IntroductionWelcome| 00:04 | Hi, I'm David Blatner.
Welcome to InDesign CS5 Essential Training.
| | 00:08 | InDesign CS5 is a
professional design and layout tool.
| | 00:12 | It's used by most graphic designers, magazine and book
publishers, newspapers, and ad agencies around the world.
| | 00:19 | InDesign CS5 lets you precise
positioning text and graphics on your page,
| | 00:23 | and then output your documents for
either print or as interactive files.
| | 00:27 | In this course, I'll show you everything you need
to start building your high quality InDesign documents.
| | 00:34 | I'll teach you how to create a new document
and build strong and flexible master pages,
| | 00:39 | which can really speed up laying out your file.
| | 00:42 | I'll explain how to bring text
and graphics onto your page,
| | 00:45 | manipulate them, even animate them
to make your designs jump off the page.
| | 00:50 | And I'll discuss how to ready
your pages for final output,
| | 00:53 | whether that's for print, PDF,
| | 00:55 | or a Flash SWF file.
| | 00:58 | However, InDesign CS5 is so rich that every
feature relates to every other feature and that's why I recommend
| | 01:05 | that you watch this Essential
Training title once all the way through
| | 01:09 | and then go back to watch specific
movies when you need a review.
| | 01:13 | I've doing page layout for 20 years and I've been
working with InDesign since it came out a decade ago.
| | 01:19 | As the cohost of indesignsecrets.com,
| | 01:22 | I've learned this program inside and out,
| | 01:24 | and I'm looking forward to sharing
its secrets with you. So come on,
| | 01:28 | let's have some fun with
InDesign CS5 Essential Training.
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| What is InDesign CS5?| 00:00 | InDesign CS5 is a professional design and layout
tool for producing high-quality, engaging documents for both
| | 00:07 | print and on-screen delivery.
| | 00:09 | While it was originally developed for the print magazine
market InDesign has become the number one layout application
| | 00:15 | in the world,
| | 00:16 | used by newspapers, book publishers, interactive developers,
professional photographers, and designers everywhere to
| | 00:22 | produce content in just about any format.
| | 00:25 | InDesign CS5 integrates with the rest of the
Adobe Creative Suite tools including Photoshop, Illustrator,
| | 00:31 | Acrobat, and Flash Professional, so users from any
profession can design, preview, review, and produce professional
| | 00:38 | content quickly and efficiently.
| | 00:40 | InDesign also works with common word processors such as
Microsoft Word and Adobe InCopy the import text and style it
| | 00:47 | with the most advanced
typographic tools on the market.
| | 00:50 | Print designers will appreciate the
efficient and intuitive tools for layout,
| | 00:54 | such as spanned columns and the ability to
have multiple page sizes in a single document.
| | 01:00 | Additional preflight and production features
ensure consistency and reduce document areas so that
| | 01:05 | you can be sure your file is ready for the press.
| | 01:08 | Now any designer can develop interactive documents by
making use of the animation presets and media options in
| | 01:15 | InDesign CS5. These intuitive and powerful
tools build on Adobe's Flash and PDF technologies,
| | 01:22 | letting you move from a static layout to a fully
functional user experience in just a few steps.
| | 01:29 | No matter what your output, print or interactive, you can
take advantage of the organization tools in Mini Bridge,
| | 01:35 | which places your hard drive full of
images and files at your fingertips.
| | 01:39 | Photographers and production artists will love the Gap tool
and Auto-fit features for resizing and adjusting graphics
| | 01:46 | until they look just right on your page.
| | 01:49 | The ultimate job of a layout
tool is high quality output,
| | 01:52 | and InDesign offers a wide selection of options
here from PDF/X-1a, destined for a printer,
| | 01:58 | to the Flash SWF file
format suitable for a Web browser.
| | 02:02 | Whether your building catalogs,
| | 02:04 | newsletters, or creating powerful presentations using,
you can use InDesign's collaboration and editorial tools
| | 02:10 | to review your files and even keep track of
changes and comments from your colleagues.
| | 02:15 | Adobe InDesign CS5 is a complete file creation
and output solution for any kind of publishing, putting the
| | 02:21 | power to design,
develop andw display in your hands.
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| Using the exercise files| 00:00 | Before we jump in and start learning
about InDesign's features and how to use
| | 00:04 | them, let me just say a quick word about
the exercise files available for you to use.
| | 00:08 | If you're a premium member of the Lynda
.com online training library or if you
| | 00:13 | own this title on disc, you have
access to the exercise files that I will use
| | 00:17 | throughout the training.
| | 00:19 | Let's look inside the Exercise Files folder.
| | 00:22 | The files have been broken down into chapters.
| | 00:24 | If you're following along, it's important
to open the correct file for each chapter.
| | 00:30 | In some cases, the InDesign
files are loose within the chapter.
| | 00:33 | In other instances, each
individual movie has its own files.
| | 00:38 | So if you're following along, it's
important to open the correct file for each movie.
| | 00:43 | Many of the files have the same name,
but are, in fact, significantly different
| | 00:47 | in order to show off or discuss
particular features in the program.
| | 00:51 | To open this document, simply double-
click on it, and it opens in InDesign.
| | 00:56 | If you see a dialog box like this one,
that says there are Missing or Modified
| | 00:59 | Links, go ahead and click Update Links.
| | 01:03 | That way, InDesign will automatically
link the files to the Links folder inside
| | 01:07 | the Exercise Files folder.
| | 01:09 | Also, if you see a dialog box saying
that you're missing fonts, you can go ahead
| | 01:14 | and replace them with fonts
that you have on your system.
| | 01:16 | One more thing about these files, at
the end of each movie, after I've moved
| | 01:20 | objects around or changed text or whatever,
you should close the file without saving it.
| | 01:25 | That's what I do.
| | 01:26 | So you'll see a nice clean file
at the beginning of each movie.
| | 01:30 | The reason I do this is so that you can
jump right to any movie you want, even
| | 01:33 | if it's in the middle of a
chapter and you won't be lost.
| | 01:36 | On the other hand, if you're a monthly
or an annual subscriber to the lynda.com
| | 01:40 | Online Training Library, you won't have
access to these files, but you can still
| | 01:45 | learn by either just watching what I
do or by following along using your own
| | 01:49 | text and image assets.
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1. WorkspaceUnderstanding the Application window| 00:00 | Before we jump into actually putting
text or graphics on the page, we'd better
| | 00:04 | stop and take a look at the various
elements of InDesign's application window,
| | 00:08 | because whether you create a new
document or open an already created one, you'll
| | 00:11 | see the same things.
| | 00:13 | The first thing we want to look at is
the application frame, basically that
| | 00:16 | which contains the entire application.
| | 00:19 | In Windows, there is a thing
called an application window.
| | 00:22 | On the Mac, it's an option.
| | 00:23 | And you can get to that option by
going to the Window menu and choosing
| | 00:26 | Application Frame on or off.
| | 00:29 | I like having it on, because it puts
the entire thing inside of a window.
| | 00:33 | It sort of contains the entire application.
| | 00:35 | But that's really up to you.
| | 00:36 | I'll click on this Maximize
button to fill the whole screen.
| | 00:40 | The other thing you'll find under
the Window menu is this item called
| | 00:43 | the application bar.
| | 00:44 | The application bar lives across the
top of the Application window and this
| | 00:49 | gives me a bunch of controls, which
we'll be covering in future movies.
| | 00:52 | It is an option to turn it on or off,
but I leave it on, I like having those
| | 00:56 | features right in front of me all
the time when I'm working in InDesign.
| | 00:59 | Now, just below the application bar,
there is a panel called the Control panel.
| | 01:04 | And the Control panel lets
you control items on your page.
| | 01:08 | That is another extremely
important feature in InDesign.
| | 01:11 | In other applications, it's
sometimes called the Inspector panel.
| | 01:14 | But here it's called the Control panel.
| | 01:16 | It gives you information about the objects
on the page and it lets you control them.
| | 01:20 | Now just below the Control
panel is the document window.
| | 01:23 | Up here in the upper left corner of
the document window is the name of this
| | 01:27 | current document, this
HanselandPetal_Catalog that I have opened here.
| | 01:31 | You can see that inside the document
window, there are rulers that run along the
| | 01:34 | left side and the top of the page.
| | 01:37 | So, those rulers are attached
to this particular document.
| | 01:40 | Now inside the document window,
there is an area called the pasteboard.
| | 01:44 | The pasteboard is just a big white area
that contains your document pages, which
| | 01:49 | is what we're seeing over here
right in the middle of the page.
| | 01:51 | But you can also use the pasteboard to
put stuff that you're not currently using.
| | 01:55 | Maybe you have an image that
you're not sure what to do with it yet.
| | 01:59 | You can just drag it off and put it on
the pasteboard out here and then put it
| | 02:02 | back on your document page when you're ready.
| | 02:04 | So that's what the pasteboard is all about.
| | 02:06 | Now, the document page has
this black line around it.
| | 02:09 | It's a little bit hard to see in this
screen, because we have an item, this blue
| | 02:13 | image actually bleeds off the side of the page.
| | 02:17 | So it's extending past the
edge of the document page.
| | 02:19 | But if you look closely, you'll see a
black line and that black line determines
| | 02:24 | the edge of the actual printed page.
| | 02:27 | So that's an important
thing to pay attention to.
| | 02:28 | Now you'll also see a number of
colored lines, like this red line around the
| | 02:33 | outside and inside here we have a
purple line and a pink line and so on.
| | 02:37 | Those lines are all guides. They don't print.
| | 02:39 | They're just there to be helpful for you really.
| | 02:41 | The pink guides, this magenta
guide along the top, is the top margin.
| | 02:45 | There's also another one at the bottom,
the bottom margin, but they're just guides.
| | 02:48 | You can ignore them if you want to.
| | 02:50 | The purple guides that are vertical
along here are your column guides.
| | 02:54 | So that will help you place text inside columns.
| | 02:57 | On the left and right side,
you'll see that the column guides are
| | 03:00 | actually overlapping the margin
guides, which is why you can't see the
| | 03:03 | pink guide underneath there.
| | 03:04 | Just outside the page, you'll see red guides.
| | 03:07 | These red guides are called bleed guides.
| | 03:10 | They're always on the
outside of the document page.
| | 03:12 | And again, they're there just to be
helpful, so that you know how far to extend
| | 03:17 | objects off the side of your page to bleed.
| | 03:20 | We'll be covering that in
more detail in future movies.
| | 03:23 | Now, there is one other thing that I
really have to point out, and that is the
| | 03:26 | Tool panel along the left side of the page.
| | 03:28 | Whenever you're constructing a
document, you need tools, right?
| | 03:31 | So this gives you all of the tools that
you're going to need to construct your document.
| | 03:35 | That's very important as well.
| | 03:37 | Now, along the top of the
Application window, there are menus.
| | 03:42 | I try and avoid the menus when I can,
because I like using keyboard shortcuts,
| | 03:45 | but, of course, the menu items are
there until you learn the keyboard shortcuts
| | 03:49 | for each of these features.
| | 03:51 | So obviously, you want to take a
little time and look through each of these.
| | 03:54 | Now, if you're used to coming from
PageMaker or QuarkXPress, I should point out
| | 03:58 | that these menus are actually very
similar to those other programs, but they
| | 04:01 | usually have different names.
| | 04:02 | For example, here the Object menu is
very similar to QuarkXPress's Item menu.
| | 04:07 | So, same basic idea, but different name,
Object versus Item, you get the idea.
| | 04:12 | Now there is a couple other windows off on the
side which you really need to pay attention to.
| | 04:16 | First, the Window menu.
| | 04:18 | InDesign has a lot of panels and sometimes
you're not sure where to find those panels.
| | 04:23 | Well, you can always find
them in the Window menu.
| | 04:26 | In the center section here, all of these
things are floating panels in InDesign.
| | 04:30 | This is where the majority of
InDesign's features live, inside these panels.
| | 04:34 | So, if you're looking for a panel, look here.
| | 04:37 | The Help menu, also very important.
| | 04:39 | If you're trying to find some help on
one particular feature, check out the
| | 04:42 | Help menu of course, but there is a couple
other things here which I want to point out.
| | 04:46 | Very important features.
| | 04:47 | For example, Deactivate.
| | 04:49 | Now I mention Deactivate, not because
we're going to be using it in this title,
| | 04:52 | but because, this thing always messes me up.
| | 04:54 | Whenever I need to move InDesign from
one machine to another machine, I always
| | 04:58 | forget to deactivate it.
| | 04:59 | So I'm warning you now, make sure
you deactivate first and then uninstall
| | 05:04 | and then you can move it to a new computer
and then activate it on that new computer.
| | 05:09 | It's a little thing, but it can
really cause you great headaches if you
| | 05:11 | don't deactivate first.
| | 05:12 | So, just pay attention to that.
| | 05:14 | There is some other stuff
here too, Updates, for example.
| | 05:16 | Adobe is constantly coming out with new
updates that fix little bugs and change
| | 05:21 | features for the better and so on.
| | 05:22 | So you want to keep on top of the updates.
| | 05:25 | So every month or two, select updates
from here, make sure you have the newest
| | 05:29 | free update for InDesign, just to make
sure that you're not running into any
| | 05:32 | problems downstream.
| | 05:34 | There's other stuff here too, like
the InDesign Support Center, which will
| | 05:37 | take you to Adobe's site, so you can find
technical notes and other help from Adobe, directly.
| | 05:42 | Very handy.
| | 05:43 | Again, once every month or two,
definitely check that out.
| | 05:46 | So, now that you know your way around
the document page, the document window,
| | 05:49 | the panels and so on, you are all set
to move on to the next step, which is to
| | 05:54 | learn about navigation:
| | 05:56 | zooming in and out, changing pages
and panning around your document.
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| Navigating pages| 00:00 | You won't get very far InDesign just by
staring at the first page of the document.
| | 00:04 | No, you need to learn how
to navigate the high seas;
| | 00:07 | zooming, panning around,
jumping from page to page.
| | 00:10 | So let's start with moving around
the page and from one page to next.
| | 00:14 | The basic way to do that
is to use the scroll bars.
| | 00:17 | You can scroll down and you can see
if I scroll down even further there are
| | 00:21 | those pages 2 and 3 on the next pasteboard down.
| | 00:23 | That's the way multiple pages work InDesign.
| | 00:26 | You have one pasteboard after another.
| | 00:28 | Each one has its own spread.
| | 00:29 | I can scroll back up, I can scroll to
the left and right and so on but you know
| | 00:34 | that is like the slowest possible
way to scroll around your document.
| | 00:37 | Those scrollbars, I just never use them.
| | 00:39 | Instead, I use a tool out here in the Tool
panel called the Grabber Hand tool or the Hand tool.
| | 00:45 | The Hand tool lets me move
around very interactively.
| | 00:49 | But I don't choose the tool from the Tool panel.
| | 00:52 | Instead I use a keyboard shortcut
because I really want to be efficient and the
| | 00:56 | keyboard shortcut is an Option+
Spacebar or Alt+Spacebar on Windows.
| | 01:01 | And that gives me the Hand tool temporarily.
| | 01:04 | So just as long as I need it, so what
you do is you hold on Option+Spacebar or
| | 01:08 | Alt+Spacebar and then click-and-drag.
| | 01:10 | As you click-and-drag, you move the
page around, you scroll, you pan, whatever
| | 01:14 | you want to call it.
| | 01:15 | So I'm sitting there and I'm
scrolling around and it's very efficient.
| | 01:18 | Now I could scroll or pan with the
grabber hand temporarily all the way down to
| | 01:23 | the next spread and then when I'm done I
just let go with modifier keys, and I'm
| | 01:26 | back to whatever tool I had before.
| | 01:28 | But the problem with doing this is that
it's very slow to move from one page to
| | 01:32 | the next, so I love the grabber hand
but I'm not typically going to be using it
| | 01:35 | for moving from one page to the next;
| | 01:37 | it would just take too long.
| | 01:38 | Instead, I'm going to use the Pages panel.
| | 01:41 | So let's head up to the Pages panel.
| | 01:42 | I can find that in the upper right
corner here docked on the side here.
| | 01:46 | I'll click on the Pages panel button
and out pops the Pages panel and I can see
| | 01:50 | all of the pages within my document.
| | 01:53 | There they are one, on top of the other.
| | 01:55 | Page one, two and three and so on.
| | 01:57 | Now I'm going to give you a little
secret trick here because like I said I
| | 02:00 | like being efficient.
| | 02:01 | So here is a little advanced trick for you.
| | 02:03 | I am going to reconfigure the Pages panel.
| | 02:06 | I'll show you how to reconfigure this so that
you can be more efficient with the Pages panel.
| | 02:11 | Right now pages 1, 2, 3;
| | 02:13 | that's pretty much all
that fits inside this panel.
| | 02:16 | Now I could make the Pages panel bigger but
screen real estate is always at a premium.
| | 02:20 | It's always best to use the
space that you have as best you can.
| | 02:24 | So to do that in the Pages panel, I'm
going to go to the Pages panel menu.
| | 02:28 | There's this little fly-out thing off on
the side here in the upper right corner.
| | 02:31 | I'm going to click on that and at the
very bottom of this fly-out menu, I'm
| | 02:35 | going to choose Panel Options.
| | 02:37 | Inside the Panel Options dialog box,
I'm going to turn off Show Vertically.
| | 02:42 | This is kind of an advanced trick
but this will really help you be more
| | 02:45 | efficient with the Pages panel.
| | 02:47 | Show Vertically off, click OK, and you can see
that suddenly, I see a bunch more pages here.
| | 02:52 | I don't see them all lined up one on top
of the other like QuarkXPress always did it.
| | 02:56 | But I do see them in a way, which
is more efficient use of the space:
| | 02:59 | right next to each other.
| | 03:01 | So here's the first spread and here is the
second spread, pages two and three, and so on.
| | 03:05 | That's the way I like using the Pages
panel because I like being efficient.
| | 03:09 | You can do it anyway you want.
| | 03:10 | Now back to what we're supposed to
be talking about, which is navigating
| | 03:13 | around our document.
| | 03:14 | So here we are, I want to jump it to
page five, let's say. How do I do it?
| | 03:19 | Well just double-click on the page,
double-click on page five and it jumps
| | 03:23 | me right to page five.
| | 03:25 | If I want to jump to a spread, let's
say the 2-3 spread, I double-click on the
| | 03:29 | numbers instead, double-click on that
and it takes me right to the spread.
| | 03:33 | So I can see both pages two
and three at the same time.
| | 03:37 | So double-clicking the Pages panel is great.
| | 03:39 | It can be efficient but not efficient enough.
| | 03:41 | If you're really trying to move
quickly through InDesign, you want to use the
| | 03:45 | keyboard shortcuts for
moving from one page to the next.
| | 03:48 | And you can find all of
those in the Layout menu.
| | 03:50 | Let's jump up here to the Layout menu
and you can see in this section here, you
| | 03:54 | can jump right to the First Page either
by choosing it from the menu or by using
| | 03:59 | this cryptic keyboard shortcut.
| | 04:01 | This is Shift+Command+PageUp.
| | 04:02 | Of course on Windows it
would be Shift+Ctrl+PageUp.
| | 04:06 | That's what that arrow with the two
little lines in it means; Page Up.
| | 04:10 | So that's how you would jump to the first page;
| | 04:11 | Shift+Command+PageUp.
| | 04:13 | Or you could jump to the last page with
Shift+Command+PageDown or the previous
| | 04:18 | or the next page with Shift+PageUp or
Page Down or the next spread, this is the
| | 04:22 | one I use almost all the time,
Option+PageUp and Option+PageDown.
| | 04:25 | Let's try it, Option+PageDown, there we go.
| | 04:27 | It goes to next spread.
| | 04:28 | Option+PageDown again, it goes
to next spread. Very, very handy.
| | 04:32 | Let's go back to the Layout menu just to
look at a couple of other things in here.
| | 04:35 | You can say go to a particular page
with Command or Ctrl+J. That way if you
| | 04:40 | wanted to go right to page two, you
would select that or I would just use the
| | 04:44 | keyboard shortcut, press 2, hit Enter or
Return and it takes you right to page two.
| | 04:50 | By the away if I just start looking at
this document and I don't know that I
| | 04:53 | went to page two, how does
InDesign tell me that I am on page two?
| | 04:58 | Well, there are two things that you
need to pay attention to, one is in the
| | 05:00 | Pages panel, you'll see that page
two is highlighted very slightly.
| | 05:04 | It's kind of a little bit more blue.
| | 05:05 | That's pretty subtle.
| | 05:06 | But that's what's going on there.
| | 05:08 | The spread is highlighted in black
and the page is highlighted in blue.
| | 05:12 | The other way that you can tell what
page you're on, and this is probably more
| | 05:14 | helpful, is in the lower
left corner it says page 2.
| | 05:19 | Now that is not just an indicator of what
page I'm on it's also an editable field.
| | 05:24 | I could come in here and select that 2
and change it to, let's say 7, hit Enter
| | 05:28 | and it'll take me to page seven.
| | 05:30 | So that is yet another way to
move among the different pages.
| | 05:33 | If you look really closely, there's
little buttons that take you to the first
| | 05:36 | spread, or the last spread, or the next
page, and so on down there in the lower
| | 05:40 | left corner as well.
| | 05:41 | So that is yet another way to navigate from
page to page within your InDesign document.
| | 05:46 | Now there's one more feature I want
to point out from the Layout menu and
| | 05:49 | that is Go Back and Go Forward,
because most InDesign users don't understand
| | 05:54 | what these things mean.
| | 05:55 | This is just like your web browser.
| | 05:58 | When you're surfing the web in Safari
or Internet Explorer or whatever, you can
| | 06:02 | use Go Back and Go Forward.
| | 06:04 | So if you're on a particular page and
you want to go back to where you were
| | 06:07 | before, you choose go back and it takes
you to whatever page you were last on.
| | 06:12 | Now once you've gone back,
you can move forward again.
| | 06:14 | There we go, now that's highlighted.
| | 06:16 | Go Forward and it takes you back.
| | 06:18 | So it's just like surfing in a web
browser, moving from one page to the next
| | 06:22 | around your document.
| | 06:23 | That's very handy when you are working
with really long documents especially.
| | 06:27 | You know, it's worth it to go over each
of these navigation features a number of
| | 06:31 | times and really get them down because
these are the features that you're going
| | 06:35 | to be using a hundred or
even a thousand times each day.
