated text,
it's hard to keep control of things, I
| | 00:05 | mean, have you ever tried to do fine
topography, like here, when your cursor is
| | 00:10 | sideways. A neat new feature in CS4 is
the ability to rotate an entire spread,
| | 00:16 | so that the rotated text appears in a
normal orientation. Now, it's just a
| | 00:21 | visual effect, InDesign doesn't print
rotated spreads or export them to PDF.
| | 00:26 | You would still need to get a
plug-in or something for that.
| | 00:28 | But even so, it's quite handy to be
able to format rotated text, without having
| | 00:33 | to turn your monitor sideways. So open
up, Choco_cat_04.indd which is inside
| | 00:39 | your Chapter 8, exercise files, in the
08_04 sub folder, and go to page 3 where
| | 00:45 | you can see this rotated text frame.
And if you turn your head sideways, you
| | 00:49 | can see the problem is that the text
is running into each other and you will
| | 00:53 | like to format it.
| | 00:54 | Now what you could do would be to go
to our friend, Story Editor, love that
| | 00:59 | Story Editor and you could apply
formatting here and get an immediate visual,
| | 01:05 | feedback if the formatting is working.
But now you don't have to bother with
| | 01:09 | that instead, just go to the Pages panel,
from your panel dock and you see that
| | 01:15 | I'm on pages 2 and 3, and just right
click, and choose Rotate Spread View. So
| | 01:22 | you can rotate the entire spread in 90
degree increments, so to the right, to
| | 01:28 | the left, or completely upside down.
| | 01:30 | You can also go to the View menu and
choose Rotate Spread, and the same degree.
| | 01:37 | So I will just do it, from right
clicking because I'm big fan of right
| | 01:39 | clicking, Rotate Spread, 90 degrees
clockwise. There we go, and now I can say
| | 01:46 | okay. So I'm going to probably reduce
the size of my type and then I will just
| | 01:54 | put some returns and I forgot to do
that guy. So let's say, there we go. For
| | 02:00 | that special someone, that's close
enough, I think you get the idea.
| | 02:05 | So let me just zoom out here, so you
can see what's happening. So even the
| | 02:10 | Pasteboard is rotated and all the other
spreads are in normal orientation. Now
| | 02:18 | again, this will not print out rotated.
This will print out normally, and a
| | 02:22 | clue is that, look in the Pages panel.
It's still in the normal orientation.
| | 02:27 | However, because this spread is rotated,
you get a little icon here. These two
| | 02:33 | little arrows and it tells you the View
is rotated -90 degrees. Now if you want
| | 02:37 | to get rid of the rotation, you are
done working on that text frame, just right
| | 02:41 | click on here again, go to Rotate
Spread View and choose Clear Rotation from
| | 02:45 | here or from the View menu and that's it.
| | 02:49 | With the new spread rotation feature in
InDesign CS4, you will never again have
| | 02:54 | to stand on your head to properly
format text that's been rotated a 180
| | 02:58 | degrees. Okay, well maybe you are into
that and you want to, but you don't have to.
| | 03:02 | However, I fully support you, if you do.
| | Collapse this transcript |
| Creating styles on the fly| 00:00 | Here is a neat new feature, more like
an improved feature, that I think is
| | 00:04 | pretty subtle, that you might not read
about but I found and I rely on it all
| | 00:09 | the time. Open up Choco_cat_05.indd,
in your Chapter 5, exercise files, and
| | 00:16 | follow along. Here is the
situation, let me set this out for you.
| | 00:19 | Let's say that you want to edit
the Paragraph Style, for one of these
| | 00:23 | paragraphs. So I want to edit
description, so I'm going to right click and
| | 00:26 | choose Edit Description. And say that
I want to add a nested style because I
| | 00:30 | want the first two words to be purple
and bold. So I go to Drop Caps and Nested
| | 00:35 | Styles, and I say New Nested Style. And
then I remember, oh I forgot to create
| | 00:41 | the Character Style. So in CS3, we had
to cancel out of here, open up Character
| | 00:45 | Styles, create the Character Styles, go
back to Paragraph Style, edit the style
| | 00:48 | and then it would be available to me.
You don't have to do that anymore in CS4.
| | 00:53 | When you click New Nested Style- and
you have forgotten to create the Character
| | 00:58 | Styles, look just about anywhere in CS4
where you can choose a Character Style
| | 01:03 | or a Paragraph Style, you will also see
at the bottom the opportunity to create
| | 01:07 | a new one. Not only that, but it opens
up on top of this dialog box, so I could
| | 01:12 | quickly create purple and bold and I
won't bother actually creating it and then
| | 01:18 | there it is available to me. So you
don't even have to cancel out of any dialog
| | 01:21 | box. You will find this feature in
various other places, one that I found it
| | 01:26 | very useful are like in Find/Change.
| | 01:29 | Say that, I want to find, there is
sales person named Kirk, and every time that
| | 01:33 | he is mentioned I want to make sure
that his name appears purple and bold or in
| | 01:38 | a gold color, with a drop shadow or
something like that. I can say Change
| | 01:42 | Format > Character Style > New
Character Style. I want to do a fine change and
| | 01:47 | apply a Paragraph Style on
the fly, New Paragraph Style.
| | 01:52 | One more that I just want to acquire
your attention to, lets say, that I'm
| | 01:56 | bringing in -- and I will just do it
out here on the Pasteboard, I'm going to
| | 02:00 | bring in an Excel file to turn into a
table. So I go to File, Place, navigate
| | 02:07 | to the 08_05 sub folder, there is my
big monstrous spreadsheet, turn on Show
| | 02:12 | Import Options and you may remember
that you can apply a Table Style on the fly
| | 02:18 | as you are bringing this in.
| | 02:19 | But did you forget to create a Table
Style? No problemo. Just choose New Table
| | 02:24 | Style and it comes up to the front.
Did you forget to create a Cell Style for
| | 02:28 | your Table Style? There it is, New
Cell Style. Did you forget to create a
| | 02:34 | Paragraph Style for your Cell Style?
Look at that. That's just one of my
| | 02:40 | favorite features in the CS4. It's
subtle, but so handy because, how often have
| | 02:45 | I forgotten to have prepared my styles before
I needed them? So great to have them right there.
| | Collapse this transcript |
|
|
9. Creating Rich, Interactive DocumentsCreating hyperlinks with the streamlined Hyperlinks panel| 00:00 |
With InDesign CS4, Adobe is really
getting behind the concept of using InDesign
| | 00:06 |
as an authoring tool for interactive
documents. They have added a bunch of very
| | 00:11 |
powerful new features to CS4 and they
have also streamlined some existing ones,
| | 00:16 |
such as creating hyperlinks, which we
have been able to do in InDesign for a
| | 00:20 |
while now. In fact, creating
hyperlinks in InDesign layout is so streamlined
| | 00:25 |
that you don't even have to use a
dialog box, if you need to create a URL
| | 00:29 |
hyperlink. So let's play with this for a bit.
| | 00:32 |
Open up Choco_cat_01. It's the
chocolate catalog 01, in your chapter09,
| | 00:38 |
exercise folder in the 09_01 sub folder,
and this is a variation of a catalog I
| | 00:45 |
have been using for other videos,
right now. Though it's not in spread, it's
| | 00:48 |
not facing pages. The idea is that we
are going to be doing a version of this
| | 00:53 |
catalog as a PDF. And we would like
people who are looking at this PDF in
| | 00:59 |
Acrobat or Reader or in their web
browser to be able to click things and go
| | 01:04 |
places, like to be able to click the
web site URL of the company Bliss No.5 and
| | 01:09 |
go to Bliss No.5's web site or to
click an e-mail link or other links within
| | 01:15 |
here. So we can create the hyperlinks
in InDesign and then as long as we turn
| | 01:20 |
on Include Hyperlinks, when we export
to PDF, then those links will be alive in
| | 01:25 |
the PDF file.
| | 01:26 |
Both, the URL for the company's web
site and the e-mail address here, are
| | 01:32 |
coming from the master page. So we
will just create a hyperlink on the master
| | 01:35 |
page and that way when it's exported
to PDF, all the document pages will be
| | 01:39 |
linked as well.
| | 01:40 |
Now if you are going to be working a
lot with interactive features in InDesign,
| | 01:45 |
you might as well choose the new
Interactivity Workspace that comes with
| | 01:50 |
InDesign CS4. Just go to the
Workspace switcher in your Application Bar and
| | 01:55 |
choose Interactivity or you can go
to the Window menu and go down to
| | 02:00 |
Interactive where all of the panels
that have to do with Interactivity are
| | 02:03 |
located and choose Hyperlinks from
there. If you watched my Cross-References
| | 02:08 |
video, you may remember that I said
cross-references and hyperlinks are closely
| | 02:12 |
related. So they are ganged up
together in the same panel, but hyperlinks has
| | 02:17 |
precedence and it is the name of the panel.
| | 02:20 |
This is new in the Hyperlinks panel,
the URL field, and here's how it works.
| | 02:24 |
All you need to do is select some text
that you want to make a hyperlink. I'm
| | 02:28 |
going to select Blissno5.com and I
will copy it to the clipboard. As soon as
| | 02:34 |
you make a text selection, the
Hyperlinks URL panel wakes up, inviting you to
| | 02:39 |
make a URL hyperlink. I'm just going to
click right after the http:// and then
| | 02:46 |
Paste and then hit Enter or Return or
Tab and that link is already hyperlinked.
| | 02:54 |
That was very easy, wasn't it?
| | 02:56 |
And if you hover over the name of the
hyperlink in the Hyperlink panel, it will
| | 03:00 |
tell you what it's linking to. And
one thing is that it's using the default
| | 03:04 |
appearance of that horrible gray
rectangle, but that's easily fixed. Just
| | 03:10 |
double click on the hyperlink in the
Hyperlink panel and you get to the Edit
| | 03:13 |
Hyperlink dialog box.
| | 03:16 |
Down here in Appearance, we are
going to change the type from Visible to
| | 03:19 |
Invisible Rectangle, and if you look in
the document, it's immediately updated.
| | 03:24 |
I think it's interesting that the
Edit Hyperlink dialog box, like the Edit
| | 03:28 |
Cross-Reference dialog box doesn't
have a Preview check box. Any change that
| | 03:33 |
you make is immediately put into
effect in the layout. You can also apply
| | 03:37 |
Character Style while you are in here,
which is very convenient. And this file
| | 03:42 |
has a Character Style that I have
already created for hyperlinks. So I'm going
| | 03:45 |
to choose it right there. It just
gives it a little slightly different color
| | 03:50 |
than the rest of the text. Click OK
and now let's make one for the e-mail address.
| | 03:58 |
I'm going to zoom out to fit in window,
click over here, zoom in to make that
| | 04:04 |
larger. Let's move it over a bit. Now
this is not a URL, so we can't use our
| | 04:10 |
4:11 trick of just creating a URL
hyperlink from here. Instead we need to
| | 04:14 |
actually create a new hyperlink and you
can do that by clicking on the football
| | 04:18 |
icon down here, which is not actually
football, it's a chain. Though I was
| | 04:22 |
thinking it was a football for the
first 20 years that I was looking at it. Or
| | 04:26 |
you can go to the Type menu, down to
Hyperlinks & Cross-References and choose
| | 04:31 |
New Hyperlink. So either way
you can create a new hyperlink.
| | 04:35 |
And now you get to choose what kind of
hyperlink you want to create. I'm going
| | 04:38 |
to create one to an e-mail address. So
you can create one to a URL from scratch
| | 04:44 |
from here, to another File, to an
Email address, to a certain Page in this
| | 04:49 |
document or a different document. To
a Text Anchor, if you created a Text
| | 04:53 |
Anchor which I showed how to do in my
creating Cross-References video or to a
| | 04:58 |
Shared Destination which I will be
talking about in a little bit. We want to
| | 05:02 |
choose Email. What I want to show you
here is that -- check this out, you can
| | 05:05 |
even include the Subject Line.
| | 05:07 |
So the address here is bliss@blissno5.
com and in the Subject Line, I think a
| | 05:16 |
good one would be Catalog Inquiry.