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| Zooming and magnifying| 00:00 | Even if you had a super high-resolution
computer screen, you'd sometimes still
| | 00:04 | need to zoom in to see details
and zoom out to see the big picture.
| | 00:08 | Now all of that is possible in InDesign
of course, once you know where to look.
| | 00:12 | I'm going to show you several
ways to zoom-in and out of your page.
| | 00:16 | The first method is the Zoom tool, which
lives down here at the bottom of the Tool panel.
| | 00:21 | That little thing that
looks like a magnifying glass.
| | 00:23 | The Zoom tool is very handy for zooming
in and out, but I never choose it. Why?
| | 00:28 | Because I want to be efficient,
so I use the keyboard shortcuts.
| | 00:32 | The keyboard shortcut for the Zoom tool
is on the Mac, Command+Ctrl+Spacebar, on
| | 00:38 |
| | 00:39 | Windows, it's just Ctrl+Spacebar.
| | 00:41 | So that gives you the Zoom tool and
you can see there's a little plus inside
| | 00:45 | the Zoom tool cursor.
| | 00:46 | Wherever I click with that
plus magnifier, it zooms in.
| | 00:50 | So if I want to zoom in on this
little area, I just click on it.
| | 00:53 | It zooms right in on that.
| | 00:54 | Now while I'm still holding down those
modifier keys, so I have that Zoom tool
| | 00:58 | temporarily, I can also drag out an area.
| | 01:02 | Dragging a rectangle with that tool
means zoom in as close as you can to
| | 01:06 | fit that on my screen.
| | 01:09 | See how that works?
| | 01:10 | When I let go of the modifier keys, I
go back to my previous tool, in this case
| | 01:14 | the Selection tool, that black arrow tool.
| | 01:17 | So now I know how to zoom in.
| | 01:18 | How do I zoom out again?
| | 01:20 | Well, I use the same keyboard
shortcuts, Ctrl+Command+Spacebar on Mac or
| | 01:25 | Ctrl+Spacebar on Windows, and then I
add the Option key on the Mac or the
| | 01:29 | Alt key on Windows.
| | 01:30 | So I'm basically holding down most of
my modifier keys, and I now have the same
| | 01:35 | cursor but it has a minus in it.
| | 01:37 | That means I'm going to zoom back.
| | 01:38 | I'll click with that and it zooms back,
click again and it zooms back a little
| | 01:42 | bit more, so that's really handy.
| | 01:45 | On the other hand, that's going to take
a long time and I have to click a bunch
| | 01:48 | of times before I zoom all the way
back to see the whole page again.
| | 01:51 | So instead of using that, I'm going
to zoom back with a different feature.
| | 01:57 | Now if I look in the upper left corner
of the document window, I can see that
| | 02:00 | I'm currently at 300%.
| | 02:03 | That's the zoom percentage that I'm in,
but if I look even farther up, up in the
| | 02:07 | Application bar, I think it says 300%,
but if I move my cursor on top of that,
| | 02:11 | you can see it the highlights, that's
an indicator that I can edit that number.
| | 02:16 | So I could come in here and type any
value, I want or I could use this little
| | 02:20 | pop down menu on this side and choose a value.
| | 02:23 | For example, I'll go back to 75%, so
that's another way that you can zoom in and
| | 02:28 | out of your page using the
Application bar Zoom Widget as they call it.
| | 02:32 | Now another way you could do it is by
going to the View menu, in fact most of
| | 02:36 | these zoom features are in here, not
all of them, but most of them are in the
| | 02:39 | View menu themselves and you can see
that Zoom In is here, Zoom Out is here.
| | 02:44 | The keyboard shortcuts for
those are Command+ equal or minus.
| | 02:48 | Although the equal key is actually the
same key as the plus, so internally in my
| | 02:53 | mind I think of this as Command+Plus
or on Windows Ctrl+Plus zooms in, and
| | 02:58 | Command+Minus or Ctrl+Minus on Windows
zooms out, so those are really handy.
| | 03:03 | But the ones that I use all the time are
Fit Page in Window or Fit Spread in Window.
| | 03:07 | A Spread is like a left hand and a
right-hand page next to each-other, so
| | 03:10 | Command+Option+0 or on Windows Ctrl+Alt+0,
zooms out to fit the entire Spread in the window.
| | 03:16 | In this case the Spread is just one
page so that's what it fits in the window.
| | 03:20 | I really like that feature a lot.
| | 03:22 | A couple of other things
that I should point out here.
| | 03:24 | Actual Size, is Command+1, goes to 100%.
| | 03:29 | This 100%, this Actual Size,
is not really actual size.
| | 03:33 | It's just sort of almost like Actual
Size and it's frustrating to me, so let me
| | 03:38 | just tell you a little bit about this.
| | 03:39 | It's based on this assumption that
Adobe makes that you're using a 72 dpi
| | 03:44 | monitor, and that's crazy because
the last time anybody used the 72 dpi
| | 03:48 | monitor was like 1987.
| | 03:50 | Really, really old monitors
were about as low resolution.
| | 03:53 | These days everyone uses high-resolution
monitors like 96 or 110 or even higher.
| | 03:58 | So this assumption of 72 dpi is totally
crazy, but it's what InDesign assumes.
| | 04:03 | It's what we're stuck with and that is
why, 1 inch in the Ruler here does not
| | 04:07 | equal 1 inch in the real world.
| | 04:09 | It's just one of those things that
you're going to have to deal with until we
| | 04:12 | can get Adobe to change this feature.
| | 04:14 | So 100% is Actual Size but not really
actual size, just something to keep in mind.
| | 04:21 | Now there are a couple of keyboard
shortcuts I want you to know about that
| | 04:24 | don't appear in the View menu and
it's sad that they're not there because
| | 04:28 | they're really handy.
| | 04:29 | One of them is Command+2, Command+2
goes to 200% or on Windows it's Ctrl+2.
| | 04:34 | Another one to go even closer and
Command+5 or Ctrl+4 goes to 400%, and then
| | 04:40 | Command+5 or Ctrl+5, now it doesn't go to 500%.
| | 04:44 | It goes to 50%, but I find I use
those all the time for moving in and out,
| | 04:49 | Command+2, 4 and 5 or Ctrl+2, 4
and 5 on Windows. Very, very handy.
| | 04:54 | Okay, one more sort of zoom-related
feature that I just want to point out;
| | 04:58 | a really handy feature InDesign.
| | 05:00 | I'm going to zoom in on something like
maybe up here in the upper left corner.
| | 05:04 | I've zoomed in to 452%.
| | 05:07 | I just used the keyboard shortcuts.
| | 05:09 | Again on the Mac, Command+Ctrl+
Spacebar to get that Zoom tool.
| | 05:12 | On Windows it's just Control+Spacebar.
| | 05:14 | I've then dragged out a rectangle
and zoomed in to just this part.
| | 05:18 | Now I want to check out the same zoom
level, but on a different part of the page.
| | 05:23 | So I want to zoom out, move to a
different part of the page and zoom back in again.
| | 05:27 | How do I do it?
| | 05:27 | I'm going to use a feature called
Power Zoom and you get Power Zoom, not with
| | 05:31 | the Zoom tool, like you'd expect,
but instead with the Hand tool.
| | 05:35 | And as we've learned in an earlier movie,
you get the Hand tool temporarily by
| | 05:39 | holding down Option+Spacebar
or Alt+Spacebar on Windows.
| | 05:42 | That gives me the Hand tool and now I'm
going to click with the mouse button and
| | 05:46 | hold for like one or two seconds.
| | 05:48 | It zooms way back and it
gives me this red rectangle.
| | 05:52 | By moving the mouse, I can move that
rectangle anywhere I want on the page and
| | 05:56 | then when I let go of the mouse
button, it zooms in on that area.
| | 06:00 | So Power Zoom is really handy for doing sort
of spot-checking of different areas on my page.
| | 06:06 | Again hold down the keyboard shortcuts
for that Hand tool, click-and-hold for a
| | 06:10 | moment on the mouse and then move that around.
| | 06:13 | Actually while the mouse button is being held
down, I can use the arrow keys on my keyboard.
| | 06:18 | I've actually let go of the modifier
keys and I'm going over to the arrow keys
| | 06:22 | and I'm moving up or down and this
lets me change the zoom level bigger or
| | 06:27 | smaller, while I am holding on the mouse button.
| | 06:30 | So now I can zoom right in on that letter E,
I hit the down arrow to make it smaller.
| | 06:35 | Now I focus it on that E, let go of
the mouse button and you can see it zooms
| | 06:39 | right in on that big E. So
that's very handy as well.
| | 06:43 | I just love that Power Zoom feature.
| | 06:45 | I could do that all day zooming out
and back in, but we cannot stop there.
| | 06:49 | We have to move on
to another super important feature:
| | 06:53 | how to manage multiple open windows.
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| Managing more than one document window| 00:00 | I almost never work with just
one document open at a time.
| | 00:03 | In fact sometimes, I have a
half a dozen or more that I need to
| | 00:06 | manage efficiently.
| | 00:07 | So let's look at how
InDesign handles multiple windows.
| | 00:11 | Right now, I only have one document
open, this HanselandPetal_Catalog.
| | 00:14 | I'm going to open a new one by going
to the File menu choosing Open and then
| | 00:18 | choosing the file from my Exercise Folder.
| | 00:21 | I'll click Open and now I can see that I
have two documents open at the same time.
| | 00:24 | Each one of them is a different
tab inside my document window.
| | 00:29 | To switch back to the first
document, I simply click on that tab.
| | 00:33 | I can also see all the documents that are
open at the bottom of the Window menu, down here.
| | 00:37 | That's a pretty slow way to switch to
a different document, but there you go.
| | 00:40 | It's good to know all the different options.
| | 00:42 | The keyboard shortcut for moving from
one document to another is Command+tilde.
| | 00:47 | On the US keyboard, that's
the key up near the numeral 1.
| | 00:50 | But Command+tilde, or Ctrl+tilde on
Windows, moves from one document to the next.
| | 00:54 | In fact, why don't I open
yet another document here?
| | 00:57 | I'll just go to the File menu, choose
New and then choose New Document and I'm
| | 01:01 | not going to get into any
of these details right now.
| | 01:03 | I'll deal with that in the future
chapter, but right now, I'm just going to
| | 01:05 | click OK, so that we can see that we
have three documents open at the same time.
| | 01:10 | Once again, I'm going to use Command+tilde
or Ctrl+tilde to move from one to the next.
| | 01:14 | It just rotates through them.
| | 01:16 | Now I've found that some people do
not like this whole tabbed window thing.
| | 01:20 | They don't like having
multiple tabs in one window.
| | 01:22 | I personally love it.
| | 01:23 | I think it's very efficient, but
some people really want to have multiple
| | 01:26 | windows open at the same time and you
can do that by clicking on this tab and
| | 01:31 | dragging it down and when you drag it
down, it becomes its own floating window.
| | 01:35 | If you have a bunch of windows open
and you want to pull them all out into
| | 01:38 | separate windows, you can do that by
going to the Window menu, choosing Arrange
| | 01:43 | and then choosing Float All in Windows.
| | 01:46 | So when they're in
individual windows, they're floating;
| | 01:48 | when they're all in one window, they're docked.
| | 01:51 | So I'll drag this out of the way
and you can see that there are three
| | 01:54 | different windows open here.
| | 01:56 | If I want to put them back into the
same document window again, if I want them
| | 02:00 | to be tabbed, it's easy.
| | 02:01 | Just click-and-drag until
you see a little blue line.
| | 02:05 | See that little blue line there.
| | 02:06 | I've dragged it just below the title
bar, and when I let go, it becomes a tab
| | 02:11 | inside that document window.
| | 02:12 | I can do the same thing with this or
I can go to Window > Arrange and say
| | 02:16 | Consolidate All Windows that
consolidates all of them back into tabs.
| | 02:21 | Okay, now for the most important
multiple window feature of them all that is in
| | 02:26 | App bar, the Arrange Windows popup menu.
| | 02:30 | This menu which only lives
inside the Application bar.
| | 02:33 | So if for some reason you've turned off your
Application bar, you will not get this feature.
| | 02:37 | So you better have that turned on.
| | 02:38 | Inside this popup menu is a whole bunch of
different arrangements for multiple windows.
| | 02:43 | This is very handy especially when you
need to see more than one window at the
| | 02:47 | same time, because you don't have
to drag windows all over the screen.
| | 02:51 | Instead just go to this Arrange Windows
menu and choose the configuration that's
| | 02:55 | closest to the one that you want.
| | 02:56 | For example I've got three documents
open right now, so I'll just choose 3-Up
| | 03:01 | and you can see that I get one
document window but with all three documents
| | 03:05 | showing at the same time.
| | 03:06 | If I don't like the relative size of
each of these, I can place my cursor over
| | 03:10 | one of the edges and drag.
| | 03:12 | In this case dragging to the left, makes
this one smaller and the other ones larger.
| | 03:16 | If I want to see only two Windows, I
can select that out of the popup menu.
| | 03:20 | If I want to see all of them back
in one document window, I can simply
| | 03:23 | choose that one window.
| | 03:24 | It consolidates them all back
into a single document window again.
| | 03:27 | Just like the page navigation techniques
we saw in the previous movies, managing
| | 03:31 | your windows efficiently is key
to being productive in InDesign.
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| Setting rulers and measurements| 00:00 | As scientists like to say, if you
can measure it, it must be there.
| | 00:04 | But how do we measure things in InDesign?
| | 00:07 | Well measurements show up in a number
of locations including the Control panel
| | 00:11 | up here and in the rulers
inside the document window.
| | 00:15 | But in this case this document is set
to points and I don't think in points.
| | 00:19 | I think in picas or you might think in
millimeters or inches. What do you do?
| | 00:24 | How did you change the
measurements to what you use?
| | 00:27 | No problem, the easiest way to do it is
by right clicking on the ruler or Ctrl+
| | 00:32 | Clicking with a one-button mouse.
| | 00:34 | In this case, I'll Right Click and I
will see a list of a whole bunch of
| | 00:38 | different measurements here.
| | 00:39 | Points, picas, inches choose whatever you want.
| | 00:43 | Let's go ahead and choose
Millimeters for example.
| | 00:45 | When I choose Millimeters, you'll
see that all my horizontal measurements
| | 00:48 | are now in millimeters.
| | 00:50 | Even up here in the Control panel, the
horizontal measurements are millimeters
| | 00:53 | but the vertical
measurements are still in points.
| | 00:56 | To get the vertical measurement in
points I'd have to Right Click or Ctrl+Click
| | 01:00 | with a one-button mouse on the
vertical ruler here and change this.
| | 01:03 | Or if I want to change both the
horizontal and the vertical ruler at the same
| | 01:08 | time, I would Right Click on the place
that the rulers intersect, that little
| | 01:12 | corner in the upper left
corner of this document window.
| | 01:15 | I'll Right Click on that and you can
see a whole bunch of measurements here and
| | 01:19 | if I change this to let's say
inches, now everything is in inches.
| | 01:23 | Now some people don't like
seeing the rulers on here at all.
| | 01:26 | They just find it distracting.
| | 01:28 | You can turn those off by Right-
Clicking on it and choosing Hide Rulers or by
| | 01:33 | pressing Cmd+R on the Mac, or Ctrl+R on Windows.
| | 01:37 | That just makes them go away or you can
go to the View menu and turn the rulers
| | 01:41 | on or off from the Show Rulers or
Hide Rulers feature in the View menu.
| | 01:45 | Now this is great, I've changed the
measurement to what I want it to be, in this
| | 01:49 | case it's inches, but the problem is
that this only changed this one document.
| | 01:54 | It doesn't change it for all the future
documents I'm creating and that's going
| | 01:57 | to get really frustrating.
| | 01:59 | But there is a solution and I'm
going to cover how to change all future
| | 02:02 | documents, how to change the
defaults in the movie on Setting Preferences
| | 02:06 | later on in this Chapter.
| | Collapse this transcript |
| Positioning panels correctly| 00:00 | Most of InDesign's features live in its
panels, like up here in the Pages panel,
| | 00:05 | and there are a lot of panels in this program.
| | 00:08 | And since you're going to be looking
at these panels a lot, you should really
| | 00:11 | know how to manage them efficiently.
| | 00:13 | Now by the way, I'm using the word
panels, some people call these palettes.
| | 00:16 | If you hear someone say palette,
that's fine, just smile and know panels and
| | 00:20 | palettes, they're all the same thing.
| | 00:21 | Now when you first open InDesign, you
see a list of panels along the right edge
| | 00:26 | of your screen here.
| | 00:27 | They're all in something called a Dock.
| | 00:29 | Let's get our terminology straight so
we all know what we're talking about.
| | 00:33 | The thing on the right here is the dock,
inside there are these tiles, and these
| | 00:37 | tiles represent panels.
| | 00:39 | If I click on a panel it closes all the
other panels from that dock and opens this panel.
| | 00:44 | Some panels live by themselves in their
own panel group and sometimes they share
| | 00:48 | a panel group with others.
| | 00:50 | For example, up here the Color and the
Stroke panel are in the same panel group.
| | 00:54 | I can tell that by this little dotted
gray line up here at the top of the group.
| | 00:59 | Now panels don't have to live in a dock.
| | 01:01 | I can drag them out so they're free-floating.
| | 01:04 | For example, I'll drag this Color panel
out and now it's floating out here all
| | 01:08 | by itself on top of my document.
| | 01:09 | So now the only panel left in the group
is the Stroke panel and I can close that
| | 01:14 | again by clicking on the tile inside the dock.
| | 01:17 | I can also drag the Stroke panel out,
and notice that this one looks a
| | 01:20 | little bit different.
| | 01:21 | This is a tile inside its own free-
floating panel but you can change this into
| | 01:26 | what looks like a normal panel by
clicking that little double arrow in the
| | 01:29 | upper right corner.
| | 01:30 | That expands it into a normal panel.
| | 01:34 | Click it again and it will
close back into a little tile again.
| | 01:37 | I'll open it up and then I want to
show you that I can drag the Stroke panel
| | 01:41 | over on top of the Color panel and now
these will go back into a group again.
| | 01:47 | So I now have two different
panels inside this one group.
| | 01:50 | If I later decide I want to dock them
again, no problem, I can either dock them
| | 01:54 | one at a time by dragging
out the name of the panel.
| | 01:58 | I'll just drag that right into the dock.
| | 01:59 | There we go, and I'll drag the Stroke
item over, and now while I'm doing this,
| | 02:04 | pay attention to where the
blue line is highlighting.
| | 02:07 | If I highlight it down here, it's a
little bit hard to see, but if I highlight
| | 02:10 | it down here, it will create a new panel group.
| | 02:14 | If I move it up a little bit, so it
highlights the Color group, then it will
| | 02:18 | add it to that group. There we go.
| | 02:20 | So now both of those are inside the group.
| | 02:21 | Let me show you one more way
to add it to the group again.
| | 02:24 | I'll pull out that whole group,
so I can see both of these.
| | 02:26 | I'll maximize it so we can see it, and
now I want to move the whole group back
| | 02:30 | into the Dock again.
| | 02:31 | But instead of doing it one panel at a
time, I'm going to move the whole group
| | 02:35 | back by dragging its dark gray title
Bar or whatever that's called, that
| | 02:38 | little bar at the top.
| | 02:39 | Drag that handle all the way in, and
once again I can add it as its own group or
| | 02:44 | even add it to the Swatches panel group.
| | 02:46 | So, now I have all three
of these inside one group.
| | 02:50 | One more important thing about the
Dock here that's holding all of these, You
| | 02:53 | can resize the Dock itself.
| | 02:55 | Right now, it's too wide for my taste.
| | 02:58 | I don't need to see the words
Stroke, Color, Swatches, etcetera.
| | 03:02 | I know what those panels are, just
because I can look at the icons, and after
| | 03:05 | you work with InDesign for a week or
two you're going to recognize those icons
| | 03:09 | as well, and you won't need to
see the names up there anymore.
| | 03:12 | So reclaim some of your screen real
estate by minimizing the Dock itself.
| | 03:17 | And the way you do that is by placing
the cursor over the left edge of the Dock,
| | 03:20 | you have to wait until you get that
little double-headed arrow and then drag to
| | 03:24 | the right, and you can see that it
just minimizes it, shrinks the size of the
| | 03:27 | Dock until it snaps down to being just icons.
| | 03:31 | And if you do forget what one of those
icons are, you can always just hover the
| | 03:35 | cursor on top of it until
you see a little tooltip.
| | 03:37 | So that one says Links,
this one is Layers and so on.
| | 03:41 | So you do get a little hint
there from InDesign if you need it.
| | 03:43 | Now let's go
ahead and open some more panels.
| | 03:46 | Remember, all the panels in
InDesign live under the Window menu.
| | 03:50 | I'll go ahead and open, let's
say the Info panel. There we go.
| | 03:52 | There is the Info panel and
let's open some other ones as well.
| | 03:55 | How about inside the Output sub-
menu, we can grab something else like
| | 03:58 | Separations Preview.
| | 03:59 | There's all kinds of panels in here.
| | 04:01 | This is actually going to be a bunch
of different panels in a group and I can
| | 04:04 | put all of those into the Dock down
below these in that gray area, or I can drag
| | 04:10 | this up until I see a vertical blue line.
| | 04:13 | Again, it's a little bit hard to see
but if you look for a vertical blue line
| | 04:16 | highlighting there and I let go,
it actually creates a new Dock.
| | 04:20 | So now I've got a second Dock next to the first.
| | 04:23 | I'll bring this panel group up
here and I'll drag that in as well.
| | 04:26 | Now why do these look like full
panels even though they're docked?
| | 04:30 | It's because they're expanded.
| | 04:31 | Once again you can expand or minimize by
clicking on the double triangles, those
| | 04:35 | double arrows up there, there we go.
| | 04:37 | Now they are just icons or tiles as I call them.
| | 04:41 | And I can minimize these as
well if I want to. It's up to you.
| | 04:44 | The cool thing about having two
different docks or even more docks if you want,
| | 04:47 | is that you can have more than one
docked panel open at the same time.
| | 04:51 | So for example I can click on
Separations Preview and click on the Color panel
| | 04:55 | and both of these can be open at the same time.