What this will do is turn this into a
| | 05:21 |
hyperlink and then when somebody is
looking at it in the PDF or a SWF file and
| | 05:25 |
they click it, it's going to open up
their default e-mail program and create a
| | 05:30 |
new outgoing e-mail, fill in the
Address with this line, fill in the Subject
| | 05:36 |
Line with this line and put the
user's cursor in the empty body area of the
| | 05:40 |
e-mail which I think is pretty cool.
| | 05:42 |
I want you to also notice that, the
settings that you make here for the
| | 05:45 |
appearance of the hyperlinks are no
sticky, meaning that the first time that
| | 05:49 |
you change and then stay that way. So
you can just customize the very first
| | 05:53 |
hyperlink you make and then from then on,
you can rely on InDesign remembering
| | 05:57 |
that you like Invisible Rectangles and
you like this Character Style. They are
| | 06:01 |
sticky with this document, not with
very document that you create. By default
| | 06:05 |
almost every new hyperlink that you
create, you will notice that it has Shared
| | 06:09 |
Hyperlink Destination turned on by
default, and that's to allow you to share
| | 06:13 |
this hyperlink with other InDesign
documents which I will show you in a little
| | 06:16 |
bit, but for now, just click OK.
| | 06:22 |
And now we have our e-mail address
linked. So what I like here is that when you
| | 06:27 |
create a hyperlink from within the
Edit Hyperlink dialog box, you get a name.
| | 06:31 |
You don't get a name for the URL
ones that you create with this little
| | 06:35 |
shortcut. But I can show you a
different way to make a URL hyperlink. Let's fit
| | 06:41 |
in window and go back to Page 1. And
let's say, for example, that we had a URL
| | 06:50 |
here, on Page 1 that led to lynda.
com. I'm going to type in lynda.com's
| | 07:00 |
address. Now it's not really required
to make these into hyperlinks unless you
| | 07:08 |
go into SWF file.
| | 07:09 |
But if you go into a PDF, normally
Reader and Acrobat will automatically
| | 07:13 |
recognize these as links. But if you
wanted to make your own link, what you
| | 07:17 |
could do would be to select the entire
address and then go to the Type menu, go
| | 07:22 |
to Hyperlinks & Cross-References and
choose this guy, New Hyperlink from URL.
| | 07:27 |
And it automatically makes it into
hyperlink and adds it to the Hyperlinks
| | 07:32 |
panel with the actual address.
| | 07:37 |
It only works well though if you have
the complete address here because it
| | 07:41 |
includes whatever you have selected
as the actual URL. So if you just had
| | 07:45 |
lynda.com or www.lynda.com, it really
wouldn't work well and you have to come
| | 07:50 |
up here and edit the URL, not lynda.
com but lynda2.com. And let's get rid of
| | 07:57 |
that one, I'm just going to delete that one.
| | 07:59 |
Let's jump to Page 2. I'm pressing
Command+J or Ctrl+J, 2, and I want to show
| | 08:06 |
you one more type of link before we
export this to PDF. Let's say, down here,
| | 08:12 |
we have like Hot Chocolate to be a
hyperlink to a specific page on a web site
| | 08:17 |
and I can't remember the actual URL.
However I know that the page is included
| | 08:23 |
as a link in another InDesign file. So
here what I'm going to do is I'm going
| | 08:27 |
to say create a new hyperlink by
clicking the Create New Hyperlink button and I
| | 08:31 |
want a link to a Shared Destination,
and I mentioned this earlier saying a
| | 08:35 |
Shared Destination is a
hyperlink that other files can use.
| | 08:39 |
So what I want to know is what is the
document that has the link that I want,
| | 08:44 |
it suggests the current document and
it has a list of all of the links here
| | 08:48 |
that I have ever made for this document.
But I want a different document so I
| | 08:51 |
will say Browse, right to chapter09,
exercise folder, inside 09_01, the
| | 08:58 |
brochure. There is a Hot Chocolate
brochure that I know has the URL.
| | 09:03 |
Now InDesign will automatically open
it in the background as you can see, but
| | 09:08 |
it makes that the active document and
says, which URL do you want from here?
| | 09:11 |
And here are a couple of Text Anchors
that we made in earlier videos but here
| | 09:15 |
is the URL that I actually want, and
I click OK, and it made that link down
| | 09:23 |
there and if I hover over Hot Chocolate,
you will see the URL up here and down
| | 09:29 |
here. Now it's not going to try to
open up this document, you don't have to
| | 09:33 |
worry about that. It's just reminding
you where it got that URL from, that's a
| | 09:37 |
Shared Destination link.
| | 09:38 |
So let's export this to PDF really
quickly. We will just go to Adobe PDF
| | 09:42 |
Presets. I'm going to choose High
Quality Print; you can choose any of the
| | 09:45 |
settings that you want. You can save
it right inside your 09_01 folder or put
| | 09:50 |
it on your Desktop. But the one
thing you want to remember when you are
| | 09:53 |
creating interactive PDFs is that you
always want to turn on hyperlinks and if
| | 09:58 |
you have interactive elements,
interactive elements like buttons for example or
| | 10:03 |
videos that you have imported. And
we would like to View the PDF after
| | 10:07 |
Exporting, and we will go ahead and
print all the pages and then just click Export.
| | 10:15 |
And here's our beautiful PDF, opened up
in Acrobat, the link to the Bliss no.5
| | 10:20 |
web site is intact and watch my cursor,
the e-mail link is also intact. Notice
| | 10:26 |
how InDesign automatically added the
correct little UNIX Escape codes inside
| | 10:31 |
the e-mail URL, and we will go to Page
2, and there is our link to the other
| | 10:37 |
URL, which is the Hot Chocolate sub
section of that web site. So there you have
| | 10:42 |
it, working with hyperlinks is a whole
heck of a lot easier in InDesign CS4.
| | 10:47 |
Thanks to the streamlined Hyperlinks
panel and Edit Hyperlinks dialog box.
| | 10:53 |
| | Collapse this transcript |
| Creating interactive buttons with the new Buttons panel| 00:00 | Creating interactive buttons in
InDesign CS4 is much easier now because
| | 00:05 | everything can be done directly in the
new streamlined Buttons panel without
| | 00:10 | opening any dialog boxes or using
special tools. In fact, you can see if you
| | 00:15 | are accustomed to creating buttons in
earlier versions of InDesign, that the
| | 00:19 | button tool is no longer, there is
no longer any need to use it because
| | 00:23 | anything can be converted into a
button with the Menu command. InDesign CS4
| | 00:28 | even comes with dozens of pre-built
sample buttons that you can drag into your
| | 00:32 | layouts and use as you see fit. I will
be talking about those later on in this video.
| | 00:38 | For now, open up the Choco_cat_02.indd
document that's inside your Chapter09,
| | 00:45 | exercise folder in the 09_02 sub folder.
And it's basically the same document,
| | 00:50 | that I was working in the last video,
if you are following along in sequence,
| | 00:54 | so it might look slightly different
than the one tat you are working on but it
| | 00:57 | already has some built in hyperlinks
and now we are going to add buttons.
| | 01:01 | So the idea here is that this document
is going to be viewed online as a PDF or
| | 01:07 | a SWF file and so what we would like to
do would be to add some buttons at the
| | 01:13 | bottom that say Go to Previous Page,
Go to Next Page. So the first thing we
| | 01:18 | need to do is to open up the Buttons
panel. Now I have already switched to the
| | 01:21 | Interactivity workspace from the
Workspace Switcher, which has all of the cool
| | 01:27 | interactive features built in right here.
Or you can go directly to the Buttons
| | 01:31 | panel by going to the Window menu,
going down to Interactive and choosing Buttons.
| | 01:37 | Part of this Interactivity
workspace is that the menus have also been
| | 01:41 | customized. So things having to do
with Interactivity are colored purple and
| | 01:46 | there are some menu items that are
missing. If you see Show All Menu Items at
| | 01:51 | the bottom of the menu, that means
that there are some menu items missing.
| | 01:55 | Actually that drives me crazy to have
missing menu items that are temporarily
| | 01:58 | hidden. So what I usually do is after
I switch to a workspace, I will go back
| | 02:03 | down and choose Show Full
Menus. Just a little side tip.
| | 02:07 | So we want to open up the Buttons panel
and you will see that instead of having
| | 02:11 | to go out to a Panel menu and
choosing commands like to add an Action and
| | 02:15 | things like that, we are going to be
able to do this all in a single panel. And
| | 02:19 | the State Appearance has been
integrated into the button panel as well. So you
| | 02:24 | will notice that in the Interactive
flyout, there is no more States panel,
| | 02:28 | that's not necessary, it's all
rolled into one single Buttons panel.
| | 02:33 | Since we want the Go to Previous, Go
to Next Page buttons to appear on every
| | 02:37 | single page, we will jump to the master
page and add them there. So open up the
| | 02:42 | Pages panel and double click on the A-
master. I'm going to resize this down to
| | 02:47 | icons so we have a little bit more
room here. Underneath the master, in the
| | 02:52 | Pasteboard area, I have already
created a couple of pieces of artwork that we
| | 02:55 | will use as buttons. So you can
just select those by clicking one and
| | 03:00 | Shift-clicking the other, and then
drag them up into the Footer area of the
| | 03:04 | master page. And here we see how
wonderful it is to have the Smart Guides
| | 03:09 | telling us exactly when they are aligned.
Right now they are perfectly aligned
| | 03:12 | in this column and right there is fine.
| | 03:16 | Let's zoom in a bit. I'm going to
select one and press Command or Ctrl+Plus a
| | 03:20 | couple of times. It's just a little
Green triangle and I will close the Pages
| | 03:25 | panel and open up the Buttons panel.
Now because I have some thing selected,
| | 03:31 | notice that this little icon at the
bottom of the Buttons panel is highlighted,
| | 03:34 | Convert Object to a button, so that's
how it works in InDesign CS4, anything
| | 03:39 | that you can select with the
selection tool can be converted to a button.
| | 03:43 | You can use this little button at the
bottom of the Buttons panel or you can
| | 03:46 | right click on a selected object. Go
down to Interactive and choose Convert to
| | 03:51 | button or you can go to the Object menu,
to Interactive and choose Convert to
| | 03:55 | button. I will choose this little
guy down here and then you get a little
| | 04:00 | ghosted symbol of a button, much
nicer designed than in earlier versions of
| | 04:04 | InDesign, and we want this
button to be the Previous Page.
| | 04:08 | I'm going to swipe over here and give
it a Name, I will say, Previous Page and
| | 04:14 | the Event is that when somebody clicks
on this button, we want them to go to
| | 04:18 | the Previous Page, so an Event is what
the user has to do and then the Action
| | 04:23 | is what happens when the user does it.
And the Action is right here in a
| | 04:27 | convenient dropdown menu and these are
all the actions that you can attach to a
| | 04:30 | button. There is some there just for a
SWF, so if you go and export this to a
| | 04:35 | SWF file, which I will be talking
about later, but what we want is Go to
| | 04:39 | Previous Page and immediately
InDesign says this is the normal state of the
| | 04:46 | button, but actually I would like it to
look a little fancier, so I'm going to
| | 04:48 | go to the EFFECTS panel which is part
of my Interactivity workspace and add a
| | 04:55 | Bevel and Emboss effect, and I'm just
going to accept the defaults, let's turn
| | 05:00 | on Preview to see what that looks like.
| | 05:02 | That's fine, and then goes back to
buttons; I think I will detach this from the
| | 05:08 | Docks so that I don't always have to
keep opening it. To create a Rollover
| | 05:12 | State, so the user knows that this is
an actual button, you know how they move
| | 05:16 | their cursor over to changes, all you
need to do is select Rollover and it
| | 05:21 | automatically picks up the formatting
of normal. So it's not a separate object,
| | 05:25 | it is the same object, except that it
just has a Rollover State and while the
| | 05:29 | Rollover State is selected, then
you can change the look of the button.
| | 05:33 | We could even add text to this, import
a picture, all I want to do is change
| | 05:37 | Swatch color. So I will open up the
Swatches panel and I will choose this
| | 05:42 | Pantone color. It makes no difference
what colors you are using when you are
| | 05:45 | exporting to a PDF that's going to be
viewed on screen because everything is
| | 05:50 | going to be RGB in the end anyway.
So what it looks like in InDesign is
| | 05:54 | basically what it's going to look like in a PDF.
| | 05:57 | So that's our Rollover and you don't
have to, but if you want to, you can
| | 06:00 | choose the Click State as well. In
my experience the Click State shows so
| | 06:04 | briefly, that it's ridiculous to try
to do anyway, I mean, it makes no sense.
| | 06:08 | But I want to go ahead and choose the
Click State which again copies the normal
| | 06:11 | state and for my Click State, I want to
use the same color as the Rollover but
| | 06:17 | I want to change the effects so it
looks like something is happening, like it's
| | 06:21 | pressing down. So I'm just going to
open up the Effects panel and double click
| | 06:25 | on the little Effects icon here and
instead of the direction going up, I will
| | 06:30 | make it go down. So it looks slightly different.
| | 06:34 | And now that we have all three States
done, you can just click on each one to
| | 06:38 | see how they work and there is
nothing new as far as previewing how buttons
| | 06:43 | work in InDesign. You can't Rollover
and get a preview there. You will actually
| | 06:46 | only see it in the exported PDF or SWF
file. It is important though to leave it
| | 06:51 | selected in the normal state because
this is the state it's going to be in when
| | 06:54 | we export and this is the State we
want it to look like when somebody first
| | 06:57 | opens it up.
| | 06:59 | Now instead of doing this one in the
same exact manner, you know going through
| | 07:02 | all those steps, I think what I'm
going to do is delete this guy and select
| | 07:05 | this first one and then I'm just going
to flip a copy of it. And then we will
| | 07:10 | just change the Actions. So I will use
the Flip Horizontal up here and you know
| | 07:14 | if you hold on the Option key, it makes
a copy of what you are transforming. So
| | 07:18 | the Option key on the Mac or the Alt
key on the PC. Option+Click and then flip
| | 07:23 | it over and then I will just Shift
drag it over. And that looks about right.
| | 07:30 | So with the Right button, its normal,
Rollover and Click, picked it up and of
| | 07:35 | course we don't want it to be Previous
Page. We want it to be Next page. So I'm
| | 07:39 | going to change the name to Next Page,
on Click is fine, we want delete this
| | 07:45 | Action, go to Previous page. We want
to add an Action, go to Next page and
| | 07:52 | that's about it. I press Command or
Ctrl+0 to Fit In Window. Let's go to our
| | 07:58 | document pages, and scroll through the
documents. You can see that the buttons
| | 08:05 | appear at the bottom of every page.
| | 08:07 | Now before we export this to PDF and
test out our buttons, I want to show you
| | 08:11 | something else. Let me reset
Interactivity to put buttons back away. And I
| | 08:17 | wanted you to look right here, do you
see where it says Sample buttons? This is
| | 08:22 | part of the Interactivity workspace.
And though it appears as though the docked
| | 08:27 | panel, it's actually a library and
the library contains dozens of pre-built
| | 08:32 | buttons that you can drag and drop and
use in any of your InDesign documents.
| | 08:38 | So for example, if I drag and drop
this guy right here, you can see that it's
| | 08:42 | already a button.
| | 08:43 | If you open up the BUTTONS panel, you
will see there it already has a Normal
| | 08:47 | state, a Rollover State, an Event,
and an Action. You have to be a little
| | 08:51 | careful with the actions though because
some of them like go to Page only works
| | 08:56 | with SWF and you will get an error, if
you try to export it to a PDF, saying
| | 09:01 | that it won't work. And depending on
the button that you chose, they have
| | 09:05 | different Actions, like I will drag
out this Red one and look at the buttons,
| | 09:10 | and this one has something slightly different.
| | 09:12 | So I will let you know -- and by the
way that buttons library is completely
| | 09:16 | editable. If you want to drag and drop
your own button into this library, you
| | 09:20 | can do so and if you are wondering
where is the library store, let me give you
| | 09:25 | a little tip. If you go to your
Finder or Windows Explorer, and go to your
| | 09:29 | Applications or Programs folder,
look inside the InDesign CS4 folder, in
| | 09:34 | Presets, button library and there he
is. So if you ever need to open up the
| | 09:40 | button library directly in InDesign,
and you don't have the Interactivity
| | 09:44 | workspace chosen, you won't find it
here under the Window menu. It's not part
| | 09:50 | of the Interactive flyout or anything
like that, but you could go to File, Open
| | 09:54 | and navigate directly to that
Presets folder and open it that way.
| | 09:57 | So let's close this and get rid of
these buttons. And then we will export this
| | 10:03 | to PDF, go to File > PDF Presets, and
you can choose any of these presets. Or I
| | 10:09 | have already created a preset just for
interactive PDFs, which I recommend that
| | 10:14 | you do and I will show you that in a
second. I'm going to save this right on my
| | 10:17 | desktop, click Save and all I did was I,
based it on High Quality Print, and
| | 10:22 | then I turned in Hyperlinks and
Interactive Elements because those two check
| | 10:26 | boxes are so easy to over look when you
are in a rush and if you forget to turn
| | 10:30 | them on, that's a gotcha. You are going
to open up the PDF and the buttons and
| | 10:34 | hyperlinks are not working, you will
wonder why. So it's a good idea to turn
| | 10:37 | this on and save them with some workspace.
| | 10:40 | But I'm just going to go ahead and
say Export and there is our beautiful
| | 10:47 | document and here are our buttons. So
let's test it out. If I hover over this
| | 10:51 | button and click, it jumps right to
the Next page and I can continue clicking
| | 10:55 | and there is the Previous one, the
Rollover is working great. And we are done.
| | 11:01 | So remember anything that you can
select with the selection tool in InDesign
| | 11:05 | can be turned into a button, even if
it's a group, I could grab all three of
| | 11:09 | these things, group them with pressing
Ctrl G and turn them into a button, the
| | 11:16 | entire group which I believe is new in
CS4, just follow the same procedure that
| | 11:21 | I showed you to set up Advanced
Actions and State Appearances and remember to
| | 11:26 | turn on both check boxes when you
export to PDF. It's so much easier to create
| | 11:30 | buttons now in InDesign CS4, thanks to
that wonderful revamped Buttons panel.
| | Collapse this transcript |
| Creating page transitions for PDFs and SWFs| 00:00 | Cool page transitions like this in
your PDFs add interest in a touch of class
| | 00:07 | to interactive presentations.
Previously, the only way that you could add
| | 00:11 | transitions like this to a layout was
by exporting it to PDF and then opening
| | 00:17 | it up in the Acrobat Pro going to the
Advanced menu down to document processing
| | 00:23 | and adding Page Transition in Acrobat
but with in InDesign CS4 you can add Page
| | 00:29 | Transitions directly in InDesign giving
you more control and a few more options
| | 00:34 | then Acrobat does.
| | 00:36 | Though, you can't see them in action
in InDesign. You can't flip though the
| | 00:40 | pages and see the Page Transitions
play out. You do get previews of the
| | 00:44 | animations in the InDesign and they
do work beautifully once you export the
| | 00:48 | layout to PDF and also if you export
the layout to the SWF file and then it's
| | 00:52 | viewed in the browser which I will
cover in the different video in this chapter.
| | 00:56 | So let's add some page transitions to
this document and see what they look like
| | 01:00 | in the PDF. Open up Choco_catalog-03.
indd, which is inside your Chapter09,
| | 01:06 | exercise folder, in the 09_03
subfolder and this is the catalog for the
| | 01:11 | chocolate company that we have been
working with for a while. It's got about
| | 01:14 | seven or eight pages or so. We have
added hyperlinks and buttons in previous
| | 01:21 | videos, that's what you see
happening at the bottom of each page.
| | 01:24 | What we want to do now is add Page
Transitions. So that when someone uses the
| | 01:29 | arrow keys or their mouse button to
flip though the pages in the PDF in a
| | 01:34 | Reader or Acrobat, they will see these
cool page transitions. Let me show you
| | 01:38 | how easy this is to do.
| | 01:40 | Open up the Pages panel and just right
click right on any of the pages and you
| | 01:45 | will see that there is a fly out menu
for page transitions. You can also get to
| | 01:50 | it by going to the Pages panel menu
and choosing Page Transitions from there.
| | 01:54 | So I will choose Choose and here are
the Page Transitions that come bundled in
| | 02:00 | here and this is the little bit of
Flash animation that's part of the InDesign
| | 02:05 | coding that we are seeing.
| | 02:06 | Just move your cursor over one of
these little animations to see it play out
| | 02:10 | once and choose the animation that you
would like. The one that I was showing
| | 02:15 | you in the beginning I had done with
comb. Let's try Blinds, that's always a
| | 02:19 | fun one. One of these, Page Turn is
just for SWF files and so it won't work
| | 02:26 | with PDFs. So you get a little reminder
about that and you can choose to Apply
| | 02:30 | to All Spreads or you could do
it Page By Page if you would like.
| | 02:32 | So I'm going to say OK. As soon as
you apply Page Transitions, the Page
| | 02:38 | Transition panel opens. It's a
little confusing because there is a Page
| | 02:43 | Transitions penal and also we are just
working in the Page Transitions dialogue
| | 02:47 | box. So why are there two things here?
| | 02:50 | Well the Page Transitions panel lets
you customize the transitions on a page by
| | 02:55 | page basis. Let's open up the Pages
panel and drag it out here so it's always
| | 03:00 | available to us and what you do is
you double click the first page in your
| | 03:05 | Pages panel. Here is the Page
Transition that we have chosen, Blinds, in the
| | 03:10 | direction, Horizontal and the speed is Medium.
| | 03:13 | Let's say for Page 2 we want to speed
that up a bit. So I double click on Page
| | 03:17 | 2, I will say Blinds; still Horizontal,
only Fast. So we could say well then
| | 03:23 | let's do the same thing for Page 3 to
Page 5. So I'm Shift clicking these page
| | 03:29 | icons right in the Pages panel and we
will make them all Fast and then maybe
| | 03:34 | for the last page I'm going to change
it from Horizontal Blinds to Vertical Blinds.
| | 03:41 | Now I don't recommend that you do this
with your document. It's kind of crazy
| | 03:44 | making to see different transitions
from page to page but if you are doing a
| | 03:47 | long document with different sections
having a different kind of transition for
| | 03:51 | each section is an interesting visual
cue to the user who just happens to be
| | 03:55 | browsing through it. So there are
some good reasons for changing your
| | 03:59 | transitions and customizing them.
| | 04:01 | Now if you ever want to remove a Page
Transition all you need to do is if you
| | 04:07 | want to remove them from the entire
document go to the Pages panel fly out
| | 04:10 | menu, go down the Page Transition and
chose Clear All or for an individual page
| | 04:17 | if I didn't want any Page Transition of
this first page I could right click on
| | 04:22 | that page, go to Page Transitions and
chose Clear Page Transition. Let's see
| | 04:27 | you can mix and match them up that's about it.
| | 04:30 | Let's go ahead and export this to PDF.
Your Adobe PDF presets already have a
| | 04:35 | pre-built interactive PDF Preset
that I made that remembers to enable
| | 04:41 | interactive objects. I'm switching to
my Desktop and Hyperlinks but you could
| | 04:47 | choose any PDF Preset that you would
like, just remember to turn on these two
| | 04:51 | buttons in the Include area and to view
PDF after exporting and here is our PDF.
| | 04:59 | Now we have rollover buttons that can
bring us back and forth and you will not
| | 05:04 | see the Page Transitions with the
rollover buttons you only see them if you use
| | 05:09 | the arrow keys on your keyboard or
the right and left mouse button but I'm
| | 05:14 | pressing the right arrow and left
arrow key on my keyboard and I'm still not
| | 05:18 | seeing it. Oh! There is one more
requirement and this is true even if you had
| | 05:22 | created the Page Transitions in Acrobat.