| | 04:57 | You can only have one panel per dock
open, but if you have more than one dock
| | 05:02 | then you can have more than one panel open.
| | 05:04 | So that's kind of handy.
| | 05:05 | But in general, if you do want to have
more than one panel open I recommend just
| | 05:09 | dragging it out and having it free-floating.
| | 05:11 | That's usually easier.
| | 05:12 | Now once you have a panel open,
you can resize it in various ways.
| | 05:17 | The basic way though is to drag either
in the lower right corner, this little
| | 05:21 | shaded area, you can drag it and make
it wider or smaller or just by dragging
| | 05:25 | the edge, either the bottom edge or
the right edge, you can make it wider or
| | 05:29 | shorter, narrower and so on, to
resize it to the size that you want.
| | 05:33 | Okay, there's one more thing about
panels which I want to tell you and this
| | 05:36 | actually has nothing to do with
positioning but it does have something very
| | 05:39 | important to do with panels themselves
which is in the upper right corner of
| | 05:43 | most panels, just below that double arrow, is a
little icon which means there is a menu there.
| | 05:49 | Most panels have their own menus and
if you click on them, you'll see that
| | 05:53 | there's a bunch of features in here and
some of these features do not appear any
| | 05:57 | other place in the program.
| | 05:59 | So they're not up in the menus
here, some of them don't even have
| | 06:02 | keyboard shortcuts.
| | 06:03 | So it's very important that whenever
you're looking at a new panel that you take
| | 06:06 | a look at the Panel menu to see what
kind of features are hiding in there.
| | 06:11 | Positioning your panels is all about
finding what you need as easily and
| | 06:14 | quickly as possible.
| | 06:16 | If you're spending all your time
moving panels out of the way and opening new
| | 06:19 | ones, closing them and so on,
you're not being very efficient.
| | 06:23 | So fortunately that's where
InDesign's Workspaces feature comes in.
| | Collapse this transcript |
| Saving time by making workspaces| 00:00 | It's great that InDesign lets you put
your panels anywhere you want on your screen.
| | 00:04 | For example, let me grab the Pages
panel and put it here, and I'll take the
| | 00:07 | Links panel and put it over here.
| | 00:09 | Maybe the Color panel and put it over here.
| | 00:11 | That's terrific, isn't it?
| | 00:12 | But pretty soon, you realize, you
have too many panels open and you can't
| | 00:16 | even see your document.
| | 00:17 | So then you spend all your time moving
panels out of the way just to get anything done.
| | 00:21 | It just leads to no end of frustration.
| | 00:23 | Fortunately, InDesign has a feature called
Workspaces, which really helps with this problem.
| | 00:29 | Workspaces are a way to remember the
particular configuration of the panels on screen;
| | 00:34 | which ones are open, which ones are
closed and where they are on your screen.
| | 00:38 | And InDesign actually ships with
a number of Workspaces built in.
| | 00:42 | You can find them up here in the Window
menu, under the Workspace submenu, each
| | 00:46 | of these things in brackets are
Workspaces, but typically I don't use those.
| | 00:50 | But typically, I don't use those.
| | 00:51 | Typically, I use the Workspace
popup menu here in the Application bar.
| | 00:55 | All those same workspaces are listed
here, but they don't have the brackets.
| | 00:58 | I don't know what the difference is,
but here they don't have brackets, but
| | 01:01 | they're the same thing.
| | 01:02 | These are the workspaces
that ship with InDesign.
| | 01:05 | Now normally, when you start working
in InDesign, it starts you off with the
| | 01:08 | Essentials Workspace, which
just gives you a few panels.
| | 01:11 | I find it way too limited.
| | 01:13 | I don't know why they do that.
| | 01:14 | I want to see a lot more panels.
| | 01:16 | So I usually switch to Advanced.
| | 01:18 | Advanced is really not that advanced.
| | 01:20 | It just gives you more options by default.
| | 01:21 | Now, you can further customize this.
| | 01:23 | For example, maybe you want your
Character Styles panel to be grouped with
| | 01:26 | paragraph styles or whatever.
| | 01:28 | Now, they're grouped.
| | 01:29 | So I 've customized the Advanced Workspace
to the way that I like it, which is great.
| | 01:34 | Now, if I go back to Essentials,
you'll see that it's exactly the way it was
| | 01:39 | when I last left it.
| | 01:40 | It remembers not just the underlying
Workspace, but also everything I've done to
| | 01:45 | it, which is kind of cool unless
I've made a mess out of it, like this.
| | 01:49 | Fortunately you can tell InDesign
to go back to the original version of
| | 01:53 | Essentials or any other workspace, by
going to the Workspace pop-up menu and
| | 01:57 | choosing Reset, in this case, Reset
Essentials, and that puts it back to the way
| | 02:02 | it was, when you first installed the program.
| | 02:04 | Now, it's great that Adobe gave us
these workspaces, but in general, none of
| | 02:08 | them are exactly what I want.
| | 02:10 | I mean sure Topography is cool because
it gives us a lot of text panels open,
| | 02:14 | Interactive is cool if I'm doing a lot of
multimedia stuff inside of InDesign. That's great.
| | 02:19 | But in general, none of
them are just what I want.
| | 02:22 | So I usually start with
Advanced and start moving stuff around.
| | 02:26 | Maybe I'll put my styles over here,
maybe I'll open those up and I don't
| | 02:30 | typically use Effects.
| | 02:31 | So I'm going to pull that out
and close it, and so on and so on.
| | 02:34 | So I'm customizing the Dock and the
panels to the way that I work most, and then
| | 02:39 | I want to save it with
my own personal workspace.
| | 02:42 | So to do that, I'll go to the
Workspace popup menu and choose New Workspace.
| | 02:47 | It asks for a Name.
| | 02:48 | I'm just going to call this David's
Workspace, but you can call it anything
| | 02:51 | you want, of course.
| | 02:52 | Click OK and it now remembers my
workspace in the popup menu, which is great.
| | 02:58 | I can switch back and forth among all
the other workspaces, but whenever I want
| | 03:01 | to go back to the way I like it,
I just choose David's Workspace.
| | 03:05 | You know Workspaces fall into the
category of what I call Blatner's First
| | 03:09 | Rule of Publishing.
| | 03:10 | Take the time now to save
even more time in the future.
| | 03:14 | If you take a little time to create
your own custom workspaces, you're going
| | 03:18 | to save yourself so much more time
down the line and you'll end up a much
| | 03:21 | happier InDesign user.
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| Setting the view quality of artwork| 00:00 | 15 or 20 years ago a lot of
people talked about the term WYSIWYG.
| | 00:04 | What you see is what you get.
| | 00:06 | But the word fell out of favor after
people started to realize that they really
| | 00:10 | couldn't trust what they saw on screen.
| | 00:11 | Now InDesign makes WYSIWYG a reality
because you can really trust your monitor.
| | 00:17 | But you have to know how to
manage InDesign's display options.
| | 00:21 | Let me show you what I mean.
| | 00:22 | I'm going to zoom in down here
on what I know is a vector image.
| | 00:26 | This is an image from Illustrator, I
know these are very sharp edges but if I
| | 00:30 | zoom in a little bit more you'll see
these are all pixelated. That's not right.
| | 00:34 | That's not what it's supposed to look
like and it's certainly not what it looks
| | 00:37 | like when I print it on my
PostScript printer. So what's wrong?
| | 00:41 | Why is InDesign not showing
me these images accurately?
| | 00:44 | Well, it's because I haven't told it
to yet and I can tell it to show me the
| | 00:48 | accurate images by going to the
View menu and choosing from the Display
| | 00:52 | Performance submenu.
| | 00:54 | Right now it's set to Typical Display.
| | 00:56 | I could change this to Fast Display if I
want, but that of course just makes all
| | 01:00 | my images go grey, so I don't
know why you'd want to do that.
| | 01:03 | I never work in that
Display Performance setting.
| | 01:05 | Instead of Fast or Typical, you
can also choose High Quality Display.
| | 01:09 | And High Quality Display is
much better. Look at that.
| | 01:12 | Nice sharp edges.
| | 01:13 | All the vectors are truly vectors.
| | 01:15 | In fact even if I zoom in really,
really close, you can see that no matter how
| | 01:19 | close I go, they still show up as nice
clean edges because that is what vector
| | 01:24 | artwork is all about.
| | 01:26 | So High Quality Display is great for vector.
| | 01:28 | It's also great for pixel images,
raster images, like this image from
| | 01:32 | Photoshop in the background.
| | 01:33 | You may still be able to see little pixels in
here, but believe me, those are actual pixels.
| | 01:38 | We're seeing the true pixels.
| | 01:40 | If I open that image in Photoshop, I
would see exactly the same quality.
| | 01:43 | So it can't
get any better than that.
| | 01:46 | If I go back to View and set this back to
Typical Display, then everything gets really rough.
| | 01:51 | We get low resolution pixels
and low-resolution vectors.
| | 01:55 | Now I could work in High
Quality Display Mode, if I want to.
| | 01:58 | There's nothing stopping me,
except for one thing and that is
| | 02:01 | Display Performance.
| | 02:02 | You'll here that these settings
actually live inside a submenu called Display
| | 02:06 | Performance, and that's for a reason:
| | 02:08 | because these affect your performance.
| | 02:11 | It's all about how fast InDesign will work.
| | 02:13 | If you're on a super-fast machine, then sure,
go ahead and work in High Quality Display.
| | 02:18 | But if you're working on our average,
run of the mill machine, you're probably
| | 02:21 | going to work in Typical Display and
then only switch to High Quality when you
| | 02:25 | really want to see the best quality,
especially if your document has a lot of
| | 02:29 | images, and especially if it has a lot
of high resolution pixel images, because
| | 02:34 | that's what really bogs it down the most.
| | 02:35 | I'm going to switch back to High
Quality Display, because I'm working on a
| | 02:38 | reasonably fast machine, and I'll
zoom back here with Command+Minus, or
| | 02:42 | Ctrl+Minus on Windows, just to see a
little bit more of this document, and pan
| | 02:46 | down with my Grabber Hand shortcut.
| | 02:47 | I just want to show you one other
feature in InDesign that radically affects how
| | 02:52 | accurate your screen display is.
| | 02:54 | Now, you see this big
orange box behind the image.
| | 02:57 | I happen to know that that is not
what this is supposed to look like.
| | 03:00 | I'm supposed to be able to see
through this orange to the image behind it.
| | 03:04 | But I cannot see that on the screen. Why?
| | 03:07 | Well, first I'll check to make sure that
I'm in High Quality Display. Yes I am.
| | 03:11 | Then I think, wait a minute, there's
one other feature that controls the
| | 03:14 | quality and that is this thing right at the
top of the View menu called Overprint Preview.
| | 03:19 | Now, Overprint Preview controls a lot of things.
| | 03:21 | They shouldn't just call it Overprint
Preview, Adobe should have called it make
| | 03:24 | the screen look better feature, but they didn't.
| | 03:27 | They just called it Overprint Preview.
| | 03:28 | So it's a little bit cryptic.
| | 03:29 | But I'm telling you that what this
does is it makes everything more accurate.
| | 03:33 | And when you turn that on, you can
actually see things more accurately.
| | 03:37 | In this case, this orange frame, which
was set to Overprint, actually becomes
| | 03:41 | overprinting, we can actually see through it.
| | 03:44 | So that's a big step-forward in being
able to trust what we see on screen.
| | 03:47 | Once again you can work while Overprint
Preview is turned on, nothing stopping
| | 03:51 | you, but it does slow you down a little bit.
| | 03:53 | So try it out, see if it's working.
| | 03:55 | If it's too slow then go ahead and
turn it off and just turn it on when you
| | 03:58 | need an accurate proof.
| | 04:00 | You know, knowing what you're looking
at is key being efficient InDesign, it
| | 04:03 | really lets you make the right design
choices without having to print lots
| | 04:07 | of proofs.
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| Adjusting View and Preview settings| 00:00 | I have my Hansel and Petal catalog open
here, and I'm going to jump to the last
| | 00:04 | spread of the document by clicking at
the Last Spread button in the lower left
| | 00:07 | corner of the document window.
| | 00:09 | And I can see that this page is a mess.
| | 00:11 | I mean the design's not bad, but
there's all this stuff on top of the design.
| | 00:15 | For example, there's all these
vertical lines going through this image. Why?
| | 00:19 | Because they're column guides.
| | 00:20 | Up here around this frame, there's this
frame edge, a blue box around that text there.
| | 00:26 | Over here, they're just big ovals.
| | 00:28 | I can't tell what's going to print
and what's not going to print anymore.
| | 00:32 | Fortunately, there's a way to
streamline your visuals to strip out all of the
| | 00:38 | stuff that's not going to print.
| | 00:39 | And there's actually a
couple of ways to do this.
| | 00:41 | The first way is to go to the View menu
and come down here to Extras and we can
| | 00:46 | turn on or off Frame Edges.
| | 00:48 | If you turn off Frame Edges, then all
of the edges of your frames disappear but
| | 00:53 | the guides are still there.
| | 00:54 | I can see that those ovals were not
actually there, they're just Frame Edges.
| | 00:57 | So, that's helpful right away.
| | 00:59 | I can go back to the View menu and go down
to Grids and Guides and say Hide the Guides.
| | 01:04 | And now the guides are gone as well.
| | 01:06 | So this is much nicer.
| | 01:08 | Now, those settings from the View menu
are replicated up here in the Application
| | 01:12 | bar in the View Options popup menu,
and you can see I can turn on and off my
| | 01:16 | Frame Edges, and turn on and off my Guides, and
other options there as well. So that's great.
| | 01:21 | But to be honest, I very rarely use
any of those features at all. Why?
| | 01:26 | Because I prefer a feature called Preview Mode.
| | 01:29 | Preview Mode is great.
| | 01:30 | To get to Preview Mode, you simply
press W, as long as you're not editing text.
| | 01:35 | If you're editing text then
pressing W will type a W, right?
| | 01:38 | But as long as you're not inside of a
text frame, you press W, you go into
| | 01:41 | Preview Mode and look at what you get.
| | 01:43 | All of the non-objects disappear.
| | 01:45 | The guides are gone, the Frame Edges are gone.
| | 01:47 | Anything that was bleeding off
the side of the page is gone.
| | 01:50 | And you're left with a perfect view of
what your final document is going to look
| | 01:54 | like when it's printed.
| | 01:55 | Now, you can work in
Preview Mode if you want to.
| | 01:58 | For example, as I drag over the page,
I can actually see the edges of each of
| | 02:02 | these objects highlighting.
| | 02:04 | But I'm not going to work in Preview Mode.
| | 02:05 | Typically I'll go into Preview Mode,
look at it, and then hit W again to come
| | 02:09 | out of Preview Mode.
| | 02:10 | Now, just for the sake of being complete,
I should mention that you can get to
| | 02:14 | Preview Mode in other ways as well.
| | 02:16 | Up here in the Application menu, you
can choose Preview Mode from this little
| | 02:19 | widget here, or at the bottom of the
Tool panel, you can get to this little
| | 02:23 | fly-out menu here and choose your
Preview Mode from this popup menu.
| | 02:28 | There's Preview Mode down there.
| | 02:29 | But again I usually don't use that.
| | 02:31 | I just press W. That's good enough.
| | 02:33 | Now, since I am talking about cleaning
up the screen, I should also mention that
| | 02:36 | you can press the Tab key
to hide all of your panels.
| | 02:40 | You saw I press Tab, they all
disappeared and that gives me a lot more space to
| | 02:44 | work with, which could be
handy in some situations.
| | 02:47 | Just press Tab and they all come back.
| | 02:49 | Now there's one other screen Mode
that I want to point out, which sort of
| | 02:52 | combines those two things together,
like the Tab to make everything disappear
| | 02:56 | and the Preview Mode to make all
non-printing objects disappear.
| | 02:59 | This is called Presentation Mode.
| | 03:01 | It's new in CS5 and it's so cool.
| | 03:04 | You can get to it by going to the
Application bar and choosing Presentation Mode up here.
| | 03:08 | But you know, again, I'd rather
just use the keyboard shortcut.
| | 03:11 | We learned just a moment ago that
pressing W puts you into Preview Mode, so to
| | 03:16 | go into Presentation Mode, you press
Shift+W. It's like W plus, even better.
| | 03:21 | So Shift+W puts you into
Presentation Mode, and you can see that it takes
| | 03:25 | over the whole screen.
| | 03:26 | The menus are gone, the panels are gone,
the pasteboard is gone, everything is
| | 03:30 | gone except for the document itself.
| | 03:32 | And this is a great way to present your
document to a client or to your boss or something.
| | 03:37 | Once you have it up here, you can
move through the pages by pressing the Up
| | 03:41 | and Down Arrow keys.
| | 03:43 | Now, I'm on the previous spread, you
can move through one spread at a time.
| | 03:47 | You can also do the same thing by
clicking to go to the next spread or
| | 03:51 | Shift+clicking to go the previous spread.
| | 03:53 | So either of those works.
| | 03:54 | It's actually just like Acrobat
Professional when you're in Full Screen Mode.
| | 03:58 | So this Presentation Mode is really nifty.
| | 04:01 | I do want to point out one other additional tip.
| | 04:04 | This is something that Anne-Marie
Concepcion, who's my co-author and co-host
| | 04:07 | in InDesign Secrets, pointed out to
me, really cool tip, while you're in
| | 04:11 | Presentation Mode, you can actually press
different keys to get different color backgrounds.
| | 04:16 | Right now, we've got a Black background,
but if I press W, I get a white background.
| | 04:21 | See, that's kind of nice in its own
way as well, or G for a grey background.
| | 04:27 | So that's kind of nice.
| | 04:27 | It's good to know that that's an option.
| | 04:29 | Ultimately, though I like hitting B for
Black because that really makes the page
| | 04:34 | pop and art directors just love that.
| | 04:36 | Oh that's really nifty.
| | 04:37 | To come out of Presentation Mode, you
press Shift+W or just press the Escape key.
| | 04:43 | Nobody can design well in a
cluttered environment like this.
| | 04:46 | That's why the Preview and the
Presentation Screen Modes are so great.
| | 04:50 | They strip the wheat from the chaff
and they leave you seeing what's most
| | 04:54 | important about your document.
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| Rotating pages and spreads| 00:00 | Not all documents are laid out
so that the text is right side up.
| | 00:04 | If you're building a calendar, for
example, you may want to turn the whole
| | 00:07 | spread sideways, so that it opens
vertically instead of horizontally.
| | 00:11 | Or maybe you're building some cool packaging,
or an ad that has text sideways or upside down.
| | 00:17 | In these cases, it would be helpful
if you could rotate the screen view to
| | 00:21 | make it easier to read.
| | 00:22 | For example, I have my Explore
California catalog open here from the Exercise
| | 00:26 | Files folder, and I'm going to open
the Pages panel and jump down to Page 9.
| | 00:30 | I'll just double-click on page 9.
| | 00:32 | Now, I'm going to select this object
in the lower right corner and zoom in to
| | 00:36 | 200% by pressing Command+2 or Ctrl+2 on Windows.
| | 00:40 | And we can quickly see
that this is setup sideways.
| | 00:43 | It's been laid out sideways.
| | 00:44 | And that's not a big deal for the reader.
| | 00:46 | The reader of this magazine, could
easily rotate the printed page sideways.
| | 00:50 | But it is kind of a hassle for us,
the designer or the Layout person, who
| | 00:54 | needs to edit this text.
| | 00:56 | In the past, the only way to do this
efficiently was to pick up your whole
| | 01:00 | computer monitor and turn it on its side,
or you could just get a crick in your
| | 01:03 | neck from keeping your head turned sideways.
| | 01:06 | Fortunately, InDesign gives you one
other option, and that is the power to
| | 01:10 | rotate the Page View in 90-
degree increments, anytime you want.
| | 01:14 | To do that you go to the Pages panel,
choose the spread that you want to rotate
| | 01:19 | and then right-click on it.
| | 01:21 | You can right-click with a two-button
mouse or Ctrl+Click with a one-button mouse.
| | 01:25 | And that gives you a context menu
with a bunch of options, including
| | 01:28 | Rotate Spread View.
| | 01:30 | Here I can rotate that spread
view in 90 degree increments.
| | 01:34 | I'm going to rotate it 90 degrees clockwise;
| | 01:37 | CW means clockwise.
| | 01:38 | And when I do that, you can see that the
screen view is updated so I can read the text.
| | 01:44 | Now, I should point out here
that it's just the screen view.
| | 01:46 | This does not print any differently.
| | 01:49 | It doesn't act any differently.
| | 01:50 | It just is changed on screen.
| | 01:53 | In fact here in the Pages panel, we can
that the spread is still horizontal but
| | 01:58 | there's a little icon just
to the right of the spread.
| | 02:00 | That is the Rotate Spread icon.
| | 02:02 | That's telling me that it has been rotated.
| | 02:05 | And I can later reset that back by right-
clicking on there and say Clear Rotation.
| | 02:11 | Now you don't have to clear the rotation.
| | 02:13 | You could leave your document rotated like this.
| | 02:15 | It'll save in the document and the
next time you open it, it'll be rotated.
| | 02:19 | But if you are going to give it to
somebody else, who's opening the document and
| | 02:22 | working with it, it might
freak them out to have it sideways.
| | 02:25 | So it's a good idea to clear the rotation,
just to set it back to the way it was originally.
| | 02:30 | Just so it doesn't make anyone too nervous.
| | 02:32 | I should point out also that that
rotation, the View Rotation feature is also
| | 02:36 | found in the Pages panel fly-out menu;
| | 02:39 | exactly the same feature, right
down here in Rotate Spread View.
| | 02:42 | So you can do it from this popup menu,
the fly-out menu in the panel or you
| | 02:46 | could do it as a context menu like we just did.
| | 02:49 | Either way works just fine.
| | 02:50 | Of course, standing on your head or
turning your screen on its side may seem
| | 02:54 | like more fun, but I think you'll
have to agree that the Rotate Spread View
| | 02:58 | feature is a bit more efficient.
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| Displaying a new view with the New Window feature| 00:00 | Scientists and artists have long known
that looking at something from two or
| | 00:04 | more points of view, offers a
perspective and an understanding that you just
| | 00:08 | can't get any other way.
| | 00:10 | There's even a word for it: parallax.
| | 00:12 | Now InDesign has a parallax feature,
but of course, they don't call it by
| | 00:16 | the technical name.
| | 00:17 | They call it New Window, and you can
find it under the Window menu, under
| | 00:21 | the Arrange submenu.
| | 00:23 | Here, I'll choose New Window and you'll see
that I get a New Window on the same document.
| | 00:28 | Now, why would you want to do this?
| | 00:30 | Well, it turns out that this is
incredibly helpful because you can have two
| | 00:34 | different views of the
same document, very different.
| | 00:37 | For example, I'll come over to the left
side and click on it and that activates that.
| | 00:41 | You can see in the name up here it says :1.
| | 00:43 | That means this is View 1 of this document.
| | 00:46 | I'm going press W to go into Preview
Mode, so I can see this page exactly how
| | 00:51 | it's going to look when it's printed out.
| | 00:54 | Now, I'll come over to this
View and I'm going to zoom in.
| | 00:57 | Maybe I'll just zoom in just on that
text up here in the upper-right corner.
| | 01:01 | Now I can see that this is all pixelated
because it's in the Typical Display Mode.
| | 01:05 | It doesn't really matter because I'm
going to be doing some rough edits here.
| | 01:08 | For example, maybe I'll select that image
in the back and hit Delete to delete it.
| | 01:12 | That gets rid of that black background,
and I immediately see how that looks in
| | 01:16 | the final version over here on the left.
| | 01:18 | I can see, oh that looks pretty good,
and now maybe I'll do something different.
| | 01:21 | Like, maybe move that word, Explore,
just by clicking and dragging it up.
| | 01:25 | A little bit higher and you can see that, great.
| | 01:27 | Now, Explore looks like that.
| | 01:29 | So I'm doing fine-tune work over here
on the right, but I see the final result
| | 01:34 | over here on the left.
| | 01:35 | So having two different views open
on the same screen can be very handy.
| | 01:39 | Let me show you some other
examples of how you might use this.
| | 01:42 | I'll zoom back out here, using
Command+Option+0 or Ctrl+Alt+0 to do
| | 01:46 | fit-in-window, and I will put
this into Proof Colors Mode.
| | 01:51 | Now, I'm not going to get into the
intricacies of color management in this title.
| | 01:54 | That's an advanced topic for a separate title.
| | 01:56 | But in this case, I will just tell you
that when you choose Proof Colors, you
| | 02:00 | put this into CMYK Mode.
| | 02:02 | Let's go ahead and put this into
Preview Mode as well and you can see now that
| | 02:06 | this is in CMYK and this is in RGB.
| | 02:09 | So we're looking at rich, saturated
RGB colors over here, and the equivalent,
| | 02:14 | kind of more muted CMYK colors over here.
| | 02:17 | So this is a very easy way to get a sort of
before and after of both views, RGB and CMYK.
| | 02:23 | Could be handy.
| | 02:24 | Let me show you another way that you
might want to use your New Window feature.
| | 02:28 | I'm going to scroll down here.
| | 02:29 | Let's pick a different spread down here.
| | 02:31 | Fit this in Window, Command+Option+0 or
Ctrl+Alt+0, and I'll say gosh, I really
| | 02:36 | wish I had this image down here
of those cacti on my cover as well.
| | 02:41 | Well, you don't have to
even copy and paste here.
| | 02:43 | I can simply drag that image from this
window into this window and it makes a
| | 02:49 | duplicate of that from here to here.
| | 02:52 | So now I've duplicated that image
onto my cover. Very, very handy.
| | 02:55 | Of course, when you're done with the New
Window, you can simply close it just by
| | 02:59 | closing a window like you normally
would, and that goes back to your
| | 03:02 | one-view-per-document setting here.
| | 03:05 | So that's pretty handy.
| | 03:06 | There are dozens of ways that you could
use this New Window feature in your workflow.
| | 03:10 | It is incredibly helpful to work with
two or more windows open, especially when
| | 03:15 | you have a large screen or two monitors.
| | 03:17 | But for some reason, I find that you
really have to force yourself to use it two
| | 03:21 | or three times, or else you'll
never get around to using it.
| | 03:24 | But after you do get used to the New
Window feature, you will be hooked.
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| Setting application and document preferences| 00:00 | The more that you customize
InDesign to the way that you work, the more
| | 00:04 | efficient you're going to be.
| | 00:05 | It's a simple law of nature.
| | 00:07 | Now the primary way to customize
InDesign is through the Preferences dialog box.
| | 00:12 | In Windows, you get to the
Preferences dialog box under the Edit menu.
| | 00:16 | But here on the Mac, we find
it under the InDesign menu.
| | 00:19 | There it is, the Preferences submenu,
and it looks there's a lot of different
| | 00:23 | Preferences features, but,
actually they all go to the same place.
| | 00:27 | If you press Command+K on the Mac or
Ctrl+K on Windows or choose any of these
| | 00:30 | items, they all take you to
the Preferences dialog box.
| | 00:34 | Each of those menu items is simply a
shortcut to a different pane inside the
| | 00:38 | Preferences dialog box.
| | 00:39 | Now I'm not going to cover all of these things.
| | 00:41 | It would just take way too long and
there's probably a hundred of features in
| | 00:44 | here, but I will point out that there
are two different kinds of preferences.
| | 00:48 | There are Document
Preferences and Application Preferences.
| | 00:51 | Now a Document preference will only
affect the currently open document.
| | 00:56 | That's the important thing here.
| | 00:57 | So for example, in an earlier movie, I
talked about the Ruler Units preferences.
| | 01:03 | That is the horizontal and vertical
measurements and I talked about how you can
| | 01:06 | change those by using the
context menu on the rulers.
| | 01:09 | Well, you can also change those here
inside the Units & Increments pane of the
| | 01:13 | Preferences dialog box.
| | 01:15 | Right now this document is set to
Inches, but if I use Millimeters, I can go
| | 01:19 | ahead and change both of these,
Horizontal and Vertical, to Millimeters.
| | 01:23 | When I click OK, it changes
all my settings to Millimeters.
| | 01:27 | For example, if I choose this text frame, the
Control panel lists the size of it in millimeters.
| | 01:32 | So that's great, but this kind of
preference only affects the document.
| | 01:36 | It's a document
preference or a document default.
| | 01:39 | As soon as I create a new document by
going to the File menu, choosing New and
| | 01:44 | Document and I'll click OK to get a
brand-new document, you can see that all
| | 01:48 | of these measurements are in picas again,
because the default preference for InDesign is picas.
| | 01:55 | So what do I do if I want
millimeters for all my future documents?
| | 01:59 | Well, the trick to setting
document preferences is set them while no
| | 02:02 | documents are opened.
| | 02:03 | I'll go ahead and close this, and then
close this one, and I won't even save the
| | 02:08 | changes, I made there.
| | 02:09 | I'll go back to the InDesign menu
and choose Units & Increments from the
| | 02:13 | Preferences submenu.
| | 02:14 | That takes me right to that pane and now
I'm going to change this to Millimeters.
| | 02:19 | Click OK, and now when I open a new
document from here, click OK, you'll see
| | 02:25 | that now I'm in Millimeters.
| | 02:27 | So I've changed my underlying defaults.
| | 02:29 | All of my new documents from here
on out will be set to Millimeters.
| | 02:34 | Now I mentioned that there's
another kind of preference.
| | 02:36 | Let's go back to Preferences here,
and that is application preferences.
| | 02:40 | And these preferences are
settings that affect all documents.
| | 02:43 | The one that's open, future ones,
old documents that I open and so on.
| | 02:48 | An example of an application
preference would be, for example, under the
| | 02:51 | Display Performance pane of the
Preferences dialog box, I can change my Greek
| | 02:55 | Type Below setting.
| | 02:57 | Greek Type is a way to make InDesign
more efficient by changing little tiny
| | 03:01 | text to just gray bars.
| | 03:03 | It makes it just a gray bar, a line,
on screen, instead of having to
| | 03:07 | render little tiny text.
| | 03:08 | So, I find it really annoying.
| | 03:09 | I hate seeing those little gray bars.
| | 03:11 | So I'm going to change this to two points.
| | 03:13 | I'll very, very rarely see
that gray bar. So that's great.
| | 03:16 | I've made this change and this
instance is an application-wide setting.
| | 03:20 | So this will change all documents
whether they're new documents or old documents.
| | 03:25 | Those are all affected by this setting.
| | 03:27 | In general, most of the Preference
panes from Dictionary on downward are
| | 03:32 | application-wide and most of the
settings from Guides & Pasteboard up are
| | 03:37 | document-wide settings.
| | 03:38 | There are some exceptions,
but in general, that's the rule.
| | 03:42 | In later movies, I'll be covering a
number of different features in the
| | 03:45 | Preferences dialog box, but always
remember that document preferences will only
| | 03:49 | affect future documents if you
make them while no documents are open;
| | 03:53 | that No Publication state.
| | 03:55 | If you remember that, you'll keep
yourself out of trouble and keep
| | 03:58 | yourself efficient.
| | Collapse this transcript |
|
|
2. Getting to the FeaturesUsing the Tool panel| 00:00 | It doesn't matter whether you're
building a skyscraper or building an InDesign
| | 00:03 | document, either way you need tools
to do the work and you can find all of
| | 00:08 | InDesign's tools in the Tool panel,
here along the left edge of the screen.
| | 00:12 | Let's go ahead and take a quick tour
of our Tool panel and its tools, so that
| | 00:16 | you'll be prepared to use
them in the upcoming chapters.
| | 00:19 | The first thing I want to point out is
that the Tool panel is docked along the
| | 00:23 | left edge of the screen, but you can
pull it out and put it anywhere you want.
| | 00:26 | To do that simply grab its title bar out
and place it someplace else on the page.
| | 00:31 | You'll see that it is a truly floating
panel here, and the cool thing about this
| | 00:35 | is we can change its orientation as well.
| | 00:38 | Right now it's set up to a single
column, but if I click this little double
| | 00:41 | arrow it changes to a single row instead.
| | 00:44 | Some people like that, because it
matches the Control panel above better.
| | 00:47 | You can kind of nudge that up to be
right underneath the Control panel.
| | 00:50 | If I click on the double arrows again, it
becomes another configuration, two columns.
| | 00:55 | Some people like this.
| | 00:56 | It takes up more screen real estate,
but you know, some people think it's a
| | 00:59 | more pleasing layout.
| | 01:00 | In these movies though, I'm going to
leave it set to a single column by clicking
| | 01:04 | on that double arrow one more time.
| | 01:06 | But I'm not going dock it
into the left edge of the screen.
| | 01:09 | I'm going to show you what I do on my
personal system, because I just find
| | 01:12 | it really efficient.
| | 01:13 | I'm going to move it over until it
gets to the right near the edge of the
| | 01:16 | screen, and you'll see that it looks
like its going to dock, but I'm going to
| | 01:20 | force it not to dock there by
holding on the Command or the Control key.
| | 01:24 | This way its snaps to the
edge, but does not dock.
| | 01:28 | Now why would I want to do that?
| | 01:29 | Well I like doing it that way,
because I want to dock panels above it.
| | 01:33 | And there's no way to dock a panel
above or below the Tool panel when the Tool
| | 01:37 | panel is docked there.
| | 01:38 | It's just a limitation in InDesign.
| | 01:40 | So I force this to snap to the
left edge, but I don't dock it there.
| | 01:45 | And then I open up some
other panel that I usually use.
| | 01:47 | For example, I really like Mini Bridge.
| | 01:50 | Mini Bridge is something I'm going to be
talking about in some detail in a later
| | 01:53 | chapter, but for now let's just go
ahead and say I love Mini Bridge.
| | 01:56 | I like using it a lot.
| | 01:57 | I want to have it around, and I want
to dock it to the left edge of my page.
| | 02:01 | So I brought it up and I resized it,
and now I'm going to simply bring it over
| | 02:05 | here to the edge until it docks.
| | 02:07 | And then I'll click on the double
arrow to minimize it, and I'll minimize the
| | 02:11 | dock even more by dragging it to
the left until all I have is the icon.
| | 02:15 | So again, this is the way I do it on my
machine, you don't have to do it this way.
| | 02:18 | I just think it's very efficient to
have the Tool panel down below, and then
| | 02:22 | have other docked panels above it, so I can
click on them and get to them when I want.
| | 02:26 | So I have some docked over on
the left, some docked on the right.
| | 02:29 | Okay, let's go ahead and talk about
the Tool panel and its tools, which is of
| | 02:33 | course, what we're supposed to
be talking about in this movie.
| | 02:35 | Now the Tool panel is broken down
into a number of different categories,
| | 02:39 | although it's not immediately obvious
what those categories are The first four
| | 02:43 | tools are selection and
object manipulation tools.
| | 02:47 | So for example, the first
tool is the black arrow.
| | 02:50 | It's technically called the
Selection tool, and that lets you select and
| | 02:54 | manipulate whole objects.
| | 02:55 | You can move objects around,
select them to delete them, or whatever.
| | 02:59 | That's what the Selection tool is for.
| | 03:01 | The next tool down is the Direct Select tool.
| | 03:04 | That lets you select individual points
on a path or individual objects that are
| | 03:09 | nested inside of others.
| | 03:10 | It lets you do a direct selection,
just what you want to point to.
| | 03:14 | So that's the white arrow.
| | 03:15 | The next tool down is the Page tool,
and this lets you select an entire page.
| | 03:20 | Even better, it lets you resize
that page or move it on the pasteboard.
| | 03:25 | I'll be covering that in more
detail later on in this title.
| | 03:28 | Now the fourth tool is the Page Gap tool.
| | 03:30 | That's kind of like the
Selection tool, but in reverse.
| | 03:34 | Instead of focusing on the objects on
your page, it lets you focus on the gaps
| | 03:38 | between the objects.
| | 03:40 | And I've got a whole movie on that.
| | 03:42 | That's a cool tool.
| | 03:43 | That's a new feature in InDesign CS5.
| | 03:45 | The next collection of tools
are the Object Creation tools.
| | 03:50 | So for example, the Type tool,
that's T is the Type tool.
| | 03:53 | That lets you create type frames, or it
lets you create type inside of a frame.
| | 03:58 | So that's the first Type Creation tool.
| | 04:01 | I do want to point out that there's
this little tiny black triangle in the
| | 04:04 | lower right corner. That is important.
| | 04:07 | That means that there are more
tools hiding underneath this tool.
| | 04:11 | And the way you get to those is by
clicking and holding for just a moment or
| | 04:15 | two, and you get this popup menu,
which shows you the other tools.
| | 04:19 | In this case the hidden tool is the
Type on a Path tool, and that lets you
| | 04:23 | place type on a path. But it's hidden.
| | 04:26 | A lot of people don't realize that
it's under there. So now you know.
| | 04:30 | Now there's tools for
creating lines or Bezier Paths.
| | 04:34 | If we click and hold on this,
you'll see that there's the Pen tool.
| | 04:36 | This is just like Illustrator's Pen tool.
| | 04:38 | There are also similar tools that
allow you add points, delete points,
| | 04:42 | convert Bezier points.
| | 04:43 | I'll be covering all of those in later movies.
| | 04:45 | I just wanted to let you
know that they are there.
| | 04:47 | There is the Pencil tool and then
underneath that the Smooth and Erase tools.
| | 04:51 | These are all for doing free-
form drawing within InDesign.
| | 04:54 | If you have a really
steady hand you can do that.
| | 04:57 | Next there are Frame tools.
| | 04:58 | These are tools that let you make
frames that you can put pictures into,
| | 05:02 | graphics or other objects inside of.
| | 05:05 | And there are actually two sets of tools here.
| | 05:07 | There is a rectangle frame, the ellipse
frame, and the polygon frame, and then
| | 05:11 | just immediately underneath it there
are the Rectangle tool, the Ellipse tool,
| | 05:16 | and the Polygon tool.
| | 05:17 | So a lot of new InDesign users
wonder what is the difference?
| | 05:20 | Why should I use one or the other?
| | 05:22 | And the difference is really this.
| | 05:23 | There's no difference at
all, they're just frames.
| | 05:26 | But these ones that have x's in them,
by default have no stroke or fill.
| | 05:30 | So they're just frames without
any drawing to them themselves.
| | 05:34 | While the ones underneath, these tools
down here, by default have no fill, but
| | 05:39 | they do have a stroke.
| | 05:40 | So that's the one difference
that you need to keep in mind.
| | 05:43 | Other than that there's really no difference.
| | 05:45 | Okay next group, after the object
creation is the Object Manipulation tools.
| | 05:50 | For example the Scissor tool lets you
slice a path anywhere you want, like if
| | 05:54 | you have a long path and you want to
slice it in half, you could use that.
| | 05:57 | The next one down is the Free Transform
tool, this lets you rotate an object, or
| | 06:03 | scale it, or shear it, or move it.
| | 06:05 | It's a great tool for doing all kinds
of transformations, and in fact, if I
| | 06:09 | click on that and hold for a moment, I
can see that there are individual tools
| | 06:13 | underneath here for rotating, scaling,
and shearing, but I rarely use those.
| | 06:17 | I typically just stick
with the Free Transform tool.
| | 06:19 | Then there's tools for
adjusting the gradient within an object.
| | 06:23 | If you have a gradient fill or a
grading stroke, you can change that gradient
| | 06:27 | with the Gradient tool or
with the Gradient Feather tool.
| | 06:30 | The Gradient Feather is a way to blend
transparency, not to another color, but
| | 06:34 | to actually blend to transparency.
| | 06:37 | So that's what that tool is all about.
| | 06:39 | Now the next group is sort of
miscellaneous, there's the Note tool.
| | 06:42 | The Note tool lets you add
annotations inside any kind of text frame.
| | 06:46 | The Eyedropper tool lets you copy
formatting from one object or one piece
| | 06:50 | of text to another.
| | 06:52 | That's kind of helpful.
| | 06:53 | Underneath there, there is a
Measurement tool, which lets you measure objects.
| | 06:56 | These are all sort of miscellaneous.
| | 06:58 | They're really helpful, but you're just
not going to use those quite as often.
| | 07:01 | And then finally we have the Hand
tool and the Zoom tool, and we covered
| | 07:05 | those in earlier movies.
| | 07:07 | The ability to pan around your page
or to zoom in and out of your page.
| | 07:11 | At the bottom of the Tool panel there
are some controls for changing the fill or
| | 07:15 | stroke of any object that
you have selected on your page.
| | 07:18 | And in fact, down here there's this
little fly-out menu that lets you apply
| | 07:22 | a color a gradient or none, just fully
transparent to any object that you have selected.
| | 07:27 | And finally at the very bottom we have
the Screen Display Mode, which gives you
| | 07:31 | some controls about how things look on screen.
| | 07:33 | We've already talked about this a little bit;
| | 07:34 | the Preview Mode, the
Presentation Mode, and so on.
| | 07:38 | So that's the Tool panel, and
all the tools that are in it.
| | 07:40 | But to me the coolest part of the
Tools panel is that you can use all these
| | 07:44 | tools, even if you close it by going to
the Window menu and choosing tools. How?
| | 07:49 | Well, every tool and feature in the
Tools panel has an equivalent keyboard
| | 07:53 | shortcut, and in the next movie we'll
not only explore those shortcuts, but even
| | 07:58 | look at how to make your own.
| | Collapse this transcript |
| Learning and editing keyboard shortcuts| 00:00 | If you're as old as me, you might
remember the old DOS or CPM days, when there
| | 00:05 | was no mouse, no menus.
| | 00:06 | Just text, you kept your hands on the
keyboard at all times. And we liked it.
| | 00:11 | No, actually I'm pretty glad
those days are far behind me.
| | 00:14 | But I have come to realize that it's
actually incredibly efficient to keep your
| | 00:18 | hands on the keyboard and
to minimize the use of menus.
| | 00:22 | So when I'm trying to move fast
InDesign, I turn to its keyboard shortcuts.
| | 00:27 | And the first keyboard shortcuts I
turn to, are the tool keyboard shortcuts.
| | 00:31 | Every tool in the Tool panel
has its own keyboard shortcut.
| | 00:35 | For example, you can press the
letter T to jump to the Type tool.
| | 00:39 | You see how it just jumped to
that T tool there, the Type tool.
| | 00:42 | I can press F to jump to the Frame
tool, down here, or V to jump to the
| | 00:47 | Selection tool, the Black Arrow tool at the top.
| | 00:50 | Now how do I know what
those tools shortcuts are?
| | 00:53 | Well, I know because if I hover my
cursor on top of one of the tools, just for
| | 00:57 | about a moment, up comes a tooltip.
| | 00:59 | And that shows me that that's the
Selection tool and I use the letter V to get
| | 01:03 | to it, or the Escape key, that will also work.
| | 01:06 | I'll hover over the next one, the
Direct Selection tool, and you can see that I
| | 01:09 | press A to get that.
| | 01:11 | Every tool has its associated keyboard shortcut
and note that these do not use a modifier key.
| | 01:16 | It's not Command+V to jump to
that or Ctrl+A to jump to that.
| | 01:21 | It's just the key itself.
| | 01:22 | Just A for the Direct Selection tool.
| | 01:24 | That's all you need.
| | 01:25 | Now that's great if you're not editing text.
| | 01:27 | But as soon you are
editing text, you're in trouble.
| | 01:30 | So for example, let me just jump to the
next spread here and I'm going to switch
| | 01:34 | to the Type tool by
pressing T. That selects that.
| | 01:37 | I'll select some text in this text
frame down here and I'm going to zoom in on
| | 01:41 | that text by pressing Command+2 or
Ctrl+2 on Windows to jump to 200%.
| | 01:45 | You can see that I have
a bunch of text selected.
| | 01:47 | Now, if I wanted to go to the
Selection tool, I could press V, but of course
| | 01:52 | that replaces all that text with the
letter V. So that's not very helpful.
| | 01:56 | I'll go back to Edit and choose Undo Typing or
I could press Command+Z or Ctrl+Z on Windows.
| | 02:01 | So instead of using that V,
I'm going to press Escape.
| | 02:05 | And Escape does the same thing, but
this time it does not edit the text.
| | 02:10 | It does not change that, because the
Escape key was a secondary keyboard shortcut.
| | 02:14 | Remember, when I hovered over here, it
showed me two different shortcuts: V or Escape.
| | 02:19 | So InDesign actually lets you have more than
one keyboard shortcut for the same feature.
| | 02:24 | And that turns out to be very
important for what we're trying to do.