You have put this document into the
| | 05:26 | Full Screen Mode. You can do that from
the View menu or you can do it just by
| | 05:30 | pressing Command or Ctrl+L.
| | 05:31 | This is how I started out the
presentation. So now when I press my Left arrow
| | 05:37 | key, there is our Comb happening. I'm
going to go all the way to the beginning
| | 05:41 | and then I will press right arrow,
right arrow, right arrow, do you see how
| | 05:45 | that one was little faster, okay and
there is our different one, That's all
| | 05:50 | there is to it, adding Page Transitions
directly in InDesign is as easy as pie.
| | Collapse this transcript |
| Exporting layouts to SWF files| 00:00 | So, you say you are not a Flash
developer. You have no idea how to create a
| | 00:05 | self-contained Flash presentation. You
have to pay people to take your designs
| | 00:10 | and make them into SWF presentations or
add banners. No longer, nope, not with
| | 00:16 | InDesign CS4, because from InDesign CS4,
you can export to SWF, it's as easy as
| | 00:22 | exporting a layout to PDF.
| | 00:24 | In fact it's easier, because you only
have one simple dialog box to deal with.
| | 00:28 | InDesign can even generate the HTML
page, that's required to show SWF files
| | 00:33 | properly in a browser. All you have to
do is upload the exported folder with
| | 00:38 | its contents to a website, and the
world can go to that URL and bask in your
| | 00:43 | SWF beauty.
| | 00:44 | So if you want to give this a try, and
it's a lot of fun let me tell you, go
| | 00:48 | ahead and open up the Choco_cata_04
document, which is inside the Chapter 09,
| | 00:54 | exercise folder in the 0904 sub-folder.
It's the same Chocolate catalog we have
| | 01:00 | been working with. In this chapter
in the video, I'm creating rich and
| | 01:03 | interactive documents in InDesign. It
has some inbuilt buttons, and hyperlinks,
| | 01:08 | and now all we are going to do is export to SWF.
| | 01:12 | Now what is a SWF file? It actually
stands for Shockwave Flash, but everybody
| | 01:17 | just calls them SWF files or Flash files.
These are like self-contained little
| | 01:22 | documents. They are sort of like a PDF
is to acrobat, what a SWF is to Flash,
| | 01:26 | except that in Flash you can't really
open up a SWF and edit it. It gets kind
| | 01:32 | of hurried that way. Instead there
is a different native format for Flash
| | 01:36 | files, but SWFs are like the final end
result. That's what you see if you see a
| | 01:40 | Flash banner in a Web
page or something like that.
| | 01:43 | That's what InDesign can export to that
format. So you don't even need Flash to
| | 01:48 | create these SWFs. There is a couple of
caveats, and one is that if you want to
| | 01:53 | include a movie like some sort of
QuickTime movie, or you want to include sound
| | 01:57 | files, the export to SWF format in
InDesign does not support that. However, you
| | 02:02 | can export to XFL, which is this
totally new file format that Flash CS4 Pro can
| | 02:09 | read. I'm going to be talking about
that in a different video. So you can
| | 02:14 | create Flash files with that are fully
formed from InDesign just not to SWF.
| | 02:19 | But inside of a SWF you can include
everything that you can include inside an
| | 02:23 | interactive PDF. First of all you have
the beautiful InDesign topography, and
| | 02:28 | colors, and the images that you
place. But then you can add interactive
| | 02:32 | elements like buttons and rollovers and
page transitions, so all of that stuff
| | 02:37 | can be included in a SWF file.
| | 02:39 | If you want to design for SWF from the
start, check this out in a new document
| | 02:44 | dialog box. I go to File > New, and
look at the Page Size dropdown menu. They
| | 02:50 | have included a whole bunch of common
Web sizes. These are all in pixels, which
| | 02:55 | is about the equivalent of a point in
prints speak. So that if you are creating
| | 02:59 | for a screen like a 640X480, you can
do so right from a New Document dialog box.
| | 03:05 | Of course, you can convert basically
any print project to SWF as well. To do
| | 03:09 | so, just add whatever kind of
interactivity you would like, like I said this
| | 03:13 | one already have some rollover buttons
that bring us different places, and some
| | 03:17 | hyperlinks and things, but other
than that it's just a normal InDesign
| | 03:20 | document, in fact, it's actually
prepared for print, see it has got like this
| | 03:23 | bleed stuff happening on the side.
| | 03:26 | When you export it to SWF, you
don't need the bleed. One thing I would
| | 03:30 | recommend is that you change the
Transparency Blend Space from document CMYK,
| | 03:37 | which is the default for most
documents for print, to document RGB, because
| | 03:41 | everything will be converted to RGB
when you export. This way any kind of
| | 03:45 | transparency effects will
come out looking the best.
| | 03:49 | I have one other caveat is that if you
have any transparent elements that are
| | 03:54 | overlapping any objects with
interactivity like these buttons have some action
| | 04:00 | built into them, so if we had like a
drop shadow hitting them on top, then
| | 04:04 | because the SWF file is always
flattened, you are going to lose the
| | 04:08 | interactivity. So make sure that any
interactive elements such as hyperlinks
| | 04:13 | and buttons are at the tops layers, so
you will notice that in my layers panel,
| | 04:18 | I always keep the buttons in the top layer.
| | 04:23 | So now that you know two caveats.
Let's go to File and choose Export, and we
| | 04:30 | are going to save this right out on to
the desktop. So I'm pressing Command or
| | 04:34 | Control+D, and we want to choose the
SWF format. By the way, you do see a
| | 04:40 | couple of new formats here. I want you
to notice that SVG is no longer with us.
| | 04:46 | There used to be SVG and SVG
Compressed, though I have never met one person
| | 04:50 | ever who exported to that
format, but we do have SWF.
| | 04:53 | So choose SWF, and you will see it's a
SWF right up here. And click Save. Then
| | 05:00 | here is that dialog box that I mentioned.
Just one dialog box is all we have to
| | 05:03 | go through. Do you want this to scale?
You can choose the scale, and it's
| | 05:07 | talking about size and pixels. Any
numbers you see here are in pixels, which is
| | 05:12 | the equivalent of the point.
| | 05:13 | You can have it automatically scaled
to a certain screen size, if you would
| | 05:17 | like, or to a certain width and height.
All right, we are just going to leave
| | 05:21 | it at 100%. And which pages do you
want to export? We are going to export all
| | 05:27 | of them. We don't want spreads. Who
cares about wasting pages spreads? You
| | 05:30 | always want to keep generate HTML file
turned on, because if it just creates
| | 05:35 | the plain old SWF file, you not going to
be able to see it correctly in a browser.
| | 05:39 | The browser needs some code that
embeds the SWF file, and then if the user
| | 05:43 | doesn't have the Flash, plug in,
which 98% of users do, regardless of what
| | 05:48 | platform, or I don't know what browser
they are using, but if they don't. If
| | 05:51 | they are the 2% that don't, like my
mother then it's going to say, you need to
| | 05:55 | download the Flash Player, then it
will give you a button to automatically
| | 05:58 | download it to the person can view the SWF file.
| | 06:01 | Anyway, always turn on, and generate
the HTML file unless you are really good
| | 06:05 | with embedding SWF files on your own
already, or maybe the advertiser just
| | 06:09 | says, just send the SWF file. We don't
need the HTML file, then you don't need
| | 06:13 | to turn that on. But we are
going to leave it on for now.
| | 06:15 | Sometimes you want to rasterize the
pages, only because it results in a smaller
| | 06:19 | file size, or there is some other
kind of reason for rasterizing the pages.
| | 06:24 | It's not turned on by default, but if
you have bad results after you export SWF
| | 06:29 | and some things that become funky,
because not every single special effect that
| | 06:32 | you can do in InDesign is supported in
a SWF file, then you might want to turn
| | 06:36 | on and rasterize pages, which will mean
that you are going to get the same end
| | 06:39 | result as what it looks like in
InDesign. File size might be kind of big one.
| | 06:43 | Of course, you want to view SWF after
Exporting, and then what to do with this
| | 06:47 | live text in here? This is a default
InDesign text to Flash text, which means
| | 06:52 | it's going to maintain the formatting.
It's going to look sharp and crisp. The
| | 06:56 | other choice is, you can convert it
to vector path or it will lose some
| | 06:59 | hinting. It will look kind of chunky on
the screen, but sometimes if Flash text
| | 07:04 | isn't working, or for some reason it
can't convert some sort of funky typeface
| | 07:08 | that you have installed, you
might want to choose this one.
| | 07:11 | You could also choose convert the
InDesign text to a raster image. You might
| | 07:15 | want to choose that for the same
reason you might want to choose rasterize
| | 07:18 | pages. If you are having some kind of
bad results, because there is some sort
| | 07:22 | of interactivity with transparency,
then you might want to choose raster the
| | 07:26 | text as well, but normally
just leave it at Flash text.
| | 07:30 | Yes, we want to include buttons, and
hyperlinks, and any page transitions.
| | 07:34 | Let's turn on that Interactive Page Curl.
This only is available for SWF files,
| | 07:39 | and that's very cool. I will show you
what that looks like in a bit. We can
| | 07:42 | leave image compression at Auto, or
you can choose JPEG. If you have placed
| | 07:48 | JPEGs in here, as long as you haven't
applied any kind of transparency effects
| | 07:52 | to them, then it's not going to read
JPEG. You are going to get some good results.
| | 07:56 | But if you have applied transparency
effects, then sometimes InDesign will need
| | 08:00 | to read JPEG, and you might get some
compression art effects. Just keep that in
| | 08:04 | mind. Then JPEG quality and Curve
quality is the trade off between file size
| | 08:11 | and fidelity to your original design.
Just leave them both at medium for now.
| | 08:15 | If it doesn't look right, then you
can come back and export at a different
| | 08:19 | setting, and then compare them.
| | 08:20 | We have gone through all of these
options, and let's just go ahead and click
| | 08:23 | OK. You will always see this warning,
if it detects any transparency in your
| | 08:28 | document, and this is what I had
mentioned earlier. If an object with
| | 08:32 | transparency overlaps any interactive
elements, the interactivity will not be
| | 08:36 | preserved, reminding you, we don't
have to be worrying that. Click OK.
| | 08:42 | It's going through, and flattening all
the pages and generating the SWF file,
| | 08:46 | and then in your default browser, the
SWF file opens up. See, it actually opens
| | 08:50 | up an HTML file that it created, and
within this HTML file is the call for the
| | 08:55 | SWF file. Now we can use our buttons,
and our rollovers work perfectly. There
| | 09:02 | is our page transition built-in. We
have our hyperlinks that work. That is the
| | 09:07 | Page Curl. Check this out.
| | 09:10 | Moving back a page, or let's move
forward a page. Just drag. Isn't that
| | 09:16 | incredible, how does that mirror look?
Let's take a look by the way at this
| | 09:22 | curl here. If we go to View and
choose Page Source, InDesign wrote all this
| | 09:27 | stuff. So this is what I meant by have
InDesign generate the HTML file, because
| | 09:31 | otherwise, to make a solid SWF file
that your client can open without a
| | 09:35 | problem, you'd probably have to write
this yourself. You don't want to do that.
| | 09:39 | So it created that HTML file and the
SWF file. We saved them to the desktop. So
| | 09:46 | this file, the HTML file, and the SWF
file are what you want to upload to a Web
| | 09:51 | server inside another folder, something
like that, and then you tell the client
| | 09:55 | to look at this HTML file, to go
to this URL in their Web browser.
| | 10:01 | Exporting to SWF from InDesign CS4
is a simple yet powerful. I think it
| | 10:06 | presents a number of new opportunities
for presenting your designs to clients,
| | 10:11 | or even distributing your designs
without needing to learn one bit of Flash
| | Collapse this transcript |
| Exporting layouts to XFL (editable Flash format) files| 00:00 | Now that Adobe is getting a better
handle on Flash, it helps if you can buy the
| | 00:04 | company that owns the code, doesn't it?
They've been able to integrate it more
| | 00:08 | and more into many of the desktop
applications. Integration is a good thing.
| | 00:13 | The Creative Suite is a suite after all.
| | 00:16 | So of course, we end users would
like to be able to move the same project
| | 00:20 | around, into all of the applications
in the suite, or at least allow one
| | 00:24 | program's format to talk to another
program's format. Well, with InDesign CS4,
| | 00:30 | Adobe has accomplished a major step
forward in that regard. They have added a
| | 00:35 | completely new file format. One that
helps Graphic Designer's work hand-in-hand
| | 00:39 | with Flash developers it's called XFL.