| | 02:27 | Let's go back to the Type tool and
select this text again and I'm going to show
| | 02:30 | you how you can apply your own keyboard
shortcut to any of these other tools, or
| | 02:34 | in fact any other feature in the program.
| | 02:37 | For example, in an earlier movie, I
showed how you can switch into the Preview
| | 02:41 | Mode by pressing the W key,
and that's very, very handy here.
| | 02:44 | It makes all these guides go away. I like that.
| | 02:47 | But of course, I can't
press W now; I'm editing text.
| | 02:50 | So I'm going to add a new
keyboard shortcut to let me do that.
| | 02:54 | I'm going to go to the Edit
menu and choose Keyboard Shortcuts.
| | 02:57 | The Keyboard Shortcuts dialog box
is a little overwhelming at first.
| | 03:00 | Let me step you through it.
| | 03:02 | The first thing you need to do is
make sure you're using the correct set.
| | 03:05 | The default set is what you normally use.
| | 03:07 | That's the baseline set and there's two
other sets in here, the PageMaker set or
| | 03:11 | the QuarkXPress set.
| | 03:12 | I rarely use either of those.
| | 03:13 | But in this case, I'm making my own
keyboard shortcut, so I need to create a new set.
| | 03:18 | InDesign won't let me overwrite any of those.
| | 03:21 | So I'm going to come over here
and click the New Set button.
| | 03:24 | Now I'll type a name for my set.
| | 03:26 | I'm going to call it David's KBSC set.
| | 03:28 | That's a keyboard shortcut set. Click OK.
| | 03:31 | You can call it anything you want.
| | 03:33 | Now the next thing I need to do is
find the feature I'm looking for.
| | 03:36 | I'm looking for the Preview keyboard
shortcut, and I happen to know that that
| | 03:41 | lives inside the Tools panel.
| | 03:44 | So, I'm going to go to the Tools
Product Area and I'm going to scroll down here
| | 03:49 | until I find the feature that I am looking for.
| | 03:51 | Toggle View Setting Between
Default and Preview, there we go.
| | 03:55 | It will show me that the current
shortcut is W. Well, I already knew that.
| | 04:00 | W is the shortcut I have been using.
| | 04:02 | But I want a new keyboard shortcut, so that's
with the New Shortcut field down here is for.
| | 04:07 | I'll click inside that and I'll
find a shortcut that I can use.
| | 04:11 | How about Ctrl+Option+1?
| | 04:14 | It tells me that this is currently unassigned.
| | 04:17 | If I chose something different like
Command+Option+W, it says okay, well that's
| | 04:21 | currently assigned to Textwrap.
| | 04:23 | Do you want to take it off the TextWrap?
| | 04:24 | No, no I'd rather go back to the
first one, the Ctrl+Alt+1 or Ctrl+Opt+1.
| | 04:29 | And I'm going to use that one instead.
| | 04:31 | To add that keyboard shortcut to this
command, I must click the Assign button.
| | 04:36 | Don't forget to click Assign.
| | 04:38 | So that's how you add your own keyboard
shortcut to any feature in the Product.
| | 04:42 | Now, how did I know that the Toggle
View Settings was inside the Product Area?
| | 04:48 | Well I am going to show you a secret.
| | 04:50 | And that secret is the Show Set button.
| | 04:52 | The Show Set button shows you every
feature in InDesign that has a keyboard
| | 04:57 | shortcut and even many that
don't, and this is what happens.
| | 05:01 | You click Show Set and it writes your
current set of keyboard shortcuts to disk
| | 05:05 | as a Text File and automatically
opens it up in your default Text Editor.
| | 05:10 | On the Mac, it's usually TextEdit.
| | 05:12 | On Windows it's usually Windows Notepad.
| | 05:14 | Now this has every feature that could
have a keyboard shortcut applied to it.
| | 05:18 | You'll see that a lot of these are None defined.
| | 05:20 | That means that it doesn't
have a keyboard shortcut yet.
| | 05:22 | But there are some that do have
keyboard shortcuts applied to them and that's
| | 05:26 | how you can learn what a keyboard
shortcut is and what Product Area it lives in.
| | 05:30 | So just scroll through here and
you'll find all kinds of features that you
| | 05:34 | didn't even know that InDesign had, but
you can find what the keyboard shortcuts
| | 05:38 | are and then just scroll up to the
top and you'll find the Product Area.
| | 05:42 | Let's go ahead and go back to InDesign
here and try out our keyboard shortcut.
| | 05:47 | I'm going to click OK.
| | 05:49 | And it looks like I'm
still editing my text here.
| | 05:52 | I want to switch into Preview Mode and
I'm going to try that keyboard shortcut,
| | 05:55 | Ctrl+Alt+1 and you see it worked.
| | 05:59 | There I am in Preview Mode.
| | 06:00 | All the guides go away.
| | 06:02 | It's a thing of beauty.
| | 06:03 | I'll try it again and they come back.
| | 06:06 | So it's toggling on and off in the Preview Mode.
| | 06:09 | Now sure, you might want to avoid
keyboard shortcuts if you, say, work by the
| | 06:13 | hour, but for those of us who are
trying to get our work done faster, it's
| | 06:17 | worth it to define as many shortcuts
as we can remember and then use them as
| | 06:22 | often as we can.
| | Collapse this transcript |
| Working with spring-loaded tool shortcuts| 00:00 | I'm sure you can tell by now
that I just love keyboard shortcuts.
| | 00:03 | It's just all about efficiency and in
the last movie we saw how every tool
| | 00:08 | has its own shortcut.
| | 00:10 | But sometimes, when you're working
really quickly, switching from one tool to
| | 00:13 | another and then back again is just too slow.
| | 00:16 | So enter the world of
spring-loaded tool shortcuts.
| | 00:20 | Let me show you how it works.
| | 00:21 | Right now, I've got the Selection tool
and I want to drag out a new frame, one
| | 00:26 | of these graphic frames over here, but
instead of switching the tool, dragging
| | 00:30 | up the frame, and then switching back
to the Selection tool, I'm going to hold
| | 00:33 | down the F key to get that tool.
| | 00:35 | Now I haven't let go of the F key yet;
| | 00:37 | It's still held down.
| | 00:39 | So it switches that tool
and I drag out the frame.
| | 00:42 | Then I let go of the mouse button, and
then I let go of the F key, and you see
| | 00:46 | how it immediately switches
back to the Selection tool.
| | 00:49 | That's what I mean by a
spring-loaded tool shortcut.
| | 00:53 | I can do the same thing with the Type tool.
| | 00:55 | I can hold on the T, drag out a Type
frame, let go of the mouse button, let go
| | 01:00 | of the T, and then I'm
back to the Selection tool.
| | 01:02 | It's just a really efficient
fast way of moving among your tools.
| | 01:06 | Okay I know you're laughing at me
about all these crazy little shortcuts but
| | 01:09 | honestly teaching your fingers how
to do all these little shortcut dance
| | 01:13 | routines can be well worth it
once you get the hang of it.
| | Collapse this transcript |
| Using contextual menus| 00:00 | Sure InDesign has a lot of features up
here in the menus, but which of these
| | 00:04 | features are relevant to
what you're doing right now.
| | 00:07 | For example, when you're editing text,
wouldn't it be cool to get a set of
| | 00:10 | frequently used commands
that relate just to text?
| | 00:13 | Well, that's where context menus come in.
| | 00:16 | And context menus are those menus
that you get when you right-click with
| | 00:20 | a two-button mouse like this, or if you
have a one-button mouse, you can Ctrl+Click.
| | 00:24 | I just have to tell you though, if you
still have a one-button mouse, I strongly
| | 00:28 | urge you to get a two-button mouse.
| | 00:30 | You will not be sorry.
| | 00:31 | It's just so much easier to
work with a two-button mouse.
| | 00:34 | Anyway, you right-click with a two-
button mouse and you get this context menu,
| | 00:39 | and this gives you information about
whatever is selected on the page or
| | 00:43 | whatever you've right-clicked on.
| | 00:44 | In this case I right-clicked on the
pasteboard so I get some sort of generic
| | 00:48 | document features that relate to
the pasteboard of the document.
| | 00:51 | If I right-click on the title of the
document, I get some document related features.
| | 00:57 | That's good to know.
| | 00:58 | If I right-click on something on the
page, for example, this image, I'll select
| | 01:02 | this image and then right-click, I
get some object-specific features or
| | 01:07 | image-specific features.
| | 01:08 | Or if I use the Type tool, let's just
grab that Type tool, and select this text
| | 01:12 | on this curve up here.
| | 01:14 | Let me zoom in to 400% with Command+4
or Ctrl+4 on Windows, you can see that I
| | 01:19 | have some text selected
there and now I can right-click.
| | 01:21 | And notice that I don't have to right-
click on the text, I can right-click up
| | 01:24 | here, but it still is reflecting
whatever is selected down on that path.
| | 01:30 | You can see that I have a
lot of text related features;
| | 01:33 | the Font, the Size and so on and so on.
| | 01:36 | I can check the Spelling from here.
| | 01:38 | I'm going to change the case
of this to, let's say uppercase.
| | 01:42 | I'll choose uppercase and you can see
that all the text got changed to uppercase.
| | 01:45 | So it only was giving me features that
were relevant to what I was doing right now.
| | 01:50 | I'll go ahead and zoom back to Fit
in Window with Command+0 or Ctrl+0 on
| | 01:54 | Windows, and I'll press the Escape
key to jump back to the Selection tool,
| | 01:57 | because I want to show you that
context menus work not just in your document
| | 02:01 | page but even in panels.
| | 02:03 | For example, if I go to the Pages panel,
I can right-click on a page and get
| | 02:07 | controls for those pages.
| | 02:08 | Sort of Pages panel features.
| | 02:10 | Or I can go to the Layers panel and I
can right-click on a layer, and I can get
| | 02:15 | features for this layer
including Select items on this layer.
| | 02:19 | That means it will select all
the items on the Text layer for me.
| | 02:23 | So very, very handy.
| | 02:25 | You should try right-clicking in the
Links panel, in the Swatches panel, all of
| | 02:29 | the Styles panels have context menus.
| | 02:31 | Just start right-clicking on stuff and
see what happens. It's really great.
| | 02:35 | Now I'm going to get into what each of
these features do in upcoming movies, but
| | 02:39 | for now the important thing
is that you know where to look.
| | 02:42 | Like keyboard shortcuts, you don't have
to use the context menus but you're sure
| | 02:46 | missing out on a world of good if you
don't get into that right-clicking habit.
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| Choosing menu items with Quick Apply| 00:00 | I love keeping my hands on the
keyboard as much as I can when I work.
| | 00:04 | As I've said before, it's all about efficiency.
| | 00:07 | So you can just imagine the neurons
firing in my brain's pleasure center when I
| | 00:11 | saw a feature that just about
obliterates any reason to use a menu at all.
| | 00:16 | That feature is called Quick
Apply and it is simply life changing.
| | 00:20 | Let me show you how it works.
| | 00:21 | I'm going to apply a drop-
shadow to this group of objects.
| | 00:24 | So I'm going to select it with the
Selection tool, I just clicked on it, and
| | 00:27 | I'll zoom into 200% by pressing Command+
2 or Ctrl+2 on Windows, so I can see it
| | 00:33 | a little bit better here.
| | 00:34 | Now I may not remember which panel to
go to, to apply a drop-shadow, or which
| | 00:38 | keyboard shortcut to use or which menu to
go to, but I don't need to know any of that.
| | 00:43 | Because I know about Quick Apply, and I
know that Quick Apply shows up whenever
| | 00:47 | I press Command+Return on the
Mac, or Ctrl+Enter on Windows.
| | 00:52 | That's all you need to know.
| | 00:53 | Up comes the Quick Apply panel and it lets me
type in the name of any feature in the program.
| | 00:59 | For example, I'll just type dr and
immediately, InDesign filters out all of the
| | 01:04 | features down to just the ones
it guesses I'm trying to type.
| | 01:08 | And you see I don't even
need to type Drop Shadow.
| | 01:10 | I just type dr and it guessed Drop Shadow.
| | 01:13 | That's the first item here in the list.
| | 01:15 | Once I have the feature I want all I
need to do to trigger that is press Return
| | 01:19 | or Enter, and up comes the Effects panel,
on goes the Drop Shadow, click Ok and
| | 01:24 | there's my Drop Shadow.
| | 01:26 | It's as simple as that.
| | 01:27 | Quick Apply is a great way to
trigger any feature in the program.
| | 01:30 | Let me show you another example.
| | 01:31 | I'll zoom back to Fit Page in Window
with Command+0 or Ctrl+0, that's a keyboard
| | 01:36 | shortcut I do remember, and I want to
rotate this whole spread 90 degrees.
| | 01:41 | Well, how am I going to do that?
| | 01:42 | Well, I know about Quick Apply, so I'll
press Command+Return or Ctrl+Enter on Windows.
| | 01:46 | Up comes Quick Apply.
| | 01:48 | You can see that it remembered the last
thing I typed there, but in this case, I
| | 01:51 | don't want Drop Shadow.
| | 01:52 | I want 90 degrees Rotate.
| | 01:55 | So I type 90 and it shows me all the features
in InDesign that have the number 90 in them.
| | 02:01 | Isn't this great?
| | 02:02 | You can see that the first one is Rotate
90 degrees but it's in the Transform menu.
| | 02:07 | That means that it's going to
rotate the selected objects 90 degrees.
| | 02:11 | That's not what I want.
| | 02:12 | I want to rotate the Spread View 90
degrees, and that's further down in the list.
| | 02:16 | So I'll use the arrow keys on my
keyboard to choose the item that I want to pick.
| | 02:22 | So I just pressed the Down arrow a few
times and then hit Return and there it is.
| | 02:26 | It rotated the spread 90
degrees clockwise. Very easy.
| | 02:30 | Very handy. Very fast.
| | 02:32 | When I'm ready to go back to clear
that rotation, bring up the Quick Apply
| | 02:35 | again, I'll just type rotation a couple
of times, find Clear Rotation, hit Enter
| | 02:40 | and it goes back to the
normal 0 degrees. Very easy.
| | 02:44 | If you want to be super-efficient in
your work, you'll definitely want to make
| | 02:48 | Quick Apply your friend.
| | 02:49 | Now that you know where your tools
and features are and how to use them
| | 02:52 | efficiently, you're ready to launch
into the meat and potatoes, creating a
| | 02:56 | new document.
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|
|
3. Creating a DocumentCreating new documents| 00:00 | Finally, it's time to
make a new InDesign document.
| | 00:03 | The way to do that is to go to the
File menu and choose from the New submenu.
| | 00:07 | You'll see that you have three options here:
| | 00:09 | Document, Book, and Library.
| | 00:10 | But we're going to be focusing on
making a new document in this movie, so
| | 00:13 | that's what I'll choose.
| | 00:15 | Notice that there's a keyboard
shortcut to get to this faster, which is
| | 00:18 | Command+N on Mac, or Ctrl+N on Windows,
and either of those open up the New
| | 00:22 | Document dialog box.
| | 00:23 | Now there's a lot of information here
in this New Document dialog box so, let's
| | 00:27 | take it systematically.
| | 00:28 | I am going to start by skipping the
Preset however, and jump right to Intent.
| | 00:32 | Now, the Intent means where are
you intending this document to go?
| | 00:36 | Is it supposed to be a print
document, or is it supposed to be an
| | 00:39 | on-screen document?
| | 00:40 | Adobe calls this Web, but it's not like
you're making an HTML page, so I really
| | 00:44 | wish they had chosen to call
this on-screen instead of Web.
| | 00:47 | Web makes no sense to me.
| | 00:48 | Anyway, for on-screen documents, let's
say you're making an interactive PDF, or
| | 00:52 | a SWF file or something, that is when
you choose Web, and if you do that all of
| | 00:57 | your page sizes change to pixels, your
measurements change to pixels, everything
| | 01:01 | gets set to RGB in your document, and so on.
| | 01:04 | It's just a convenience for when you
are making those interactive kind of
| | 01:07 | documents with InDesign.
| | 01:08 | I'll be talking about
interactive documents in a later chapter.
| | 01:11 | Right now, I'm going to stick with a
basic print document just like we're used
| | 01:15 | to, and we'll move on.
| | 01:17 | You can see that the measurements are
all set to your default measurement system
| | 01:20 | which I talked about in an earlier chapter.
| | 01:23 | In this case, it's set to picas, and
we can change the Page Size right here.
| | 01:27 | Now there's a lot of default sizes
built in, Letter size pages, Legal size
| | 01:32 | pages, A4 pages and so on. I'll choose A4.
| | 01:36 | That's a nice size for Europe.
| | 01:37 | For all of those of you in
Europe, you know A4 quite well.
| | 01:40 | Now, the key here is you want to choose
a Page Size, which is your final output.
| | 01:46 | Don't try and take into account Crop
Marks, or Registration Marks, or any of
| | 01:49 | those other things you might add
outside your page, just the final printed
| | 01:53 | size of your document.
| | 01:54 | So, if you're printing on A4
paper, then choose A4 here.
| | 01:58 | Now, if you're printing on a custom
size, feel free to dial that in here, you
| | 02:02 | can just type whatever values
you want into these settings.
| | 02:04 | For example, if you're doing a 7"x 9"
document, you can just type those in there.
| | 02:09 | Notice that I typed it in inches with
the "in" marker, and it automatically
| | 02:13 | converted that to picas, just a little
convenience that it is doing on the fly here.
| | 02:17 | You can also change the Orientation.
| | 02:19 | In other words, do you want it to be taller
than it is wide, or wider than it is tall?
| | 02:24 | That's Landscape versus Portrait.
| | 02:26 | Let's go ahead and change this to
Landscape, and you can adjust the number of
| | 02:29 | Columns and Margins.
| | 02:31 | Now these simply add guides on your page.
| | 02:35 | We looked at the Column guides and
Margin guides in an earlier chapter.
| | 02:38 | You don't have to dial these in.
| | 02:40 | You don't have to choose the number of
columns right now if you don't want to.
| | 02:43 | It's just a convenience to set up your
document from the beginning, the way you
| | 02:47 | might want to set it up later, but
you can change all these values later.
| | 02:50 | That said, if you're trying to be
efficient, if you're trying to create a
| | 02:53 | template, let's say, it is a good idea
to specify exactly what you want here to
| | 02:57 | save yourself time in the future.
| | 02:59 | Now there is one more set of options down
here that's missing from this dialog box.
| | 03:03 | Adobe is hiding this from you, and it's
hiding these features from you because
| | 03:07 | they think it might overwhelm you to
have too much in this dialog box, but I
| | 03:11 | want all the features right in front of me.
| | 03:13 | So, I'm going to unhide them by
clicking on the More Options button, and when
| | 03:18 | I click More Options, you can see
there we go, we get Bleed and Slug options
| | 03:22 | down at the bottom.
| | 03:23 | This is another ability to add guides
outside the document page area, and I'll
| | 03:28 | be covering those in a later chapter,
but for right now, I just wanted you to
| | 03:31 | know, those options are inside
this dialog box. So check them out.
| | 03:35 | Now, let's go ahead and jump to the
top of the dialog box here, and look at
| | 03:39 | Number of Pages, and Start Page.
| | 03:41 | The Number of Pages, always start off
with one page, but if you know it's going
| | 03:45 | to be an 8-page document, go ahead and
dial that in here. That's up to you.
| | 03:48 | If you know that your document is
going to start on page 16, you can go ahead
| | 03:52 | and type that here if you want.
| | 03:54 | You should tell InDesign, whether this
document is a Facing Pages document, or a
| | 03:58 | Single-sided document.
| | 03:59 | For example, if you're making a book
that has a left-hand page, and a right-hand
| | 04:03 | page, then you probably want
to have Facing Pages turned on;
| | 04:06 | magazines, anything that has a left-
and right-hand page where they're facing
| | 04:10 | each other, you probably want that turned on.
| | 04:12 | If you're just making one-page ads,
something like that, then go ahead and
| | 04:16 | leave that turned off.
| | 04:17 | In this case, I'm going to leave it
turned on, and I'm also going to leave off
| | 04:21 | the Master text frame checkbox.
| | 04:23 | The Master text frame checkbox is kind of
a hold-over from the Old QuarkXPress days.
| | 04:27 | QuarkXPress had a feature
called Automatic Text Box.
| | 04:30 | InDesign wanted to make something
similar, and so Adobe added this feature
| | 04:34 | called Master text frame, and all it
does is it adds text frame to your master
| | 04:39 | pages automatically for you.
| | 04:41 | And in InDesign, you typically don't need that.
| | 04:44 | I'll be covering master pages, and text
frames in a later chapter, but trust me,
| | 04:48 | for now, you typically do not need
InDesign to add these for you automatically.
| | 04:52 | So, I usually leave that turned off.
| | 04:54 | I'm going to set this back to 1, starting
on Page 1, and just a one page document.
| | 04:58 | If I need to add pages, I can add them later.
| | 05:00 | And I wanted to point out that if
you've spent more than 30 seconds on this
| | 05:04 | dialog box, getting the measurements
just right, setting it up just the way you
| | 05:08 | want, and so on, well, you're probably
going to want to do another document in
| | 05:12 | the future, which is similar to this or
the same is this, so it's a good idea to
| | 05:16 | take just a moment and save this as a Preset.
| | 05:19 | Just click the Save Preset
button, and give it a name.
| | 05:22 | I'll call this David's 7 x 9 doc.
| | 05:23 | You can call it anything you want.
| | 05:26 | I'll click OK, and you can see that
it shows up here in the Document Preset
| | 05:30 | popup menu right at the top.
| | 05:32 | In fact, let's go ahead and cancel
this and say we're starting over from
| | 05:34 | scratch, a couple of days from now,
we're going to go to File menu, choose New,
| | 05:38 | choose Document, up comes the New
Document dialog box, and you can see that
| | 05:42 | there's my Preset from the
Document Preset popup menu.
| | 05:45 | I can select that, and it
fills out all of the rest of this.
| | 05:48 | So, I don't have to worry about it.
| | 05:49 | I don't need to go in there,
and make sure it's correct.
| | 05:51 | I know it's correct, because
it was when I made my Preset.
| | 05:54 | So that's very, very handy.
| | 05:55 | Now, I'll click OK, and you can
see that the document is just dandy.
| | 05:59 | It's just what the doctor ordered,
but you know, sometimes you'll do that.
| | 06:03 | You'll set up a new document, you'll
create it, and then you'll look at it and
| | 06:06 | you'll say that's not what I wanted.
| | 06:07 | I wanted this to be Portrait,
not Landscape. Well, don't panic.
| | 06:11 | It's not the end of the world.
| | 06:12 | All the changes that you've made
inside that New Document dialog box can be
| | 06:16 | updated, they can be changed
in an already existing document.
| | 06:19 | For example, if I did want to change
this to Portrait instead, I would go to the
| | 06:23 | File menu, and choose Document Setup.
| | 06:26 | Document Setup lets me change a lot
of those features that were in the New
| | 06:30 | Document dialog box.
| | 06:31 | Note that it will not let me
change the Document Intent.
| | 06:34 | It's still set to Print.
| | 06:35 | It will not let me automatically add a
new Master text frame. I don't care.
| | 06:39 | I'm not going to use one anyway.
| | 06:40 | But it will let me change things
like the Page Size, and the Orientation.
| | 06:44 | Let's go ahead and change
that to Portrait instead.
| | 06:47 | It'll also let me change my Bleed and Slug
settings, which again I'll cover in a later chapter.
| | 06:51 | You'll notice that it does not
show me the Column and Margin guides.
| | 06:55 | That's interesting.
| | 06:56 | You can still change those, you
just don't do it in this dialog box.
| | 06:59 | You do it in a different dialog box
and I'll cover that in a movie later in
| | 07:03 | this chapter as well.
| | 07:04 | But in general, you get the idea here that
you can change all these values right in here.
| | 07:09 | Let's go ahead and click OK, and you
can see that I've changed this already
| | 07:12 | existing document to Portrait instead.
| | 07:15 | You know making a new document with
the proper settings is the first step in
| | 07:19 | creating a strong
foundation for your publication.
| | 07:21 | In the next few movies, I'll cover
many other settings that you should pay
| | 07:24 | attention to when building your documents.
| | Collapse this transcript |
| Saving and reverting documents| 00:00 | After you start working on a document,
you'll notice that up here in the
| | 00:04 | Document Title tab right next to
the name of the title, you'll see a
| | 00:07 | little asterisk, and that asterisk means
that something has changed about this document.
| | 00:12 | You've changed some text, you've moved
something, anytime you do anything to
| | 00:15 | a document, InDesign reminds you that it is
not yet saved by giving you that little asterisk.
| | 00:20 | So you can now save this to disk.
| | 00:23 | Under the File menu, you have three
different options for saving things to disk:
| | 00:27 | Save, Save As, or Save a Copy.
| | 00:29 | Now, Save is pretty much
the same in every program.
| | 00:33 | It simply saves over the current
version that's on the Desktop, or on your
| | 00:37 | computer hard-drive.
| | 00:38 | Save As gives you an extra option,
so I want to point this out here.
| | 00:42 | I'm going to go ahead and
save this to my Desktop.
| | 00:44 | I'm going to call it My Document,
because Save As always lets you change the
| | 00:49 | name of a document to whatever you
want it to be, but this also gives me the
| | 00:53 | option to choose a format.
| | 00:54 | InDesign CS5 document, or
the InDesign CS5 template.
| | 00:59 | So what is a template?
| | 01:00 | A template is a way that you can
create a document that you or somebody else
| | 01:04 | could open later, and when it's opened
later, it will always open as untitled.
| | 01:09 | It won't open that template.
| | 01:11 | It'll open up a duplicate of it, which
is untitled, nice and fresh, and easy
| | 01:15 | to start working on.
| | 01:16 | Then when that gets saved, it will save
as a new document, not over the template.
| | 01:21 | It doesn't erase the template when you open it.
| | 01:23 | So, that can be very handy, when you're
trying to create something that you're
| | 01:27 | going to use as a basis for work later.
| | 01:29 | But in this case, we're simply going to
create an InDesign document, and I'll go
| | 01:34 | ahead and click Save.
| | 01:35 | So it saves it to my hard-drive as the
name My Document, and then I can start
| | 01:40 | working on it some more.
| | 01:41 | So I'll move this over here, and
this over here -- you get the idea.
| | 01:43 | You can play around with your document,
do whatever you're going to do with it,
| | 01:46 | and then later choose once again Save,
which erases the original and overwrites
| | 01:51 | it with that same name.
| | 01:52 | Save As, which we just looked at, gives
you the option of changing the name, or
| | 01:56 | this is one of my favorites Save a Copy.
| | 01:59 | Save a Copy is kind of interesting,
because it looks just like Save As, but it
| | 02:03 | does something slightly different.
| | 02:04 | I'm going to go ahead and
save this as My Document copy.
| | 02:08 | It still gives me the option of
saving it as a document or a template,
| | 02:11 | lets me choose where
I want to save it, but when I save it,
| | 02:15 | something very subtly different
happens, look at the Title bar up here.
| | 02:20 | It still says My Document, and
there's still an asterisk there.
| | 02:23 | That means I'm still working on
the changed original document.
| | 02:28 | So what did Save a Copy do?
| | 02:29 | Well, Save a Copy saved the
current state of the document.
| | 02:32 | In other words, with all of these
changes, but it saved it off without
| | 02:36 | overwriting my original.
| | 02:38 | And in fact, it doesn't even open it.
| | 02:39 | It just saves it off to the side.
| | 02:41 | This is very helpful, when
you're saving what I call a Base Camp.
| | 02:45 | Basically, I might want to come back to
the document in this state, or I might
| | 02:49 | just throw it away, either way.
| | 02:50 | So very handy for that kind of thing, I
just wanted to point out that those are
| | 02:54 | the three options that you have in InDesign:
| | 02:55 | Save, Save As, or Save a Copy.
| | 02:58 | Now, there's one other thing that I
want to point out about saving documents.
| | 03:01 | This is an on-going debate, whether you
should save to, or open files from a server.
| | 03:07 | Now I personally believe that people
should only save to their local hard-drive,
| | 03:12 | and they should only open
documents from their local hard-drive.
| | 03:15 | So if you're working on a server, I
believe that you should move those
| | 03:18 | documents from the server to your local hard-
drive, and then open them, and then save them.
| | 03:22 | Later, when you want to put them back
on the server, you can copy them or move
| | 03:25 | them back to the server.
| | 03:26 | In my opinion, it's just far more reliable.
| | 03:28 | Now, however I'm sure there's a
lot of people who disagree with me.
| | 03:31 | To be fair, many people work on files,
save directly on a server, they have no
| | 03:36 | problems, but it just makes me nervous.
| | 03:38 | And ultimately the choice is yours.
| | Collapse this transcript |
| Using multiple Undo and Revert| 00:00 | One of my favorite things about
InDesign is the ability to experiment and never
| | 00:04 | feel like anything I've done is set in stone.
| | 00:07 | You can always go back to where you were.
| | 00:09 | Let me show you an example.
| | 00:11 | Let's say I'm working on this document,
this hansel & petal order form, and I'm
| | 00:14 | going to say, well, what if I move this here?
| | 00:16 | And what if I move this over here?
| | 00:18 | And what if I took all of this
stuff, and moved it down here?
| | 00:20 | And so on and pretty soon, you get the
idea, I'm really messing up my document.
| | 00:25 | I say well, you know that doesn't look so good.
| | 00:27 | I'd like to go back to the way it was.
| | 00:29 | Well, you can always go back a step by
choosing Edit > Undo, most programs have
| | 00:34 | that, so you can just undo one
step, but InDesign goes farther.
| | 00:38 | InDesign lets you undo
again, and again, and again.
| | 00:43 | Of course the keyboard shortcut
is Command+Z, or Ctrl+Z on Windows.
| | 00:46 | Or to redo an item, so in other
words, to go forward one step, it's
| | 00:50 | Command+Shift+Z, or Ctrl+Shift+
Z on Windows to move forward.
| | 00:55 | So you can move backward
or forward, how many times?
| | 00:58 | As many times as it takes.
| | 01:00 | InDesign remembers everything you've
done, since you opened this document and
| | 01:03 | started working on it.
| | 01:04 | Really, infinite number of
undos, as far as I can tell.
| | 01:07 | I've done a lot of undos and it's never run out.
| | 01:10 | So this is incredibly helpful, you can
really keep undoing, Command+Z, Command+Z
| | 01:14 | and so on, as far back as you need to go.
| | 01:17 | And then when it's looking a little bit
closer to what you wanted, go ahead and
| | 01:20 | start working on it again.
| | 01:21 | So, I can undo and redo as many
times as I want; very, very handy.
| | 01:26 | Now, if you really mess stuff up, and
you don't want to undo so many times, you
| | 01:30 | can choose Revert from the File menu.
| | 01:33 | Revert means go back to
the original file on disk.
| | 01:37 | In other words, close it and go ahead,
and open up the file from disk again.
| | 01:41 | So that is like the ultimate undo, all
the way back to where it's saved on disk.
| | 01:46 | So that's pretty cool, and then from here, I
can start editing and messing my file up again.
| | 01:50 | Now, while I'm working on this, I just
want to point out that there's something
| | 01:54 | really, really amazing about this Undo
feature in InDesign, besides the fact
| | 01:59 | that there's unlimited
undos, which is pretty cool.
| | 02:00 | Let's go ahead and delete that
and move this. You get the idea.
| | 02:04 | I'm just pretty much messing up
my document in all kinds of ways.
| | 02:07 | Let's say I'm working on this document.
| | 02:08 | What I'm intending to do is start with
the document as it was saved, and then
| | 02:12 | work on it, and turn it into a
different document, basically base one
| | 02:16 | document on another.
| | 02:17 | It's a very common workflow for InDesign users;
| | 02:19 | start with a document, edit it, save
it off, use Save As to save it as a
| | 02:23 | different name, and you've got
two different versions of the same
| | 02:25 | document basically.
| | 02:27 | So, I'm working with that assumption.
| | 02:28 | I'm going to be doing something like
that, and let's say I'll use a keyboard
| | 02:32 | shortcut, Command+A, or Ctrl+A on Windows.
| | 02:34 | That's the keyboard shortcut for Select All.
| | 02:37 | Now there's something funny though
about Command+A, or Ctrl+A. The A on the
| | 02:41 | keyboard is right next to another
letter which does something very, very
| | 02:46 | different, Command+S, or Ctrl+S, which is
what I happened to accidentally type just now.
| | 02:52 | And what is Command+S, or Ctrl
+S? Well, it is save, right?
| | 02:56 | So I just messed up my original document.
| | 03:00 | Isn't that horrible?
| | 03:01 | Shouldn't I be panicking right now?
| | 03:03 | Well, I'm not panicking.
| | 03:04 | And you know why I'm not panicking,
even though I saved over my original
| | 03:07 | document and I didn't mean to?
| | 03:08 | Well, the reason I'm not panicking is
because InDesign's Undo can even undo past a save.
| | 03:15 | This is an extraordinary feature
and it's gotten me out of all kinds of
| | 03:18 | trouble in the past.
| | 03:19 | So I just wanted to let you know about it.
| | 03:21 | What I'm going to do is before I start
undoing, I'm going to use Save a Copy to
| | 03:26 | save the current state of this
document out to my desktop as a new version.
| | 03:30 | So I'll just call this NEW VERSION.
| | 03:33 | You've got the idea.
| | 03:34 | Click Save, and it saves the current state off.
| | 03:37 | So I'm going to get back to
it later, just the way it is.
| | 03:39 | But now I'm going to start undoing.
| | 03:42 | So, I say undo, undo.
| | 03:43 | I'm just pressing Command+
Z, or Ctrl+Z on Windows.
| | 03:46 | Undo, undo, undo, undo, and you just
want to keep undoing as many times as
| | 03:50 | it takes, until things stop
happening on the page, or until the Edit menu
| | 03:54 | shows Undo as grayed out.
| | 03:56 | As soon as that's grayed out, that
means I'm back to the way this file was when
| | 04:00 | I first opened the original
document, and now from here, I can save.
| | 04:05 | So, I've saved my original document
back to the way the original document was.
| | 04:09 | But I can still go to the Open dialog box,
choose my NEW VERSION and click Open,
| | 04:15 | and now I have the NEW VERSION that
I was working on and the old version.
| | 04:19 | So, that's wonderful.
| | 04:21 | That just makes me so happy.
| | 04:22 | This is very powerful.
| | 04:23 | Unlimited undos, it can get
you out of all kinds of problems.
| | Collapse this transcript |
| Setting margin and column guides| 00:00 | In an earlier movie, we saw that the
New Document dialog box lets you set your
| | 00:04 | document's margin and column guides.
| | 00:06 | But what do you do if you need to change
your mind later, once it's already created?
| | 00:10 | Or what if you want different margins in
different parts of your document? No problem.
| | 00:15 | That's where the Margins and Columns
feature underneath the Layout menu comes in.
| | 00:19 | But before you choose this feature,
it's important to tell InDesign which
| | 00:23 | pages you want to affect.
| | 00:24 | So I'll not choose that and first I'll
come over to the Pages panel and choose
| | 00:29 | which pages I want to affect.
| | 00:31 | Here I have pages 16 and 17 selected
inside the Pages panel, that's the spread
| | 00:35 | I'm currently looking at.
| | 00:37 | And so if I make a change to Margins and
Columns, it will affect only this spread.
| | 00:41 | I can select other pages as
well by just clicking on them.
| | 00:44 | For example, I'll click on page 14 and
then Shift+Click down on page 19 and that
| | 00:49 | selects all of those pages.
| | 00:51 | So if I go up to the Layout menu and
choose Margins and Columns, it will affect
| | 00:55 | all three of these spreads.
| | 00:57 | However, I also noticed that these
spreads all have the little letter A, and
| | 01:00 | that A means that these are based on a
master page called master page A, up here
| | 01:06 | at the top of the Pages panel.
| | 01:08 | I'm going to be covering master pages
in a later chapter, but I do want to just
| | 01:12 | jump forward for a moment here and tell
you that master pages are a great way to
| | 01:16 | set up almost templates
for pages to be based on.
| | 01:19 | So anything that changes about a
master page will also affect all the pages
| | 01:23 | that they're based on.
| | 01:24 | So in this case, I can click on A-main
page, which highlights the master page up
| | 01:28 | at the top of the Pages panel.
| | 01:30 | And if I now go to Layout menu and
choose Margins and Columns, it will affect
| | 01:34 | every page in this document that's based on
master page A, in other words all of these spreads.
| | 01:39 | So we can see here that the Top Margin
is 1.5 inches down from the top of the
| | 01:43 | page, and the Bottom is almost
an inch from the bottom and so on.
| | 01:47 | And each of these numbers are different.
| | 01:49 | You'll also see this little icon here.
| | 01:50 | It's actually a button and if I click that,
it will link all of these fields together.
| | 01:55 | In other words, all the numbers, in all of
these fields will become the same number.
| | 01:59 | But in general, with Margins, you
almost always have a different margin on
| | 02:02 | different sides of the page.
| | 02:03 | So I'm going to leave that unclicked.
| | 02:05 | You can also change the number of columns
here at the bottom part of the dialog box here.
| | 02:10 | So let's go ahead and just make some changes.
| | 02:12 | I'll change the Top Margin to let's
say 2 inches and I'll change the Bottom
| | 02:15 | Margin to 2 inches in as well,
just for the sake of a demo.
| | 02:18 | And I can't see it on the page yet
because my Preview checkbox is not turned on.
| | 02:23 | So I'll turn on the Preview checkbox
and now we can see that the page margins
| | 02:28 | have changed at the Top and the Bottom.
| | 02:30 | The magenta lines are the
bottom and top margin in my document.
| | 02:34 | I have changed it on the master page
and all the document pages, including this
| | 02:37 | spread, have updated.
| | 02:39 | But we'll notice it changed the
margin guides but it did not change the
| | 02:43 | objects on the page.
| | 02:44 | I can do the same thing by changing the Columns.
| | 02:46 | You see now I've got four columns on
the page instead of five, but it does not
| | 02:51 | change anything on the page.
| | 02:52 | That is because the Enable Layout
Adjustment checkbox was turned off.
| | 02:56 | By default, this checkbox is turned off
so you don't get yourself into trouble.
| | 03:00 | Because if you do turn it on, it's
going to start moving stuff all over your
| | 03:04 | page and it could really mess up your layout.
| | 03:06 | So you have to use Layout
Adjustment very carefully.
| | 03:09 | Now, in fact I'm going to cancel out
of this and I'm going to not make this
| | 03:12 | change to the whole master page.
| | 03:14 | I'm only going to affect this one
page just by clicking on the numbers in
| | 03:17 | the Pages panel here.
| | 03:19 | I don't like applying Layout Adjustment
to a master page generally because it'll
| | 03:22 | affect so many objects in my document,
I don't know what's going to go wrong.
| | 03:26 | So let's go ahead and do
it just to this one spread.
| | 03:29 | I'll go to Layout, Margins and Columns,
I'll turn on Layout Adjustment this
| | 03:33 | time, and you'll see because the
Preview checkbox is turned on that the
| | 03:36 | Layout will change.
| | 03:38 | I'll go ahead and change this to 2
inches, I'll hit tab, and now the margins
| | 03:42 | changed and the objects changed,
some of these text frames changed.
| | 03:46 | Now some did and some did not.
| | 03:48 | What's the difference?
| | 03:50 | This text frame over here changed
because it was touching the margin.
| | 03:55 | In other words, Layout Adjustment only
affects frames, or objects on the page,
| | 03:59 | that are touching the margins
or touching the column guides.
| | 04:03 | I'll go ahead and change the number of
columns here to 4 and you can see that
| | 04:07 | some objects changed and some did not.
| | 04:09 | This frame here changed.
| | 04:11 | It got wider, because it
was touching a Column guide.
| | 04:13 | So when I changed the number of
columns, it got stretched out.
| | 04:17 | On other hand, this object down here
had no change at all because it went all
| | 04:21 | the way out to the edge of the page.
| | 04:22 | It was not affected by the
change in the column guides at all.
| | 04:26 | These text frames were touching the
columns guides, so they were affected.
| | 04:30 | You get the idea here.
| | 04:31 | The system is if it's touching a guide,
it will be affected by a layout adjustment.
| | 04:35 | If it's not touching a guide, then it won't.
| | 04:37 | Let's go ahead and make another change
here, maybe move this up a little bit,
| | 04:41 | maybe that was a little bit too far down.
| | 04:42 | I'll type 1.75 inches, hit Tab to
take it effect, and you can see that
| | 04:46 | it's moved back up.
| | 04:47 | I'll click OK and we can see that
this document is looking pretty good, but
| | 04:51 | there are clearly some things that I'm
going to need to clean up. It's not perfect.
| | 04:56 | In my experience, Layout Adjustment does a
pretty good job, but it's far from perfect.
| | 05:00 | You almost always need to go back and
change things a little here, a little
| | 05:03 | there, to make it work with
the new Margins, the new Columns.
| | 05:07 | So proof your documents
carefully after each change you make.
| | 05:11 | Fortunately, most of the time, at least
for simple documents, it does just fine.
| | Collapse this transcript |
| Using ruler guides| 00:00 | Designers love adding guides to their
pages to define zones and manage the space.
| | 00:05 | Production folks love adding guides
because it maintains consistency and
| | 00:09 | helps layout pages fast.
| | 00:11 | Whatever reason you want to add guides,
InDesign lets you do it in a number of different ways.
| | 00:15 | I've opened my Explore_California_Catalog
file here from the Exercise Files Folder.
| | 00:20 | I'm going to jump to the next
spread by pressing Option+PageDown or
| | 00:23 | Alt+PageDown in Windows.
| | 00:25 | I'm going to add some guides to this page.
| | 00:28 | I haven't finished laying stuff
out here, and I'd like to lay it out
| | 00:31 | consistently, using guides.
| | 00:33 | To add a guide to my page, I
simply drag it out of a ruler.
| | 00:36 | I'll move up to one of the
rulers and click and drag out a guide.
| | 00:40 | Notice that when I let go of the
guide, it becomes a page guide.
| | 00:44 | That is it extends only to the
edge of this one page, not past it.
| | 00:48 | If I click and drag a guide out and let
go of it on the pasteboard, it becomes a
| | 00:53 | pasteboard guide or a spread guide.
| | 00:55 | That is, it goes past the edge of the
page all the way onto the pasteboard.
| | 00:59 | So this is very handy when you're trying to
align things across multiple pages on a spread.
| | 01:04 | Now, whenever I start talking about
guides, I always like throwing in lots of
| | 01:08 | little guide tips and tricks, because
there's all kinds of hidden stuff that you
| | 01:12 | should know about when
you're working with guides.
| | 01:13 | For example, I'm going to drag out a
new guide here and it's going to on the
| | 01:18 | page, but I want it to be spread guide.
| | 01:21 | So, how do I turn a page
guide into a spread guide?
| | 01:23 | I hold down the Command key
or Control key on Windows.
| | 01:27 | I'm on the page, but I'm getting
pasteboard guide because I'm holding down the
| | 01:31 | Command or Control key, alright.
| | 01:33 | So, that's very handy.
| | 01:33 | I'll move this down here
so you can see this better.
| | 01:35 | I want to point out that there's a
little measurement next to my cursor.
| | 01:39 | It's giving me this weird measurement, 6
.4236 inches, which is kind of insane.
| | 01:44 | I mean, do you really
need it to be that precise?
| | 01:47 | In general, I just want my
guides to be at a rounded off number.
| | 01:51 | Let's say 6 1/2 inches or 6 and an
eighth inches, something like that.
| | 01:56 | So, to snap your guides to the ruler
tick marks, which are at, in this case 16th
| | 02:01 | inch intervals, you can hold down the Shift key.
| | 02:05 | Shift means snap it to a
little tick mark in the ruler.
| | 02:08 | So, now I'm holding down Command and
Shift, so I'm getting a pasteboard guide
| | 02:13 | that is snapping to those measurements.
| | 02:15 | So, there's 7 inch, we'll bring it down
a little bit more, and I've got 7 and an
| | 02:18 | eighth inch, and so on.
| | 02:20 | Now when I let go off the mouse
button, it snaps right to that position.
| | 02:23 | So, I get a pasteboard guide
at just the position I wanted.
| | 02:26 | Here's another fun trick, you can add a
guide by double-clicking in the ruler.