Shorthand for Export to Flash format.
| | 00:45 | Specifically, Flash CS4 Professional.
That's the only version of Flash that can
| | 00:51 | open XFL files. So test it out, go
ahead and open up Choco_cat_05.indd in your
| | 00:58 | Chapter 09 exercise files in the 0905
subfolder. This is the chocolate company
| | 01:05 | catalog that we have been
working with throughout this chapter.
| | 01:08 | Just a regular InDesign document, as
you can see it was originally designed for
| | 01:11 | print, because it has these bleed
guides and stuff. It's full of the usual
| | 01:15 | beautifully type set text we are using,
all sort of interesting styles and
| | 01:19 | things. The point that I'm trying
to make is that, you can repurpose an
| | 01:24 | existing print document, and then
export that to XFL, so that this can be
| | 01:29 | turned into something flashy in Flash,
or you can design from the ground up for
| | 01:36 | Flash. Really all you need to do is,
when you create your new document, turn
| | 01:41 | off facing pages, usually you don't
need facing pages in a Flash animation or
| | 01:45 | Flash document.
| | 01:47 | But look down here at the bottom of
the page size. They have already inserted
| | 01:52 | some common browser, or screen sizes
like 640X480, 1280X800, of course Custom.
| | 01:59 | Now these are all in points, which is
equivalent to pixels. So instead of you
| | 02:05 | trying to do a look and feel in
Photoshop to get to the Flash people, you can
| | 02:08 | do it in InDesign, which is often far
easier than doing that in Photoshop.
| | 02:12 | We are just going to take this
document, and this document already has some
| | 02:18 | Hyperlinks and interactive goodies,
buttons and things like that in here, and
| | 02:22 | most of this will be honored when we
export to XFL. So let me show you how
| | 02:27 | incredibly difficult and complicated
it is to export an InDesign file to XFL
| | 02:32 | format. Go to the File menu, choose
Export, and I hope that you have your
| | 02:37 | pencils out and a piece of paper. Just
choose a Save Location. I will save it
| | 02:41 | to the desktop. Choose XFL as the format,
and click Save, and fill in a couple
| | 02:48 | of buttons and say OK.
| | 02:50 | The end, I mean, can you believe it
how easy this is? So if you saw the video
| | 02:55 | about exporting SWF, this is even
simpler than exporting to a SWF file, but a
| | 03:00 | lot of the elements are the same.
First of all, you can choose whether or not
| | 03:03 | to scale this file to a certain
dimension, or you can have it automatically
| | 03:08 | rescale itself to fit to a certain
screen size. So the scale size what it is
| | 03:13 | going to do, to make it fit.
We will leave at scale at 100%.
| | 03:18 | Then down here under Pages All, a
range, we will say All. Usually you
| | 03:21 | don't need to export spreads, but
you could if you wanted to. If you are
| | 03:25 | exporting a magazine and you still
wanted the Flash file to look like a
| | 03:28 | magazine. You can choose to Rasterize
Pages or Flatten Transparency. Now these
| | 03:33 | two things are not turned on by
default, and that's because there are some
| | 03:37 | effects that you can do InDesign, that
really don't translate, well once they
| | 03:41 | are opened in Flash, and you really
don't know until you actually open it in Flash.
| | 03:45 | So you might as well keep these turned
off, and then if it doesn't look right
| | 03:48 | in Flash, come back here and try it
again with them turned on. One of the big
| | 03:51 | features is, what happens with text.
The default is InDesign Text to Flash
| | 03:56 | Text. What that means, is that the
text comes through completely editable,
| | 04:01 | using the same formatting that you used
here. Now there are no style sheets per
| | 04:05 | se for text formatting in Flash, but
all of the text maintains the same leading, etc.
| | 04:12 | As long as the Flash person, which
could be you or maybe a Flash team, or your
| | 04:17 | Flash subcontractor, as long as they
have the same fonts, then they will be
| | 04:22 | able to edit their text as necessary.
The other choices that you have are
| | 04:26 | export or to convert the text to
paths to outlines, which is something you
| | 04:31 | might want to do if they don't have
the fonts, you don't know who is getting
| | 04:34 | this Flash file, or you can Rasterize the text.
| | 04:37 | So the text will be Rasterized to an
individual frame basis. It doesn't mean
| | 04:41 | you are going to flatten the entire
document. It's just that the text will be
| | 04:45 | flattened within their frame. So we
will leave everything else at the default,
| | 04:48 | and click OK. You will get this
warning that I mentioned already that some
| | 04:53 | transparency attributes will not be
preserved. We will just say, yeah fine, we
| | 04:57 | are going to chant it.
| | 05:00 | So it's done, let's flip to Flash,
and open this file on the desktop. As I
| | 05:12 | said, this can be opened by Flash CS4
Professional. There is also an extended
| | 05:17 | version, extended can open this too.
There we go. Do you notice that each page
| | 05:23 | in the InDesign file here it appears on
the stage, is in a different frame. So
| | 05:28 | you can page through here and from
here you, if you are a Flash pro, would be
| | 05:34 | able to add ActionScript
and all sorts of cool things.
| | 05:37 | But let me show you what I was
talking about as far as editing text is
| | 05:40 | concerned. I'm going to drill down into
this text frame. You can see in Flash,
| | 05:48 | it's telling you what level you are at
here. Now I can edit this text. So this
| | 05:53 | says Organic Chocolate Bars. I will
call it Organic Fruit Bars. It's using the
| | 06:00 | exact same font and format, and of
course, I'm on the same computer. But you
| | 06:05 | can see what I mean how incredible this
is that you create InDesign and then do
| | 06:11 | all your program and kind of stuff in Flash.
| | 06:14 | So from that point on, if you want to
learn more about working with the Flash
| | 06:17 | file, I recommend that you go to lynda.
com and look at the videos on Flash CS4
| | 06:22 | that they have, or if you are already
a Flash expert, I think you can how the
| | 06:27 | possibilities unfold.
| | 06:28 | Now that we have the XML format,
design teams are able to use InDesign
| | 06:33 | incredibly powerful design and
topography features, and then apply ActionScript
| | 06:38 | programming, and hooks to databases,
and animations, and all that kind of fun
| | 06:42 | stuff from within the powerful Flash
CS4 Professional program. I mean it's
| | 06:47 | truly a marriage made in heaven.
| | Collapse this transcript |
|
|
10. Live PreflightChecking and correcting layouts with Live Preflight| 00:00 | Live Preflight, hallelujah! In
InDesign CS4. I'll tell you, next to getting a
| | 00:05 | middle of the night phone call with
news that our loved one is in trouble, is
| | 00:09 | getting a phone call from my
commercial printer saying that one of my jobs is
| | 00:12 | in trouble. That it can't be run,
because there is some error in my file, or
| | 00:17 | worse getting the first boxes
delivered of the printed pieces and going, hey,
| | 00:20 | why does this image looks so horribly pixilated?
| | 00:25 | Well, you know InDesign CS3 and prior
versions had a very rudimentary preflight
| | 00:30 | routine that hardly anybody relied upon
because it was just so weak. So unless
| | 00:34 | you invested in an expensive dedicated
preflight package, and were vigilant in
| | 00:39 | running it, every time you were
preparing a file for output, or you spend
| | 00:43 | hours, this is what I did, pouring over
my jobs, to check for errors manually.
| | 00:48 | It was too easy to let mistakes go
unnoticed, and make it all the way through
| | 00:52 | to the commercial printers and any
commercial printers listening to this video
| | 00:56 | know what I'm talking about. That's why
I'm so happy to see such a robust, well
| | 01:00 | thought-out Live Preflight feature,
that's turned on by default in every CS4
| | 01:05 | document that you work on.
| | 01:07 | To follow along, you should open up the
Bliss_Magazine-before.indd file, which
| | 01:13 | is inside your exercise folder for
Chapter 10_01, and scroll to any page in the
| | 01:19 | document. This document will assume
as about ready to be sent off to the
| | 01:23 | printer, either export to PDF, or your
file package. But notice that if you go
| | 01:28 | to the File menu, that Preflight is no
longer. It's not here. Right, there is
| | 01:33 | no Preflight command built-in there.
Preflight is on all the time called Live
| | 01:38 | Preflight, and you will see it at the
bottom of the window, down here. It's
| | 01:43 | this area where there are 2 errors.
| | 01:45 | So you may have been noticing that you
are getting some sort of error read out
| | 01:50 | in some of your documents. What you are
supposed to do with that? Well, what's
| | 01:54 | happening is that every time that
you work on an InDesign CS4 document,
| | 01:58 | preflight is checking against a basic
preflight profile. The basic preflight
| | 02:03 | profile includes checks for missing
fonts. Missing or modified links, and
| | 02:10 | overset text.
| | 02:11 | You can access to Preflight panel in a
couple of different ways. First of all,
| | 02:16 | if you go to the Workspace Switcher in
the Application Bar and choose Printing
| | 02:21 | and Proofing, surprisingly enough,
the Preflight panel is part of this
| | 02:27 | workspace. I'm going to switch back to Advanced.
| | 02:31 | Another way to get to it is of course
going to the Window menu, where all of
| | 02:34 | the panels are listed. You won't find
preflight in the first list here. You
| | 02:39 | have to go to Output, and it's been
added to that same sub-menu where you find
| | 02:44 | those Flattener Preview and the
Separations Preview and Trap Presets. But I
| | 02:48 | think most users will go to it directly
from here in the Status Bar. There is a
| | 02:53 | little Pop-up menu that you click
at and you can select Preflight panel
| | 02:57 | directly from here, or simply double-click
right on the Live Preflight Status Bar.
| | 03:02 | So any of those ways will open up the
Preflight panel, and you can see that it
| | 03:06 | is by default checking against the
basic profile, and it's in those familiar
| | 03:11 | brackets, letting you know that this is
a default that comes with the program.
| | 03:15 | It's reporting that there are two
errors in total. One having to do with the
| | 03:19 | links, one having to do with text. To
see the actual errors, just click on the
| | 03:24 | little triangles to show or hide the
list of errors. And it's telling us, for
| | 03:29 | example, if there is a missing link,
candy piece.jpg, and if you open up the
| | 03:35 | Links panel, you will see
that indeed that link is missing.
| | 03:41 | To quickly get to it from the
Preflight panel, just click on the linked page
| | 03:45 | number, just like how the Links panel
does that, and it selects the image. Now
| | 03:50 | if you are not quite sure how to fix a
missing link, you can select the error,
| | 03:56 | and then reveal the Info panel, which
explains in more detail what's wrong. The
| | 04:01 | linked file is missing. How to fix it?
| | 04:04 | In the Links panel, use the Relink
button to find the linked file. So go to the
| | 04:09 | Links panel, use the Relink button at
the bottom, and find the actual file. In
| | 04:15 | this case, you will find the file
inside your Chapter 10 folder, inside the
| | 04:21 | folder called Files, and it's bonbon.
jpg. I'm going to turn off Show Import
| | 04:27 | Options; we don't need it, and close
the Links panel. Now you will see that
| | 04:33 | Preflight immediately got rid of
that error. It is a Live Preflight. It's
| | 04:37 | dynamically updating according to what
you do in the layout, and then we have a
| | 04:41 | text error.
| | 04:42 | So I'm going to open up this one, and
it says, problem with the text frame on
| | 04:46 | page five. Whatever could it be? Select
the error, and the Info panel tells you
| | 04:51 | there is overset text by eight
characters. Tells you exactly how much is
| | 04:54 | overset, and how to fix it. Resize
the text frame, or edit the text to fit
| | 05:00 | within the frame, or hey, you might
need to add text frames to the story thread
| | 05:04 | if necessary. This might seem
simplistic to you, but there is a lot more that
| | 05:08 | Preflight can check for, where things
would get more complicated, and the Info
| | 05:11 | panel come in very handy.
| | 05:13 | Also I think this is great if you have
people who are not that experience with
| | 05:17 | InDesign. To help them learn how to fix
problems in a document. So let's go and
| | 05:22 | fix this text frame. I will just click
on page five, and here is the overset
| | 05:27 | text, and one way to fix this would
just be to double-click this bottom handle
| | 05:32 | which resizes the frame to fit, and
there is our overset text, and now there
| | 05:38 | are no errors. We are done with
Preflighting. Go to fit in window. Notice that
| | 05:44 | it says, No errors, and we get a
happy green down here on our status bar.
| | 05:47 | That's what we would like to see. So
of course, there may be more errors in
| | 05:51 | this document, there may be images
whose resolution is too low. There maybe
| | 05:55 | spot colors, and we don't
spot colors, that kind of thing.
| | 05:58 | It's important to remember that Live
Preflight by default does not check for
| | 06:02 | all that stuff. It only checks for
missing fonts, for missing or modified links
| | 06:07 | and overset text. It's enough though to
create your own custom profile, and add
| | 06:12 | a whole bunch of other potential
error situations that you want the Live
| | 06:16 | Preflight check against. However you
handle it, with Live Preflight you will
| | 06:20 | always get up to the minute
reporting of the issues that your document is
| | 06:23 | having, and an easy way
to find and correct them.
| | Collapse this transcript |
| Creating and sharing custom preflight profiles| 00:00 | Depending on the type of project
that you are working on, you might want
| | 00:04 | InDesign's Live Preflight feature to
check for conditions other than the ones
| | 00:08 | it normally checks in its basic
profile. For example, you might want Live
| | 00:13 | Preflight to check for image
resolutions in the file, images that are too low
| | 00:17 | of a resolution or too high or maybe
check for objects that come too close to
| | 00:22 | the trim edge or the safe area.
| | 00:24 | If you are working in a CMYK file, you
probably want Live Preflight to check to
| | 00:28 | make sure that there are no spot
colors used, and vice versa. If you are
| | 00:32 | creating a two color job, it would be
nice if Live Preflight could warn you
| | 00:36 | about any CMYK images. Maybe you
want to make sure that there is no
| | 00:40 | transparency used in the document, or
that all your strokes are at a minimum
| | 00:45 | weight or higher.
| | 00:46 | All of these situations and many more
can be included in the profile that you
| | 00:50 | create for Live Preflight. To
see how this works, open up the
| | 00:54 | Bliss_Magazine-02.indd file, which
you will find inside your Chapter 10
| | 01:00 | exercise files in 10_02, and you will
see that it reports two errors, because
| | 01:05 | it is only reporting against
the basic Preflight profile.
| | 01:09 | You can open up the Preflight Panel by
double clicking here, or by opening up
| | 01:14 | the Preflight Panel from the Window
Output Sub-menu, and there it is, checking
| | 01:20 | against the basic profile. We want to
create a new profile that includes other
| | 01:24 | parameters. To do that, go to the
Preflight Menu and choose Define Profiles.
| | 01:31 | You can see the main categories of
everything that Live Preflight can check.
| | 01:37 | General is just the description of the
profile itself that you can edit, but
| | 01:41 | the other categories have triangles
next to them that you can reveal to see
| | 01:46 | what's included in that category.
| | 01:48 | If the currently selected profile,
which is listed at the left, checks for
| | 01:52 | something in the category, you will
see the box is highlighted. So links
| | 01:56 | basically just checks for missing or
modified links, which this basic profile
| | 02:02 | checks for, or OPI links. But
categories like say Color can check for many
| | 02:07 | other things. I don't have time to go
through every single item in this list,
| | 02:11 | but I encourage you explore it and just
for some random highlights, check this out.
| | 02:16 | Under Color for example, you could say
I don't want to include certain color
| | 02:21 | spaces, or you want to be notified when
overprinting has been applied to white
| | 02:27 | or the paper color, which can cause
issues and surprises on press. For images
| | 02:32 | and objects, you can have a check for
image resolutions. If something uses
| | 02:37 | transparency, what is the Images ICC
Profile, and if it's been overwritten.
| | 02:43 | Minimum Stroke Weight, if something is
coming too close to the bleed or trim,
| | 02:47 | and for text, there are a whole bunch
of items that you can it checked for.
| | 02:51 | As you can see the basic profile checks
for overset text and missing fonts but
| | 02:56 | look at this, you can even have it
checked for overrides to any paragraph or
| | 03:00 | character styles and you can choose
to ignore like kerning and tracking
| | 03:04 | overrides, or language overrides when
you have selected some text to use a
| | 03:10 | different spelling and hyphenation dictionary.
| | 03:13 | Font types not allowed. Non-
proportional type scaling, it even includes all the
| | 03:18 | new features in CS4, such as the Cross-
References that you can make sure that
| | 03:23 | Cross-References are up to date and
resolved, and that if you are using
| | 03:27 | conditional text, that any indicators
that are showing on the page are set not to print.
| | 03:32 | Even a document itself can be included
in a Preflight Profile that pages are of
| | 03:38 | certain size or orientation, the
number of pages that are required, if blank
| | 03:43 | pages are there and that the Bleed
and Slug has been set up correctly.
| | 03:49 | So to create your custom profile you
can't just edit the basic profile alone,
| | 03:54 | you have to create a new one, and to do
that just click the + symbol underneath
| | 03:58 | the list of profiles, and then
give it a name. So we will call this
| | 04:04 | Bliss_Magazine preflight check, and
then you would go through here and check on
| | 04:12 | the items that you want to include.
Like for example that you don't want to
| | 04:15 | include spot colors and so on.
| | 04:17 | So you could go through here, and then
click Save when you are done. I'm not
| | 04:23 | going to go through here and check
everything off, and then this is how you
| | 04:26 | would create a new profile. But let
me show you another way to create a
| | 04:29 | profile. So you can go through here and
check off all the other conditions that
| | 04:33 | you want this profile to check for, and
I will leave that up to you. But I also
| | 04:37 | want to tell you how you
can share these profiles.
| | 04:40 | Once you have created a profile, you
need to click Save, as I just did to name
| | 04:45 | it, and then you highlight it, and then
you can export it as a standalone file,
| | 04:51 | save it on your desktop, save it to
the server. It ends with IDPP or InDesign
| | 04:56 | Preflight Profile. When somebody has
exported a profile, other people can
| | 05:02 | import it, and you do that again,
through this Preflight Profiles dialog box.
| | 05:07 | Go to that same menu underneath the
list of profiles and choose Load Profile.
| | 05:13 | In this case I have a complete or
fairly complete profile already created for
| | 05:17 | you. It's inside the Files folder,
which is inside the Chapter 10 exercise
| | 05:22 | folder, Bliss_Mag.idpp. Go ahead and
open it, and did you notice that there is
| | 05:28 | also an Embed command. Embedding a
profile embeds the profiles within this
| | 05:34 | document, so that anybody who
opens up this document gets the profile
| | 05:38 | automatically. You don't have to
export it. They don't have to load it. It is
| | 05:43 | part of this document, and that is what
InDesign will check against by default.
| | 05:47 | So choosing Embed Profile would be a
good idea for when Preflight create a
| | 05:51 | profile, or maybe your commercial
printer creates a profile, and would like you
| | 05:55 | to use that all the time in the files
that you are going to be sending to them,
| | 05:58 | and in fact already know if your
printers are planning on doing that.
| | 06:02 | So we have Bliss_Mag profile. That's
the one that you just loaded. Let's click
| | 06:05 | OK. Once you go back to Preflight, it
doesn't automatically switch you to the
| | 06:10 | last edited, or last loaded Preflight
Profile, you actually have to select it
| | 06:15 | from this pop-up list.
| | 06:16 | So choose Bliss_Mag, the one you just
loaded. You can see its checking and
| | 06:22 | checking, and might take a little while,
and now it says that we have 27 errors
| | 06:27 | because I checked for few other things
in this profile, and we will take a look
| | 06:31 | at a few of them. We are not going to
correct all of them in this exercise. But
| | 06:35 | let's see what is says.
| | 06:36 | So for Links, we have a missing link
and it's candy piece.jpg. That was the
| | 06:41 | missing piece of bonbon candy. If we
go to the Links Panel menu, you can see
| | 06:46 | that indeed it is missing. Under Color,
color space not allowed. Let's make
| | 06:53 | this little larger. What could that
mean, Graphic Frame go to page one, and
| | 06:59 | it's selecting the entire frame.
| | 07:02 | Remember that if you are not sure what
the error could be, select the name of
| | 07:06 | the error, and in the Info Panel it
will tell you what the issue is. This issue
| | 07:11 | is that the fill of this frame uses an
RGB color, and part of the profile is
| | 07:16 | that RGB and spot colors are not
allowed in the document. So it's flagging
| | 07:21 | things that are filled with RGB color,
or stroke with RGB, or actually RGB
| | 07:26 | images, and if I open up my Swatches
Panel, and make the fill color active, you
| | 07:34 | can see that indeed -- oh, my goodness,
how did this RGB is sneak in here?
| | 07:38 | So I can double-click it, and change it
to CMYK, and the Preflight Panel thinks
| | 07:45 | about it for a while, and gets rid of
that problem. So you would go through
| | 07:49 | here, checking each problem, and
correcting them as much as you could.
| | 07:53 | So in this case, I select chocolate 101,
and the problem here is not that it's
| | 07:59 | overset, but that the text content uses
an RGB color. Let's see where that is.
| | 08:04 | I will click 2, oh, here it is. It
selected down here, but it's really
| | 08:09 | zoomed-out. Let me zoom-in a bit. So
this text apparently is stroked with an
| | 08:22 | RGB color. Who is the designer who
created this thing, I want to find him?
| | 08:26 | Let's change this to CMYK.
| | 08:33 | What other things are we checking on?
Images and objects, image resolution.
| | 08:38 | What's the problem with this image?
This one right here, this large one. The
| | 08:45 | problem is that it has to be at least
225 dpi; it's only 94 dpi. I think this
| | 08:51 | should say ppi. The fix is to direct
select the image and use object transform
| | 08:57 | scale, to change the scaling applied,
or edit the source file. I love this.
| | 09:01 | This is like getting a little
manual with every copy of InDesign.
| | 09:05 | Notice that you also have these next
error, and previous error on the list.
| | 09:09 | Triangles, sort of like how we have in
the Links Panel and Link Info. So you
| | 09:18 | could quickly zip through all of the
errors in your document, and read what
| | 09:24 | info says to do to fix it, and get a
close-up view of the problem. A little
| | 09:29 | faster than clicking here
and opening up Link Info.
| | 09:32 | So that's basically how creating a
Custom Preflight Profile can help you save
| | 09:37 | time and prevent errors on press,
and it's also a great way to help your
| | 09:41 | colleagues, or your interns, or your
freelancers create problem free files,
| | 09:47 | just like you know how to do yourself.
| | Collapse this transcript |
| Generating preflight reports| 00:00 | So when you are working in InDesign and
you have got a layout that has a whole
| | 00:04 | bunch of Preflight errors, quite into
whichever profile you are using, such as
| | 00:09 | this one does. This is Bliss_Magazine-
03 that you can open from the Chapter 10,
| | 00:15 | exercise folder, in the 10_03 folder.