| | 02:30 | So, for example, if want one around 8 inches,
I could double-click in the ruler at 8 inches.
| | 02:35 | But even better if I want it to be
exactly 8 inches, I should Shift+Double-click
| | 02:39 | on the 8-inch marker.
| | 02:40 | That way it snaps to that 8 inch
tick mark in the ruler, and I know it's
| | 02:44 | at exactly 8 inches.
| | 02:46 | Now just because I added a ruler guide
like this, it didn't select it automatically.
| | 02:49 | This is an important that you
need to keep in mind about guides.
| | 02:53 | Guides are selectable just like regular objects.
| | 02:56 | This guide that I just added is not selected.
| | 02:59 | It's this bright cyan color.
| | 03:00 | This guide up here that I dragged out
earlier is selected and you can tell
| | 03:05 | because it's a darker blue color.
| | 03:06 | I can also tell that because up in the
Control panel I can see that whatever is
| | 03:10 | selected is at 7 and an eighth inches.
| | 03:12 | So, that's the one that's selected.
| | 03:14 | To select this guide down here, the one
I just made, I'll click on it and now it
| | 03:18 | becomes selected and the
other one is deselected.
| | 03:21 | So, up here in the Control panel it
says it's 8 inches down. There we go.
| | 03:24 | So now that's selected.
| | 03:26 | The fact that guides are objects in
InDesign turns out to be incredibly useful.
| | 03:30 | For example, if I want to select all
three of these guides, I can simply
| | 03:34 | Shift+Click on each of them.
| | 03:35 | Shift+Clicking means select
more than one thing at a time.
| | 03:38 | Now, I can drag all of these at the same time.
| | 03:41 | I can even move them up or down by
pressing the Arrow keys on the keyboard to
| | 03:45 | move them in small, tiny,
little one-point increments.
| | 03:48 | So, I can fine-tune exactly
where I want my guide to be.
| | 03:51 | Or come up here to the Control panel and
say I want the guide to be at 8 inches.
| | 03:56 | So, we can see that the center of the
selected guides is at exactly 8 inches.
| | 04:01 | Now, the reason I'm putting
guides on my page here is so that I can
| | 04:04 | align objects to them.
| | 04:05 | So for example, I'm going to grab this
guide and drag it down to be aligned with
| | 04:09 | the baseline of this text down here.
| | 04:12 | I'm just working quickly
here, but you get the idea.
| | 04:14 | It's going to be more or less
at the baseline of that text.
| | 04:16 | I want this other text frame to
be down at the same place as well.
| | 04:20 | So, I'm going to drag this lower center
handle, I've clicked on that text frame,
| | 04:25 | and dragged this lower center handle
down, until it snaps right to that guide.
| | 04:30 | So, guides are snappable.
| | 04:31 | I can do the same thing by dragging this
object, which is out on the pasteboard.
| | 04:35 | I'll just click on it and drag it with
my Selection tool out onto my page, until
| | 04:40 | the bottom of it snaps to that guide there.
| | 04:44 | Now what if I wanted it close to the
guide, but not exactly on the guide?
| | 04:48 | Well, I can zoom in. Let's go to 400%.
| | 04:49 | Well that's a little too close. How about 200%?
| | 04:52 | Command+2 or Ctrl+2 on Windows, I can
zoom in here, and if I want to get close
| | 04:57 | to a guide, but not exactly
on it, I've got two options.
| | 05:00 | I could turn off guide snapping, which
I could go to the View menu, go down to
| | 05:05 | Grids and Guides, and then turn off
Snap to Guides, and of course there's a
| | 05:08 | keyboard shortcut to do that.
| | 05:10 | But I rarely do that.
| | 05:12 | The reason I rarely do that
is because I know a shortcut.
| | 05:14 | There is always a shortcut, isn't there?
| | 05:16 | The shortcut is holding down the Control key,
both on Mac and Windows it's the Control key.
| | 05:21 | That tells InDesign to
turn off snapping temporarily.
| | 05:25 | So, I'm getting very close to it,
but I'm not snapping to it, because the
| | 05:29 | Control key is held down. There we go.
| | 05:30 | Now I'll let go.
| | 05:32 | Now, you can see that it's
close, but not snapped to it.
| | 05:35 | Okay, let's zoom back out to fit
spread in window with the Command+Option+0
| | 05:38 | or Ctrl+Alt+0, and I'm going to align this
object with the top of this image over here.
| | 05:44 | Then I'll resize that image, so that it
snaps up here, and I'm going to, uh-oh.
| | 05:48 | I've got a problem here.
| | 05:49 | This guide is supposed to be a
spread guide, but it's only a page guide.
| | 05:53 | So, I can change it from one into the
other by dragging it and then holding
| | 05:57 | down the Command key.
| | 05:59 | In this case I'll do Command and
Shift, so it snaps to that tick mark.
| | 06:03 | Now, I've got a pasteboard guide.
| | 06:04 | I'll drag this object down here, so it's
snapped to the same guide. There we go.
| | 06:09 | Now once I've created a bunch of guides
on my page, I may want to use those same
| | 06:13 | guides elsewhere in my document.
| | 06:15 | I can do that in a number of
ways including, copy and paste.
| | 06:19 | Remember, guides are just like objects.
| | 06:21 | So, I can drag over a bunch of these.
| | 06:23 | And then I can copy them.
| | 06:25 | I'll go to the Edit menu and choose Copy.
| | 06:27 | Go to a different spread by double-
clicking on, in this case pages 14 and 15.
| | 06:31 | And then I'm going to paste them.
| | 06:33 | InDesign remembers the exact location of
every one of those guides and places it
| | 06:38 | in the same place on this new spread.
| | 06:40 | Okay, just a couple more things
that you might want to do with guides.
| | 06:43 | Some people don't like the fact that all of
these guides are the same color. That's okay.
| | 06:47 | You can change the color to
something else, if you want.
| | 06:49 | The way you do that is by clicking
on just the guide you want to change.
| | 06:53 | So, I just clicked on
that with a Selection tool.
| | 06:55 | Then I'm going to right-click with a
two-button mouse or Control+Click with a
| | 06:58 | one-button mouse and choose Ruler Guides.
| | 07:01 | Ruler Guides is a way to change
the color of a selected guide.
| | 07:05 | I'll change this to something
different, let's say Gold perhaps. Click OK.
| | 07:09 | You'll see that nothing has
changed yet, because it's still selected.
| | 07:13 | So, I'm getting this dark blue color.
| | 07:14 | But as soon as I click off of it to
deselect that, now you'll see that it's
| | 07:18 | orange or this gold color.
| | 07:20 | The last thing I need to point out is
how to get rid of some of your guides.
| | 07:23 | Sometimes, you don't want to
have all these guides on here.
| | 07:25 | So, how do you get rid of them?
| | 07:27 | Well, once again guides are just like Objects.
| | 07:30 | So, to get rid of a guide, you
simply click on it and hit Delete.
| | 07:33 | It's as easy as that.
| | 07:34 | You can delete it, just by pressing Delete.
| | 07:36 | If I want to get rid of all my guides,
I simply select one of them, and then
| | 07:40 | I'll Right-Click or Ctrl+
Click with a one-button mouse.
| | 07:43 | Then I can choose from the context
menu Delete all Guides on Spread.
| | 07:47 | That's a fast way to get rid of all of them.
| | 07:49 | Now, it will not remove the ones that
were coming from a master page, like these
| | 07:53 | guides up here were
positioned there on the master page.
| | 07:56 | So, InDesign won't touch those, but it
does get rid of all the guides that I
| | 08:00 | added to this document page.
| | 08:02 | Guides are intuitive, they're easy to use and
they really help you lay out a page quickly.
| | 08:06 | So, really there's no reason not to use them.
| | Collapse this transcript |
| Bleeding colors or images off the side of the page| 00:00 | Let's say you're making this brochure
and you want this background color to
| | 00:03 | extend all the way to the edge of the page.
| | 00:06 | Well, in order for this to work, you
have to actually extend it past the edge of
| | 00:09 | the page onto the pasteboard.
| | 00:11 | Here's why/ Let's say it reaches just
to the edge of the page, when it ends up
| | 00:16 | on a printing press the paper might
move just a tiny amount but you'd end up
| | 00:20 | with a little white sliver down one side.
| | 00:23 | So to compensate, printers want you to
extend the object off the page onto the
| | 00:28 | pasteboard and this is called a bleed.
| | 00:30 | They print the whole thing on a larger
sheet of paper and they trim it down to
| | 00:34 | where the edge should be.
| | 00:36 | But how far onto the pasteboard
should these objects go? A little bit?
| | 00:39 | A lot?
| | 00:40 | Well, it would be helpful to have
some guides to guide us in this process.
| | 00:45 | And we can get those guides by going to
the File menu and choosing Document Setup.
| | 00:50 | At the bottom of the Document Setup
dialog box, you'll see Bleed and Slug options.
| | 00:54 | Well, if you don't see them make sure
you click on More Options so that you do
| | 00:58 | see them, but once you see
them you can add a bleed guide.
| | 01:01 | I'm going to add a bleed
guide of about 9 points, p9.
| | 01:05 | You could just type in 3 millimeters
if you want or 0.125 inches, about an
| | 01:10 | eighth of an inch or 9 points
is pretty good for a bleed guide.
| | 01:14 | And I'm going to make sure that I've
got bleed guides on all four sides of my
| | 01:17 | page by clicking on the Link button over here.
| | 01:20 | I'll unlink it and then
link it again, there we go.
| | 01:22 | Now I have got 9 points on all
four sides of the document. Great!
| | 01:26 | Click OK, and you'll see that I now
have this red line on the outside of the
| | 01:31 | document page, out on the
pasteboard, and that's my bleed guide.
| | 01:34 | That's going to give me an
indication of where things should bleed to.
| | 01:38 | You don't have to do a bleed guide
if you don't want to, but it certainly
| | 01:41 | makes it a lot easier.
| | 01:42 | Now all I need to do is resize my
objects until they snap to that red line.
| | 01:47 | I'll grab that image back here and I'll
resize that as well, just snap that up
| | 01:51 | in the corners and
I'll snap this down to the bottom here.
| | 01:55 | This is going to take just a moment here.
| | 01:57 | I'll click on this image over here,
snap that to the corner and it looks like
| | 02:00 | I've got an orange frame here,
better snap that and this.
| | 02:04 | It just takes a few moments here to
resize all your objects until you have them
| | 02:09 | bleeding off the page onto the
pasteboard all the way to your bleed guides.
| | 02:14 | And that looks pretty good.
| | 02:15 | We can check to make sure that it's
looking just right by going into Preview Mode.
| | 02:19 | I'll press W to go into Preview Mode and I
can see that everything's still bleeding.
| | 02:24 | The document looks just the way I
want it to be. It looks terrific.
| | 02:27 | But there's one thing you
absolutely have to keep in mind when you're
| | 02:30 | bleeding off to the edge.
| | 02:32 | And that is, you need to set up either
your Print dialog box or your Export PDF
| | 02:36 | dialog box to include your bleed.
| | 02:39 | I can't tell you how many InDesign
users have been frustrated, they add bleed
| | 02:42 | guides, they make everything bleed off
the page, and then they're frustrated
| | 02:45 | because it won't bleed in their output.
| | 02:47 | Well, you must take one additional
step and I'll show you how to do that
| | 02:50 | by exporting to a PDF.
| | 02:52 | I'll go into much more detail on how to
export PDFs in a later chapter, but I'll
| | 02:56 | just do the quick version here, I'll
choose Export from the File menu and I'm
| | 03:00 | going to save this to my Desktop as a PDF file.
| | 03:03 | I'll choose PDF from the
Format pop-up menu here.
| | 03:06 | I'm going to leave this set up.
| | 03:08 | I'll just use this High-Quality Print
Preset and here in the Marks and Bleeds
| | 03:13 | pane, that's what I want to pay
attention to right now, I want to make sure I've
| | 03:16 | got my Printer Marks on and I
want the Use Document Bleed Settings.
| | 03:20 | If this is off and these are set
to 0, I'm not going to get my bleed.
| | 03:25 | That's the important thing that
I'm trying to get across to you.
| | 03:27 | Make sure that you either type in the
values manually here, I mean I could just
| | 03:31 | type in 9 points or 3 millimeters or
whatever, or much easier, just turn on Use
| | 03:36 | Document Bleed Settings and it takes
those values that I put into the Document
| | 03:40 | Setup dialog box and puts them
in here for me automatically.
| | 03:44 | And if I were printing this document
instead of exporting it as a PDF, I would
| | 03:48 | do the same thing but do it in the
Marks and Bleed pane of the Print dialog box
| | 03:52 | rather than the Export Adobe
PDF dialog box. And that's great.
| | 03:55 | That's pretty much all I need to do.
| | 03:57 | Now I click Export and it saves it out
to a PDF and will open it in Acrobat.
| | 04:02 | And here we go, here is the final PDF
in Acrobat, you can see I've got trim
| | 04:06 | marks where the where the edge of the page is
and bleed marks where the edge of the bleed is.
| | 04:10 | And I've got registration
marks and it's good to go.
| | 04:13 | Now when you're bleeding objects off
your page you really need to talk to your
| | 04:16 | printer first to make sure they're set
up to print bleeds, and also to find out
| | 04:20 | how large the bleed should be.
| | 04:21 | I'm using this 9 points but
they might want a larger bleed.
| | 04:25 | Otherwise, if you don't talk to them
you may not get the results you expect.
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| Saving objects in libraries| 00:01 | InDesign users often need to use the
same object, the same text or the same
| | 00:05 | layout in a number of different places,
either within the same document or in
| | 00:08 | different documents.
| | 00:09 | Fortunately, you don't have to re-
create that stuff each time, because InDesign
| | 00:14 | offers several great ways to reuse your content.
| | 00:17 | Let's look at a couple of them.
| | 00:18 | I'm going to use the same group of
objects down here in another document.
| | 00:21 | So I'm going to first select it by dragging
with the Selection tool over that whole group.
| | 00:26 | It selects all of them and now I can
copy it to the Clipboard. Choose Copy.
| | 00:31 | Now I'm going to put that in a new
document, so first I'll go grab my new document.
| | 00:36 | This document back here is
a non-facing pages document.
| | 00:39 | It's a single-sided document.
| | 00:41 | So I'm going to be putting it
into another single-sided document.
| | 00:45 | Click OK, and now I'm going to paste
it in, but instead of using Paste, I'm
| | 00:49 | going to use a feature called Paste in Place.
| | 00:52 | This tells InDesign to not just paste
those objects into this document, but
| | 00:56 | actually paste them in exactly the same
location as they were in the previous document.
| | 01:01 | There you go, you see how they ended up in
the same location down there. Pretty cool.
| | 01:05 | But what if I need the same group of
objects tomorrow and next week and next month?
| | 01:10 | I don't want to have to Copy
and Paste in Place every time.
| | 01:12 | Instead I'd rather put it into a
little repository that I can always grab it
| | 01:17 | from the same place.
| | 01:18 | So to do that I'm going to create a
library, I create a library by going to the
| | 01:22 | File menu, choosing New
and then choosing Library.
| | 01:26 | InDesign will ask me to name the
library and where I want to put it.
| | 01:29 | I'll just call it My Library but
you can call it anything you want, and
| | 01:32 | I'll click Save, and what happens is
InDesign creates this library off here as a panel.
| | 01:38 | It's a floating panel.
| | 01:39 | InDesign already ships with another
library called Sample Buttons, and we'll
| | 01:44 | talk about that in a later chapter,
but in this case we're just using the
| | 01:47 | library called My Library.
| | 01:49 | Now to put these objects into My Library
you simply select them and then drag and drop.
| | 01:55 | It's easy as that.
| | 01:56 | When I dropped it into the library it
showed up as an untitled object in that library.
| | 02:01 | The next time I want to use that object,
for example, I'll create a new document here.
| | 02:06 | I want to use the same little object.
| | 02:08 | To get it out of the library, you guessed it!
| | 02:10 | I simply drag and drop.
| | 02:12 | Now in this case, because it's coming
out of the library, it's going to end up
| | 02:16 | exactly where my cursor was.
| | 02:18 | I'm dragging it out and dropping it
on the page wherever the cursor was.
| | 02:21 | So it's not ending up in
the same location on the page.
| | 02:24 | Let's go ahead and delete that.
| | 02:25 | I'll just press the Delete key to delete that.
| | 02:27 | If I do want it in exactly the
same location, here's the trick.
| | 02:31 | Select it in the library and then go to
the Library menu and choose Place Item(s).
| | 02:37 | Place Item(s) puts it on the page
and remembers the page geometry, the
| | 02:42 | position on the page.
| | 02:43 | Now we can add a lot of different
objects to our library, let's go back to the
| | 02:46 | original document here and say, gosh, I
want to have this text frame over here,
| | 02:51 | and I want to grab these two
buttons down here and drag those in.
| | 02:54 | You see what I'm doing here.
| | 02:55 | I'm just selecting objects or groups of
objects and adding them to My Library.
| | 02:58 | And then later when I need them,
I can simply drag them out again.
| | 03:02 | This library looks like a panel but
it's actually a file on disk, just like an
| | 03:06 | InDesign document, and whenever you
close your library or quit out of InDesign
| | 03:10 | it resaves that document on disk.
| | 03:12 | And then you could give this library file,
the one that's sitting on the Desktop
| | 03:16 | right now, to somebody else.
| | 03:17 | They could open it and they would have
access to all of these objects to put
| | 03:21 | in their documents.
| | 03:22 | Now there are lots of other cool
things that you can do with libraries;
| | 03:24 | I'm not going to go into all the
details but I will point out that I can
| | 03:27 | double-click on a library item and
it opens up its Item Information.
| | 03:32 | So I could say for example, this is
going to be my Payment Method object and
| | 03:37 | it's called Geometry,
Object Type here is Geometry.
| | 03:40 | That just means that there's a bunch of objects.
| | 03:42 | Click OK and I'll say, I'll double-click on
this one and this is going to be my Submit buttons.
| | 03:48 | I'll give it a description.
| | 03:48 | I'll say buttons I use in that form I made.
| | 03:53 | Click OK and you can see that
it names it inside the library.
| | 03:56 | It's worth taking a little bit of
time to name your objects, give them
| | 03:59 | descriptions and so on, because if you
add a lot of objects in your library you
| | 04:03 | may not know what these
little tiny thumbnails are.
| | 04:06 | You may not remember what those are.
| | 04:08 | It's also good because you can search
through a library and you do that by
| | 04:12 | clicking on the Filter button, this
little thing that's supposed to look like a
| | 04:15 | pair of binoculars, and you can say
find anything in which the description
| | 04:19 | includes, let's say the word form.
| | 04:21 | And when I do that it found the
Submit buttons, because again this had a
| | 04:26 | description including the word form.
| | 04:28 | So that's very handy as well, and
then I can grab that, drag it out onto my
| | 04:32 | page, and I'm good to go.
| | 04:34 | So as you can see, using libraries
is a great way to save yourself a huge
| | 04:38 | amount of time by reusing those frequently used
items, but libraries are not always convenient.
| | 04:43 | So in the next movie I'll show you an
alternative that you really need to know
| | 04:47 | about called Snippets.
| | Collapse this transcript |
| Exporting and importing page snippets| 00:00 | Much of publishing is
based on reusing page elements.
| | 00:04 | So the more that you create systems
that help you in that task, the more
| | 00:07 | productive you'll be.
| | 00:08 | One of the best techniques for reusing
frames or images or text is to turn them
| | 00:13 | into something called a Snippet.
| | 00:15 | These are little files on disk
that describe the page objects.
| | 00:18 | Here let me show you.
| | 00:19 | I'm going to select this whole little
group of objects, this Payment Method tab
| | 00:23 | thing, and I'm going to go to
the File menu and choose Export.
| | 00:26 | I'm going to save this out as a Snippet.
| | 00:29 | In order to save this as a Snippet, I
need to choose InDesign Snippet from
| | 00:32 | the Format popup menu.
| | 00:33 | Then I just give it a name.
| | 00:35 | I'll call this payment form and then click Save.
| | 00:39 | Before I do, notice that it says idms.
| | 00:41 | That's the filing name extension
for an InDesign Snippet. There we go.
| | 00:45 | Save it out as a Snippet and it is
now sitting on my Desktop as a file.
| | 00:50 | It's a file that I can put into
another document if I want to.
| | 00:53 | I'll go to File, New Document.
| | 00:55 | I'm going to turn off Facing Pages because
it's coming from a non-Facing Pages document.
| | 00:59 | And I will place this in here.
| | 01:01 | I'll go to my Desktop,
choose my Snippet on the Desktop.
| | 01:05 | There is the payment form.idms file.
| | 01:08 | Click Open and now it loads up my
placement cursor and it gives me a little
| | 01:11 | thumbnail of that object, or
that group of objects, in this case.
| | 01:15 | Now, I can simply click and it adds it
exactly where I clicked ,or let me undo
| | 01:20 | that with Command+Z or Ctrl+Z on Windows.
| | 01:22 | Or I can Option+Click, or Alt+
Click on Windows, and it does something
| | 01:26 | slightly different.
| | 01:27 | You can see the cursor
changed just a little bit.
| | 01:29 | That means when I click, it's
going to remember the page geometry.
| | 01:33 | It's going to remember where on the page
it was when I first made it into a snippet.
| | 01:37 | And it was down here in the lower right corner.
| | 01:40 | So that's a very helpful
trick when working with snippets.
| | 01:43 | Now anything on your page or
spread can be turned into a snippet.
| | 01:46 | In fact, I can could come back here and
select everything on my page if I want
| | 01:49 | to and turn the whole
thing into a single snippet.
| | 01:52 | In fact, I'll do that.
| | 01:53 | I'll select all of these objects on this page.
| | 01:55 | That's everything that's not on a master
page, and I'm going to turn it into a snippet.
| | 01:59 | Once again, I'll go to the Export
dialog box, which I'll get there the shortcut
| | 02:02 | way, by pressing Command+E or Ctrl+E on Windows.
| | 02:05 | Make sure this is set to Snippet, give it
a name, my whole form, and then hit Save.
| | 02:10 | And now that whole thing is in a
single file, and I could give that file to
| | 02:15 | another InDesign user and they could
place it in their InDesign documents.
| | 02:19 | It's a very handy way of moving around
page elements that you want to reuse.
| | 02:23 | Let's go ahead and do one more here.
| | 02:24 | I'm going to grab this Submit and
Reset button and I will put that out on
| | 02:28 | the Desktop as well.
| | 02:29 | And this case, I'm going to create a
Snippet in a slightly different way.
| | 02:33 | Instead of using the Export dialog
box, I'm going to drag and drop it.
| | 02:37 | So I'm going to start dragging these
objects and I'm going to use my application
| | 02:41 | switcher, on a Mac that's Command+Tab
and on Windows it's Alt+Tab, and I'm going
| | 02:45 | to go over to Bridge.
| | 02:47 | Here I am in Bridge and I'm going to
drop it into my Content pane of Bridge.
| | 02:52 | And when I do that, it's automatically
turned into the Snippet and given a name.
| | 02:56 | It's kind of a weird name.
| | 02:57 | But it's given this name.
| | 02:59 | Let me go ahead and change that name to
something more obvious, like my submit buttons.
| | 03:04 | There we go.
| | 03:05 | Now, I like using Bridge
for working with Snippets.
| | 03:08 | It's a very handy way.
| | 03:09 | It's sort like a super
duper meta major library system.
| | 03:13 | It's such a great content management
system that it works great with snippets.
| | 03:17 | And one of the best things it does with
snippets is it gives me a preview of my snippets.
| | 03:21 | A nice big preview.
| | 03:22 | So as I click on things, I can see what
things are going to look like. There we go.
| | 03:26 | These are each of the
three snippets I just created.
| | 03:28 | Now later, when I want to put them
into InDesign document, let's go back to
| | 03:32 | InDesign here with my application switcher.
| | 03:34 | I'll create a new document,
and I will turn off Facing Pages.
| | 03:37 | Click OK, and I want to put
those objects into this new document.
| | 03:40 | I simply use my application
switcher to select the snippet I want.
| | 03:44 | In fact, why don't I just grab the
whole form here, select this snippet, start
| | 03:48 | dragging and now I'm going to use
the application switcher to get back to
| | 03:51 | InDesign and I'll drop it.
| | 03:53 | When I drop it into InDesign, it
gives me the place cursor automatically.
| | 03:57 | Now, I can click to just
plop it right wherever I click.
| | 04:00 | Let me undo that, or Option or Alt+
Click to put it in exactly the same location
| | 04:05 | as it was in the original document.
| | 04:07 | In a later movie, when I talk
about the Mini Bridge panel inside of
| | 04:10 | InDesign, you'll see that this
Bridge to InDesign workflow is even cooler
| | 04:15 | than what I'm showing here.
| | 04:16 | But I'm just going to focus on
Snippets here and the ability to move snippets
| | 04:20 | from one document into
another very, very quickly.
| | 04:23 | So that's snippets. Try them out.
| | 04:25 | You will find yourself
hooked on them in no time.