If you look down here in Preflight status
| | 00:20 | bar area, 27 errors, it would be nice
to be able to document that somehow.
| | 00:25 | I mean, you could, I suppose open up the
Preflight panel and take screenshots of
| | 00:32 | this. But there is a much easier way
to do that. You can create a Preflight
| | 00:36 | report, so to do that, go to the
Preflight panel menu, and choose Save Report.
| | 00:43 | Give the report a name. I will call it
Bliss Magazine preflight report. We will
| | 00:52 | save it right on the Desktop, and
notice that it's going to automatically
| | 00:55 | export its PDF. You could alternatively
choose a text file, perhaps you want to
| | 01:01 | do some sort of automated text
processing with this document or you want to
| | 01:04 | bring it into an InDesign layout and
format it. But we will just leave it as
| | 01:08 | PDF and click save.
| | 01:12 | The Preflight report opens up
automatically in whichever program you have set
| | 01:16 | to open up your PDFs. Here we have
Acrobat and it goes through the list of
| | 01:20 | problems including the page number and
what the Preflight report is checking
| | 01:27 | for, what the requirement is, and how
to fix it. So this is something that you
| | 01:32 | could printout and attach to the layout
and give it to like an intern, to say,
| | 01:38 | hey fix this, or you could return it
to a freelancer and say, please fix all
| | 01:41 | these problems, or may be your printer,
and you get a problem Java file from a
| | 01:46 | designer, and you want to return it to
them. There are lots of times, when you
| | 01:50 | might want to generate a Preflight report.
| | 01:54 | Now this is going to generic, what I
would like to show you is that you can
| | 01:56 | actually customize this report. It's
based on a template, that's installed in
| | 02:01 | your InDesign program file and you
can edit that template to include your
| | 02:05 | company name, your own branding, that
kind of thing. So let's close this, and
| | 02:12 | I'm on the MAX, I'm going to jump to
the Finder. Inside my Application folder,
| | 02:17 | inside my Adobe InDesign CS4 folder,
there is a folder called Scripts and
| | 02:22 | inside the scripts folder,
there is one just for Preflight.
| | 02:26 | Now this is the JavaScript. That
creates the Preflight reports and this is the
| | 02:31 | Preflight report template. It ends with
.indt. So what I would suggest that you
| | 02:36 | do is duplicate this. I'm just going to
press Command+D on the Mac to duplicate
| | 02:42 | it, and I'm going to rename the copy,
original, incase I ever want to go back
| | 02:49 | to it. The Preflight report that
InDesign uses has to use this name for the
| | 02:54 | template. And then we just edit the
PreflightReport.indt, that's simple. Just
| | 03:00 | by double clicking on it, which will
open it up as an untitled document in
| | 03:04 | InDesign. And here you can edit
whatever you would like except I would not mess
| | 03:09 | around with the stuff in between these brackets.
| | 03:11 | These are variables that get filled in
from the JavaScript. But you can do the
| | 03:15 | things outside of the brackets, for
example, you might want to say, lynda.com
| | 03:23 | report_title or apply different color
to this table header, something like
| | 03:27 | that. I will just leave it as lynda.com;
I think may be I will change the color
| | 03:31 | of lynda.com to blue. There we go.
| | 03:38 | Now you want to save this, with the
same name in that same folder, as a
| | 03:45 | template. So choose, Save As, you want
to save it as a template and give it the
| | 03:50 | exact same name, I can just click on
here to fill in that name. And Save, yes
| | 03:56 | we want to replace the existing one,
and close the document. So now we are back
| | 04:01 | in Bliss_Magazine-03 and let's run
another report. Choose Save Report from the
| | 04:07 | Preflight menu, I will give it a
slightly different name, we will just call it
| | 04:11 | Preflight Report2, Save, and there is
lynda.com InDesign Preflight Report.
| | 04:21 | So being able to create reports is a
wonderful way to document all the issues
| | 04:25 | that are happening with the layout and
to have something to go by when you are
| | 04:28 | correcting them. And Live Preflight
itself is such a boon to designers and page
| | 04:34 | production people everywhere, and to
the printers who love them. I think that
| | 04:39 | if I had to choose three top features,
Live Preflight would definitely be one
| | 04:43 | of those top three features
| | Collapse this transcript |
| Preflighting a book| 00:00 | Managing multiple layouts by adding
them to a single book file is a great way
| | 00:04 | to speed up production tasks like
synchronizing styles in between your layout
| | 00:09 | documents or masters or putting them
all at once and so on. Well, happy news,
| | 00:15 | the new Preflighting feature has been
integrated into books as well, which
| | 00:19 | means that you can quickly Preflight
all the chapters in your book or all
| | 00:23 | collection of documents using the
same profile, printout master Preflight
| | 00:28 | reports, and even see Preflight
status feedback right inside the Book panel
| | 00:33 | without having to open the documents.
| | 00:35 | So to follow along, go to your Chapter
10 exercise folder and look in 10_04 sub
| | 00:41 | folder. You will see a folder full of
catalog files and open up the one called
| | 00:46 | Catalog.indb, which is this book file.
And a book file was just created by
| | 00:51 | going to New > Book and then we just
added these various InDesign documents to
| | 00:56 | the book. So let's say that I just
want to Preflight the Intro document, I
| | 01:02 | could go to the Catalog Book panel, or
whatever the name of your Book panel is
| | 01:06 | called and choose Preflight Book, and
you see, you can just pick and choose
| | 01:10 | which documents you would like to
Preflight. But actually I want to Preflight
| | 01:15 | the Entire Book, all five
of these InDesign documents.
| | 01:18 | Now you can choose which profile to
use during the Preflighting, your Basic
| | 01:23 | profile or a custom profile that you
have created. I have created one called
| | 01:28 | Catalog preflight, or maybe in your
work flow different documents have
| | 01:32 | different profiles that you are
embedding into the documents. And so these guys
| | 01:37 | could have different profiles embedded
into them and the one single run of the
| | 01:40 | Preflight command will use those
different profiles, according to the different
| | 01:44 | documents which is so cool.
| | 01:46 | You should choose whether or not you
want to include things on layers. Maybe if
| | 01:50 | you have, I don't know, overset text on
a hidden layer, you really don't care.
| | 01:55 | You are checking so that maybe you do
care. Also check on or off, if you want
| | 01:59 | the Preflight to look at the objects on
the Pasteboard or things that you have
| | 02:03 | set to be non-printing and it can
generate one master report of this Preflight run.
| | 02:08 | But right now, I'm just going to click
Preflight. So without needing to open up
| | 02:14 | every single, individual document,
InDesign run through and gave us a little
| | 02:19 | Preflight status here of what's wrong
with each of these files. And I can just
| | 02:23 | double click on each one, and I could
open them up and fix the errors and then
| | 02:28 | run the Preflight again.
| | 02:29 | I'm sure that all companies who use
InDesign's book feature will love being
| | 02:34 | able to Preflight all the documents at
once with the same custom profile or to
| | 02:38 | run them with embedded different
profiles. It helps to standardize workflows
| | 02:42 | and reduce problems on press and
because it's built right into InDesign it's so
| | 02:47 | convenient to use, it's great.
| | Collapse this transcript |
|
|
11. Online Services for Creative ProfessionalsFinding support in the InDesign community| 00:00 | Like many other software companies
these days, Adobe is moving into the world
| | 00:05 | of Software As Service, which you
may have seen as the acronym SAS. With
| | 00:10 | InDesign CS4, they started to integrate
their online services right on to your
| | 00:14 | Desktop, so that when you are running
InDesign CS4, you have constant access to
| | 00:20 | some of these online
services for creative professionals.
| | 00:23 | Let me explain the concept a bit more
and how it can help us all, right now
| | 00:27 | with our CS4 layout projects. With
InDesign CS4, they started to integrate
| | 00:33 | their online services right on to your
Desktop while you are working in your
| | 00:36 | layouts. Let me explain the concept a
little bit more and how it can help you
| | 00:41 | right now when you are working in
InDesign CS4. I'm looking at the Adobe Labs
| | 00:46 | site, and if want to stay on top of
what Adobe is doing with online services,
| | 00:50 | you should definitely bookmark this site.
| | 00:52 | I have gone to the Technologies page
and you will see projects that are in
| | 00:58 | testing right now, that they at some
point are going to be rolling out. One of
| | 01:03 | these projects is Photoshop Express,
and if you go to Photoshop Express on
| | 01:08 | Adobe Labs, you can download some
software, you can also go right out to
| | 01:13 | Photoshop Express and go to the sign-
in page, and talk about in the forums.
| | 01:18 | What is Photoshop Express, it's like
Photoshop Elements that are built into a
| | 01:23 | website. So for a free or low cost
account, you can upload up to 2 Gigabytes of
| | 01:33 | images, you can run Photoshop Elements
right through the web browser on your
| | 01:38 | files and you have your own Photo Gallery.
| | 01:45 | Another online service that you may
have heard about is acrobat.com. So you go
| | 01:49 | to acrobat.com, and you can do things
like, share documents, be a Buzzword, you
| | 01:54 | can share your screen with ConnectNow,
you can upload files and have them
| | 01:59 | create a PDF for you even if you
don't own Acrobat. You can even just store
| | 02:03 | your files online.
| | 02:05 | And earlier versions of Acrobat and
Bridge had menu commands that let you start
| | 02:10 | a meeting with Acrobat Connect, which
was the software that they brought from
| | 02:13 | Macromedia called Macromedia Breeze.
Well, with Acrobat Pro version 9, which is
| | 02:19 | released this year in 2008, you can
show your screen and collaborate on
| | 02:23 | documents directly from within the
program because it hooks into acrobat.com.
| | 02:28 | With InDesign CS4, we have three hooks
into the online community. We have got
| | 02:33 | Community Help, which is in your
Application Bar, this little search field. I
| | 02:38 | talked about it in some detail in the
videos about the interface, but basically
| | 02:42 | it's a way for you to enter in a search
term for something that has to do with
| | 02:47 | InDesign and the browser immediately
starts up and searches for that term in
| | 02:53 | Community Help results.
| | 02:55 | So some of the answers come from the
Adobe website, but some of the answers
| | 02:59 | comes from third party companies like
CreativeTechs, and lynda.com and even my
| | 03:04 | blog indesignsecrets.com. Two other
services are under the Window menu, if you
| | 03:11 | go to Extensions, Kuler, which I will
be talking about in different video. And
| | 03:17 | under the File menu, Share My Screen,
for both of those you need to have a free
| | 03:23 | adobe.com accounts. You don't
need that to use the Community Help.
| | 03:28 | If you want to, you can log in and out,
as you use those individual panels and
| | 03:33 | commands. But there is one panel that
you might want to check out under the
| | 03:38 | Extensions flyout menu, that's
Connections. Connections let you enter your
| | 03:43 | Adobe ID, your e-mail address, and
password, and then log in, so that you
| | 03:48 | remain logged-in while you
are working with InDesign.
| | 03:52 | That way, you can use some of the
services that require you to log in, without
| | 03:56 | having to constantly enter your e-mail
address. If you don't have an Adobe ID,
| | 04:00 | it's very simple to create one. There
is handy dandy little link right here,
| | 04:03 | it's free. You don't need to give them
any specific information other than the
| | 04:07 | e-mail address and you can have
multiple Adobe IDs, if for some reason you want
| | 04:11 | them, as long as you have a
unique e-mail address for each one.
| | 04:15 | Note at the bottom there is a check box
for, Remember me on this computer, and
| | 04:19 | it's important if you are using more
than one CS4 application and you probably
| | 04:24 | are, you might as well turn that on
because many of the CS4 apps have hooks to
| | 04:29 | online services that you will need to
be entering your Adobe ID and password
| | 04:34 | too. Of course, if you are sharing a
computer with lots of other people, you
| | 04:37 | will probably don't want to do that.
Once, you are logged in, you will find it
| | 04:40 | faster to start using Kuler, and Share
My Screen, but I'm going to close it for now.
| | 04:46 | In the coming months, and certainly in
the next version of InDesign, is it too
| | 04:50 | early yet to start talking about CS5?
Of course not, I fully expect to see
| | 04:56 | Adobe come out with more extensions,
more goodies that will appear under our
| | 05:00 | little Extensions menu appear, to
flush out that interesting little sub menu.
| | 05:06 | Maybe we could have a way to share
snippets or styles or hook into commercial
| | 05:11 | printing provider's websites, or share
templates, I don't know, share recipes.
| | 05:16 | The possibilities are intriguing.
| | 05:18 | In the meantime, we have the first two
examples of online desktop integration
| | 05:23 | in InDesign CS4, Kuler and Share My
Screen. Check out the other videos in this
| | 05:27 | chapter to learn more about them
| | Collapse this transcript |
| Using the Adobe Kuler panel to share swatches| 00:00 | Do you know what Kuler is? Kuler. It's
an Adobe Labs project that was released
| | 00:06 | publicly, I don't know, couple of
years ago I think. On the Kuler website,
| | 00:11 | which you can see right here kuler.adobe.com,
you can see color palettes that
| | 00:15 | other designers have created and
uploaded to the site, kind of like how people
| | 00:19 | upload pictures to photo sharing sites.
| | 00:22 | So I could select one of these palettes
and see what people uploaded and then,
| | 00:29 | if you are signed-in. You can comment
on them and you can see them large and
| | 00:33 | small, and view them by the Most
Popular or Highest Rated and so on. The point
| | 00:39 | being that if you sign in to the
Kuler website, then you can download these
| | 00:43 | palettes as ASE files, Adobe Swatch
Exchange, which Illustrator and Photoshop,
| | 00:49 | and InDesign and the other creative
suites can load from their Swatches panel.
| | 00:53 | So it's like a color sharing site.
Well, in InDesign CS4, they have brought
| | 00:57 | Kuler into InDesign. To see it, go to
the Window menu, go down to Extensions
| | 01:04 | and choose Kuler. And what you see
here are some of the Highest Rated panels
| | 01:10 | that people have uploaded, and if you
want to refresh this list because you can
| | 01:14 | see a lot of these are from 2006-2007,
well actually maybe that's why they have
| | 01:18 | the Highest Rated.
| | 01:19 | Let's go here and choose Newest and
then Kuler goes out to the website, so this
| | 01:25 | requires that you are connected to the
internet for this to work and finds the
| | 01:29 | newest ones. Let's go back to Most
Popular. If you find a color panel that you
| | 01:36 | like here, you can download it
directly into your Swatches panel in InDesign.
| | 01:41 | So if you like these color panels,
like this one looks little fun Cherry
| | 01:45 | Cheesecake, you can select it and there
is a pop up menu of things you can do.
| | 01:49 | You can edit it, you can add to
swatches, or you can just click the Add to
| | 01:53 | Swatches button at the bottom of the
Kuler panel, which bypasses the whole ASE
| | 01:57 | thing. So you don't need to export to
ASE and then load it, you can just add it
| | 02:02 | right into InDesign.
| | 02:03 | So I clicked it and did anything
happen? Let's take a look. Here we are in
| | 02:07 | Swatches, and here are the colors from
that theme. Now one thing is that, all
| | 02:15 | the colors come through as RGB, and I'm
hoping that Adobe fixes this, or adds a
| | 02:20 | little bit of extra programming to
it in InDesign so that the colors can
| | 02:24 | optionally be converted to
CMYK as you bring them in.
| | 02:27 | But it's a simple thing to quickly
convert them at once; I can just select all
| | 02:32 | these RGB colors, right click on any of
them, choose Swatch Options, change it
| | 02:38 | to CMYK and click OK. There,
that's not too bad, does it?
| | 02:42 | Now you can also work with creating
colors like Illustrators really neat color
| | 02:48 | interface. Its starting with the
selection of five different colors arranged
| | 02:52 | around a color wheel, that's the hue
and then the brightness is on the sliding
| | 02:58 | basis, this way, and the saturation
goes from inside to out and what you do is
| | 03:03 | you say, what is the base color. So
let's say that you wanted the base color to
| | 03:07 | be this, blue, and then you
select a color harmony rule.
| | 03:11 | So let's say, we want Triads of
that blue and InDesign's Kuler panel
| | 03:17 | automatically makes Triad to that
color and then again you can add this to
| | 03:20 | Swatches. You can also say well, the
main color in my document is this blue
| | 03:25 | color here, and I would like this to
be the base color. So this is currently
| | 03:30 | the fill color, and then you can click
this icon right here, add the current
| | 03:34 | fill color as the base color. And now
these are Triads of this base color. You
| | 03:39 | like that; download that to Swatches.
Change these to CMYK, and experiment with
| | 03:51 | changing those colors here.
| | 03:57 | You can also upload your own themes to
Kuler; you can't like drag Swatches from
| | 04:02 | here to Kuler. But you can't create
your own colors right here using the color
| | 04:07 | wheel and the harmony rules. It is a
heck of a lot of fun to play with Kuler,
| | 04:11 | and it's a great inspiration too if
you are tired and you are using the same
| | 04:15 | old colors. Just pop open the Kuler panel,
and grab something that looks good to you.
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| Sharing your InDesign screen on Acrobat.com| 00:00 | You know when you are almost done working on
a file for a client. So you send them a PDF
| | 00:06 | and then they call you up and they will
say, "This part on the left, can you do
| | 00:10 | sort of move it down and can you make
this color a little deeper?" You both are
| | 00:14 | on the phone you both looking at
printout but it's really hard to communicate
| | 00:17 | that way. So you have to wait for the
client to actually markup a PDF and send
| | 00:22 | it you. Or you have to actually drive
down to the client and sit with them,
| | 00:26 | heavens to market trade!
| | 00:28 | That's why one of my favorite ways
of collaborating with the client on a
| | 00:32 | project that still underdevelopment is
by sharing my screen and talking to them
| | 00:37 | on the phone while we both can see
what's happening on my screen, or I can
| | 00:41 | trade and see what's on her screen and
she brings up the PDF file for example.
| | 00:47 | In InDesign CS4 they have included
that screen sharing software for free. I
| | 00:52 | love it. It's called Share My Screen
and you will see it under the File menu.
| | 00:57 | It actually uses Acrobat.com free
screen sharing service called ConnectNow. So
| | 01:05 | if you are using Acrobat 9, you will
see a ConnectNow menu item in dialog box.
| | 01:10 | The InDesign name for it is called
Share My Screen and here is how it works.
| | 01:15 | All you to do is choose File > Share My
Screen. You need to have an Adobe ID in
| | 01:21 | order to use this service and an
Adobe ID is free. You can create one right
| | 01:26 | here if you would like. If you
already have one you just enter your e-mail
| | 01:29 | address and you password or if you
had already answered it in the Connect
| | 01:34 | dialog box, which is under the Window
Extensions menu. Then you are logged in
| | 01:39 | all sorts of these online services.
Other wise to need to do this every time
| | 01:42 | you want to share your screen. But
I'm going to go ahead and enter in my
| | 01:46 | information and you can turn on
Remember Me on this computer if you would like
| | 01:53 | and choose Sign In.
| | 01:57 | So what happens is ConnectNow software
is one of these online hosted solution.
| | 02:02 | So it loads up in your browser and I
have already set this up but notice that
| | 02:07 | you can customize your Meeting URL. The
Meeting URL is the URL that you gave to
| | 02:12 | your client your colleagues, your
Freelancers for them to enter in their
| | 02:16 | browsers to meet you in this room. You
can also send an e-mail invitation. This
| | 02:20 | will bring up my Default e-mail
program and include this in the body of the
| | 02:25 | message and it will also has some text
like Please Meet me in this Room at such
| | 02:29 | and such time. Of course it will wait
for me to send it and enter and who is it
| | 02:32 | supposed to go to.
| | 02:34 | But I have already told my client that
I want to share the screen and they are
| | 02:38 | on the phone with me right now and I
said, "Why don't you just go to your
| | 02:41 | browser and enter in my Meeting Room URL
?" So I'm waiting for the client to log
| | 02:48 | on and you will see this is like many
pods are what they call them. They are
| | 02:52 | like little panels with the various
things that you can do and at the bottom
| | 02:57 | the horizontal one lists
who is in the room right now.
| | 03:00 | So I'm the Host and I have already
uploaded a picture of myself my favorite
| | 03:04 | little ducky picture, and now I'm
notified that my client at Lynda.com would
| | 03:09 | like to come in. I could say No, or I
can say every time that they come into my
| | 03:15 | Connect room. I don't have to be
notified they can just automatically log in.
| | 03:18 | so I will say Accept and that person
from Lynda.com just came in. We can chat
| | 03:24 | to each other or I could share the notes.
Like right now I could say, "who are
| | 03:29 | you?' And wait for my client to reply.
Since some of these clients will have an
| | 03:34 | account. That is their company name of
course, not their actual personal name.
| | 03:38 | It's my client Kirk. I can also
type notes here for people in the room.
| | 03:43 | Now in this ConnectNow room there is a
limit of three people. Yourself as the
| | 03:48 | host and two other guests. They don't
have to have Adobe.com accounts by the
| | 03:53 | way. They can log in as a guest. So I
can say, "Kirk, remember that the old
| | 04:03 | version is in your Inbox". Let's try
that again. Select that and make it bold.
| | 04:13 | Here we go. So you can do all sorts of
fun stuff here. And what I want to do is
| | 04:17 | share my computer screen let's just
jump right in. There is so much to talk
| | 04:20 | about in this program that probably
Lynda.com should be doing a title on it but
| | 04:24 | right now I just want to show you how
you would just share your InDesign layout
| | 04:27 | with the client.
| | 04:29 | So I just click Share. Now I have
shared before. The first time that you share
| | 04:33 | you are going to get a little dialog
box that says you need to have a Plug-in
| | 04:36 | installed and a program will offer to
download and install it for you. So say
| | 04:41 | yes and it just takes a second, at
the moment or by it looks like it's not
| | 04:45 | going to progress but it will finish
in about a minute or two and then the
| | 04:48 | Adobe ConnectNow window
redraws and you come to this point.
| | 04:52 | So just reminding you, this is what
you will see, your document with this
| | 04:56 | little panel floating on top. Anybody
else who is attending this meeting is
| | 05:01 | attending through their browser window.
And they will see all of the ConnectNow
| | 05:05 | stuff on their right hand side. Your
document in the main content area and then
| | 05:10 | this weird little grayed out box area
where you are see this panel. There's
| | 05:14 | really not much you can do about it other
than minimize that panel so they don't see that.
| | 05:18 | I'm going to click OK and here is
that panel that's causing me all sorts of
| | 05:24 | gray box. And then now you just switch
back to whatever program you want.
| | 05:27 | It doesn't have to be InDesign. You could
share a Photoshop file. You could share
| | 05:31 | an Acrobat; you can share your desktop,
e-mail program whatever you would like.
| | 05:35 | But of course it's built into InDesign;
it's kind of the point.
| | 05:37 | So now I can say I'm talking on the
phone with my client and we are both
| | 05:41 | looking at the same thing and the
client could say can you move this higher up
| | 05:45 | or lower down or maybe if there is
two people and I'm talking to one of the
| | 05:49 | clients than the other person might add
something in the chat window with their
| | 05:53 | own comment, so they are not
interrupting us and its a lot a easier for two
| | 05:58 | people to collaborate.
| | 05:59 | You can also even Annotate but on the
screen. So if I click the Annotate panel
| | 06:04 | down here and say Start. It freezes
the screen display and I can say, oh! You
| | 06:11 | mean this part right here. Or should
I drag something large over this thing
| | 06:17 | here or you can undo. You can make
Shapes. You can even then save this image
| | 06:22 | it's like a screen image as a file.
You can type stuff. So you can annotate things.
| | 06:27 | Say that you both are looking at a
Flash file and you don't know how to edit
| | 06:31 | Flash or you don't have Flash but the
client says please tell the developers to
| | 06:34 | do X Y or Z. You could freeze the
screen and start marking it up as you need
| | 06:39 | to. I'm going to click Stop and then
we are just going to end screen sharing
| | 06:43 | for now just by clicking the X right here.
| | 06:46 | So it stops the screen-sharing
portion but you are still in a same Connect
| | 06:49 | room. You could share your screen
again and you can, even if the person has
| | 06:54 | logged in with their own accounts, you
can trade the control of the desktop. So
| | 06:59 | that you can see their
screen, while you are talking.
| | 07:02 | I have a connect account that I pay
for every month and so it allows up to 15
| | 07:08 | people in the same room. If you need to
we have more than two people attending.
| | 07:12 | You can do the same thing go to Adobe.
com and sign up for Connect.com account
| | 07:17 | but otherwise just use the Share My
Screen it is so simple to use and it really
| | 07:22 | makes collaborating with clients and
colleagues much easier. I would love
| | 07:26 | having it right here in InDesign.
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ConclusionGoodbye| 00:00 | Thanks everybody for watching these
videos on the new features in InDesign
| | 00:04 | CS4. I hope you have got a lot out of
them. I know I had a lot of fun making
| | 00:09 | these videos. If you would like to
learn more about InDesign be sure to check
| | 00:13 | out the blog and podcast that
I co-host with David Blatner at
| | 00:17 | indesignsecrets.com.
| | 00:18 | If you would like to learn more about
me and my training business source or sign
| | 00:22 | up for DesignGeek, the newsletter
that I write. Go to my website at
| | 00:25 | senecadesign.com. And until we
meet again, this is Anne Marie.
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