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| Saving for CS4 with IDML| 00:00 | Okay, you have this InDesign CS5 file,
but you need to send it to someone else
| | 00:05 | who only has InDesign CS4.
| | 00:07 | And unfortunately, you can look all
you want in the Save As dialog box, but
| | 00:11 | there's no Save As CS4
feature. What will you do?
| | 00:16 | Well, the answer is not
choose Save As, but choose Export.
| | 00:20 | And in the Export dialog box, choose from
the Format pop-up menu, InDesign Markup.
| | 00:26 | That's IDML.
| | 00:26 | Now, you may have heard of
something in InDesign called an INX file.
| | 00:31 | But in InDesign CS5, IDML
completely replaces INX.
| | 00:36 | So wherever you've ever heard of INX, just
put IDML in your brain now. So what is IDML?
| | 00:41 | Well, it's a way to represent your
entire file in sort of a set of XML files.
| | 00:46 | You don't need to know the technical
stuff, but it's technically a bunch of XML
| | 00:49 | files that represent your file that you
can then hand to an InDesign CS4 user.
| | 00:54 | They can open the IDML file and it
rebuilds the document in InDesign CS4.
| | 00:59 | It's pretty clever.
| | 01:00 | Now, of course, not all the
features come along for the ride.
| | 01:03 | Any of your new InDesign CS5 features are
stripped out when you open it in InDesign CS4.
| | 01:09 | And there's another problem.
| | 01:10 | This IDML file cannot be opened in
InDesign CS3. Only InDesign CS4.
| | 01:16 | So if you need to get something back to
InDesign CS3, you'd have to save it out
| | 01:20 | as IDML from CS5, open it into
InDesign CS4, and then save out another IDML
| | 01:25 | file, or in that case maybe an INX
file, out of InDesign CS4, and open that
| | 01:31 | file in InDesign CS3.
| | 01:33 | Each of these will only go back one version.
| | 01:35 | Now, as it turns out, this IDML file
is useful for other things as well,
| | 01:40 | not just back saving.
| | 01:41 | For example, every now and again I find a
document that just acts a little strangely.
| | 01:45 | Maybe a color shows up in the Swatches
panel that you can't delete or maybe the
| | 01:49 | pasteboard around the page gets really huge.
| | 01:52 | Just some kind of
weirdness that you can't explain.
| | 01:55 | And often the easiest solution to this
is to export the file to IDML and then
| | 02:00 | open it back up again.
| | 02:01 | Yes, you can actually open
your IDML back up in CS5.
| | 02:04 | It's not just for down saving to CS4.
| | 02:06 | Here let me show you.
| | 02:07 | I'll save this out to my Desktop as an
IDML file and now I'll go to the File >
| | 02:11 | Open dialog box and simply
grab that IDML file and open it.
| | 02:15 | Now, it's going to open this
document as an Untitled Document.
| | 02:19 | It literally rebuilt the document from scratch,
based on the instructions in that IDML file.
| | 02:25 | But it seems to clear out any kind of
garbage that might have snuck in along the way.
| | 02:29 | Now, it's rare that you need to do this,
but I'm telling you, it can really get
| | 02:32 | you out of some weird jams.
| | Collapse this transcript |
|
|
4. Managing PagesInserting, deleting, and moving pages| 00:00 | You can use InDesign to design anything
from a one-sided business card to a book
| | 00:04 | thousands of pages long.
| | 00:06 | But as soon as you go beyond that
business card, you're going to need to
| | 00:09 | learn how to manage your pages,
adding new pages, moving them around,
| | 00:13 | deleting them and so on.
| | 00:14 | So, that's what we're going
to cover here in this movie.
| | 00:16 | Now, all of these page management
features show up in two places in InDesign.
| | 00:21 | The Pages submenu here underneath the
Layout menu, and the Pages panel, but I
| | 00:26 | always use the Pages panel, because all
of the features in the Layout menu are
| | 00:29 | here in the Pages panel, plus a lot more.
| | 00:32 | So, let's focus here in the Pages panel.
| | 00:33 | Now, this Pages panel is designed
to look a lot like the Document Setup
| | 00:38 | panel from QuarkXPress.
| | 00:39 | So, if you're a QuarkXPress user,
this is going to look pretty familiar.
| | 00:43 | That said, it's not necessarily the
most efficient Setup of this panel.
| | 00:47 | You can customize it to be a little
bit more efficient, by going to the
| | 00:50 | Pages panel pop-out menu, this fly-
out menu in the upper right corner and
| | 00:53 | choosing Panel Options.
| | 00:55 | Here's what I usually do.
| | 00:56 | First, I turn off the Show Vertically checkbox.
| | 00:59 | Then in some cases I'll make my
pages thumbnails be a little bit larger.
| | 01:03 | That way it's easier to see the
thumbnails in the Pages panel.
| | 01:06 | There are bunch of other options here
that I encourage you to try out, because
| | 01:09 | it can really make your experience
of the Pages panel more efficient.
| | 01:12 | I'm going to stop there and click OK.
| | 01:14 | You can see that the thumbnails got a
little bit bigger, so I can see them
| | 01:17 | better, and they're now laid out horizontally.
| | 01:20 | So if make this wider, I can get more
pages in a smaller amount of vertical space.
| | 01:25 | To me, it's a better use of the screen
real estate, so that's what I like doing.
| | 01:29 | Okay, let's see how we can add
a new page into this document.
| | 01:32 | First, I'm going to select a page or spread
in my document that I want to add a page after.
| | 01:37 | Then I can do one of two things.
| | 01:38 | I could simply click this New Page button,
down in the bottom part of the Pages panel.
| | 01:43 | That'll add a single page.
| | 01:44 | We can see it here in the Pages
panel, after whatever was selected.
| | 01:48 | So, that's kind of handy.
| | 01:50 | Now, I don't want just one page there,
I'm going to say I want two pages there
| | 01:53 | to maintain the left, right order of my spread.
| | 01:56 | So, I'm going to undo that with a
Command+Z or Ctrl+Z on Windows, and instead
| | 02:00 | of clicking on this, I'm going to
hold down the Option key, or Alt key on
| | 02:04 | Windows, while I click.
| | 02:05 | That gives me the Insert Pages dialog
box, which lets me control exactly how
| | 02:10 | many pages I want to add
and where they should go.
| | 02:13 | For example, I'm going to say
I want two pages after page 3.
| | 02:16 | I'll click OK, and you can see that
immediately I get a new spread, both pages
| | 02:21 | blank, after my 2, 3 spread.
| | 02:23 | In general, when youre working with a
facing pages document, files that have a
| | 02:27 | left-hand page and right-hand page,
it's a good idea to add or remove an even
| | 02:31 | number of pages, like we did here with
adding two pages instead of just one.
| | 02:36 | That way the left-hand pages don't get
turned into right-hand pages and vice versa.
| | 02:40 | It's not a terrible thing if that
happens, but it can cause some layout
| | 02:43 | problems downstream.
| | 02:45 | So, it's a good thing to keep in mind.
| | 02:46 | Now, here's another way to add new pages, do
it by duplicating pages that are already there.
| | 02:52 | I'm going to duplicate this 2, 3
spread, and put it right after itself.
| | 02:56 | So, I've got two of exactly the same.
| | 02:58 | To do that, you simply drag the numbers
underneath the spread while holding down
| | 03:02 | the Option or Alt key.
| | 03:04 | That way, you're telling InDesign to duplicate.
| | 03:07 | Now, whenever you're dragging things
around the Pages panel, you want to pay
| | 03:10 | attention to the cursor and
the little lines that show up.
| | 03:13 | This a very important aspect of the Pages panel.
| | 03:16 | I see as I'm dragging this that I
have a very thick vertical line where the
| | 03:21 | cursor is and that means when I let go,
the pages are going to be added there.
| | 03:26 | If I drag down here, you see the
vertical line shows up between these two
| | 03:30 | spreads, the pages just after page 7.
| | 03:33 | That means that it will be added there.
| | 03:35 | So, pay attention to that dark vertical line.
| | 03:37 | Now, in this case I'm going to add it after
page 3, so, I'll let go of the mouse button.
| | 03:41 | You can see that I now have two spreads,
page 2 and 3 here, and page 4 and 5
| | 03:45 | here, but I don't know if you can see
it well in the thumbnails, but those
| | 03:49 | are identical spreads; they're clones.
| | 03:51 | Now, let's say I want to
duplicate the cover page here.
| | 03:54 | I'm going to hold down the
Option or Alt key and start dragging.
| | 03:57 | But in this case I'm going to drag out
here where there's no spread and there's
| | 04:00 | no dark vertical line there.
| | 04:02 | All I see is a cursor with a
little Plus sign inside that hand.
| | 04:06 | That means something
different than that vertical line.
| | 04:09 | That means add it to the
document at the end of the document.
| | 04:12 | So, I'll let go of the mouse button
there, and you'll see that it gets added as
| | 04:15 | a page 13 at the very end of this document.
| | 04:18 | So, once again paying attention to
those cursors, and the icons that show up in
| | 04:22 | the Pages panel is very important.
| | 04:24 | Now, let's go ahead and
delete some of these pages.
| | 04:26 | I want to delete these blank pages, 6 and 7.
| | 04:29 | So, I'll click on the numbers
underneath the spread and that selects them.
| | 04:33 | Then I can delete them by simply
clicking on the Trash can icon in the lower
| | 04:36 | right corner of the Pages panel.
| | 04:37 | Poof, they're gone.
| | 04:38 | Now, I'm going to delete some other pages.
| | 04:41 | Let's say I want to delete
page 3 and 7, and 8 and 9.
| | 04:44 | I can do that by first
selecting page 3 by clicking on it.
| | 04:47 | Then I'm going to hold down the
Command or Control key and select page 7.
| | 04:52 | The Command or Control key lets me select
multiple pages that are not next to each other.
| | 04:57 | But now that I've selected page 7, if
I want to add 8 and 9 on there, I can
| | 05:01 | hold down the Shift key.
| | 05:02 | The Shift key is good for selecting
contiguous items in the Pages panel here.
| | 05:07 | In other words, pages that are from
this page all the way to this page.
| | 05:11 | So I now have pages 3, 7, 8, 9 selected
and I can delete all of them, with one click.
| | 05:15 | Now, InDesign does warn me that
these pages have objects on them.
| | 05:19 | So, that can be handy in case you
were not expecting that, I suppose.
| | 05:23 | But in general, I just turn on that Don't
Show Again checkbox and I don't worry about it.
| | 05:27 | Because, if I delete a page, I want it deleted.
| | 05:29 | I know I want it deleted, so there you go.
| | 05:31 | All of those pages are now deleted.
| | 05:32 | Okay, there's one other technique in
the Pages panel that I need to point out,
| | 05:35 | and that is moving pages.
| | 05:37 | Let's say I want to move this page
3 down to the end of the document.
| | 05:41 | How do I get it down there?
| | 05:42 | Well, you guessed it.
| | 05:43 | You just drag it and drop it,
but pay attention to the cursor.
| | 05:46 | I want to drop it when I
see that dark vertical line.
| | 05:49 | That means place it here.
| | 05:51 | If I don't see that, I'm not
sure exactly where it's going to go.
| | 05:54 | Let's move that same page up before page 2.
| | 05:57 | So, I drag it up until I see
that vertical bar, let go of it.
| | 06:00 | Now, it adds it before page 2.
| | 06:02 | So, Moving Pages is that simple.
| | 06:05 | However, if you wanted to move a lot
of pages, or if you want to specify
| | 06:08 | exactly where a page should go, I'm
going to recommend that you instead select
| | 06:12 | the pages that you want to move, I just
clicked on the 4, 5 numbers below here
| | 06:15 | to move this whole spread.
| | 06:17 | So, select the pages that you want to
move, and then either choose from the
| | 06:21 | fly-out menu Move Pages, or just right-
click on them and you get the context
| | 06:26 | menu, and you can choose Move Pages here.
| | 06:28 | So, I choose Move Pages.
| | 06:29 | I can say move pages 4 and 5.
| | 06:31 | You see it preloaded the numbers for me,
although I could change that if I want to.
| | 06:34 | I could say move pages 4-6,
let's say, after page whatever.
| | 06:40 | I could say move it after page 7 here or,
this is really cool, I could even put
| | 06:44 | it in a different document, if I had one open.
| | 06:46 | Let's go ahead and click
Cancel and I'll show you that.
| | 06:48 | I'm going to create a new document
here, another facing pages document.
| | 06:52 | I'll come back here and I'm going to
say I want to grab all of these pages,
| | 06:55 | let's say 4-6, and move them to
my new document. There we go.
| | 06:59 | There's Untitled 5, the new one that I created.
| | 07:02 | Click OK and it looks like nothing
happened, but as soon as I go back to this
| | 07:06 | new document, there are my pages.
| | 07:08 | So, this is a very fast way to move
pages around within a document or from one
| | 07:12 | document to another.
| | 07:14 | Managing your pages and spreads is crucial
when creating a magazine or any long document.
| | 07:19 | But now that you know these basic
techniques you'll have no trouble at all.
| | Collapse this transcript |
| Changing page size| 00:00 | You've created this document and then you
suddenly realize that you've made it the wrong size.
| | 00:05 | Don't panic, just go to the File
menu and choose Document Setup.
| | 00:10 | In here, you can change it
to whatever size you want.
| | 00:12 | For example, I'll change
this to an A4 size for Europe.
| | 00:16 | Click OK and there you go.
| | 00:18 | The whole page changed.
| | 00:20 | If this had multiple pages in the
document, all of them would change to
| | 00:23 | A4, using this method.
| | 00:25 | And all the objects on all the pages
get centered on each individual page.
| | 00:29 | Now that's typically what you want in most
publications, where every page is the same size.
| | 00:34 | But it's not always true.
| | 00:36 | In some cases, you want one or more
pages to be a different size than the others.
| | 00:41 | For example, let me look at this explore_
California_brochure here from my Exercise Files.
| | 00:47 | In this file, we're creating a trifold.
| | 00:49 | This is actually going to get
folded up after it's printed.
| | 00:52 | So this will be the front cover, this
will be the back cover, and on the left,
| | 00:56 | this is a panel that's going to
be folded inside the other two.
| | 01:00 | Well, if this is going to get folded
inside the other two, it must be slightly
| | 01:05 | narrower in order to fit.
| | 01:07 | Otherwise, this outside edge is going
to bump into the inside edge and it's not
| | 01:11 | a good scene it all.
| | 01:12 | So, how do we make this one page, this one
panel over on the left, slightly narrower?
| | 01:18 | The trick to changing an individual
page size in InDesign is the Page tool, and
| | 01:22 | it's a new feature in InDesign CS5.
| | 01:25 | The Page tool is number three in our
Tool panel here, so I'll select that or you
| | 01:29 | could press Shift+P to select
it with a keyboard shortcut.
| | 01:32 | And now to use it, I need to click
on the page that I want to affect.
| | 01:37 | In this case, this is a three-page
spread that's all been put together.
| | 01:40 | I'll show how to make three-page
spreads in a later movie, but for right
| | 01:43 | now, just trust me.
| | 01:44 | This is three separate pages that have
been put together in a spread and I'm
| | 01:47 | going to click on the leftmost page.
| | 01:49 | I'm going to adjust its size.
| | 01:51 | Now when I select this with the Page
tool, the Control panel up here at the top
| | 01:56 | gives me information about this page.
| | 01:59 | It shows me the X and Y coordinates of
the page on the pasteboard and also the
| | 02:03 | width and height of this page in my spread.
| | 02:07 | So this is pretty cool.
| | 02:08 | I can actually change this
height and width to a different value.
| | 02:12 | I can choose any of these default values in
here, for example, Letter or A4 or something.
| | 02:17 | But in this case I need a very
customized page size and it's going to be the
| | 02:21 | normal width of a page minus just a
little bit, maybe four points less.
| | 02:26 | Well, there's a little secret trick in InDesign.
| | 02:29 | You can do math in pretty much every
panel or dialog box in the program.
| | 02:33 | So in this case, I want to shave
off four points from the width.
| | 02:38 | All I need to do is type -
4pt, four points in here.
| | 02:43 | But before I do that, I must do one thing first.
| | 02:46 | And that is, pay attention to the
Reference Point icon over here in the left.
| | 02:51 | This lets me tell InDesign which edge
of my page should stay locked, so the
| | 02:56 | other ones will move around it.
| | 02:58 | In this case, I want the left side to
move, but I want the right side, the one
| | 03:03 | that's attached to the rest
of the spread, to stay put.
| | 03:06 | So I'm going to click on any of these
little nodes on the right side, and that
| | 03:10 | says keep that still. Don't move that.
| | 03:13 | Move everything around it.
| | 03:14 | Alright, now that I've set that, I can
go back here and type what I just said,
| | 03:18 | -4pt, which means -4 points, hit Return
or Enter, and hopefully, you could see
| | 03:24 |
| | 03:25 | that it adjusted very slightly, but it's
now, just this page, is now four points
| | 03:31 | smaller than the other two pages on this spread.
| | 03:34 | So we are getting exactly what we want.
| | 03:36 | Now, of course, this is
one side of the brochure.
| | 03:38 | I need to scroll down to the other side
and do exactly the same thing, on this
| | 03:42 | page, which is going to be the outside
page, which is going to get folded in.
| | 03:46 | So here, I want the left side to stay put,
so I adjust that here, and then I say
| | 03:51 | this is going to be -4 points to make
it exactly the same size. There we go.
| | 03:55 | It moved things over.
| | 03:57 | Let's look at one other
example of how to do this.
| | 03:59 | I'm going to switch to the Hansel and
Petal bookcover file from the Exercise
| | 04:03 | folder, and I see that this is
actually supposed to be a big book cover and
| | 04:07 | this big white space in the middle is
supposed to be the spine in between the
| | 04:12 | front and the back cover.
| | 04:13 | Well, that's way, way, way
too big for a book spine.
| | 04:16 | We need to make it much smaller.
| | 04:17 | So, we'll use the same techniques.
| | 04:19 | I'll click with the Page tool in
the center page of this spread.
| | 04:23 | I'll go up here and I'll say
I want this to be centered.
| | 04:25 | So as it moves, keep the center
of the page in the same position.
| | 04:29 | Then change the width to
whatever I want it to be.
| | 04:32 | Let's say this is going to
be, how about 1-inch wide.
| | 04:35 | Hit Enter and there we go. It's perfect!
| | 04:37 | All the objects center on the page
when I move it, so it's still in perfect
| | 04:42 | positioning, right down the middle of the spine.
| | 04:44 | Of course, I probably want to do a
little bit more here, like maybe give it
| | 04:48 | a background color.
| | 04:49 | I'm going to extend this image from
the left side over to the right side.
| | 04:53 | I'll extend this one over little bit
too, just so we get some color behind
| | 04:57 | on our spine as well.
| | 04:58 | So, those are the basics of the Page tool,
let's go ahead and select it one more time.
| | 05:02 | You can click on any page you want to change.
| | 05:05 | You can change the width or
height, based on a reference point.
| | 05:07 | You can also do all kinds of other
wacky things, like I'll change this one page
| | 05:11 | to be a landscape, instead of portrait.
| | 05:13 | And you can see that now I've got
landscape and portrait pages in the same document.
| | 05:18 | It's literally rotating the page
itself, not just the view, but the page
| | 05:22 | itself is being rotated.
| | 05:23 | There are other things too, like I
could move the objects with the page, when
| | 05:27 | the page size changes or
enable Layout Adjustment.
| | 05:30 | That's a feature that I
talked about in an earlier movie.
| | 05:33 | But all of those are applicable here,
when I change the page size as well.
| | 05:37 | Okay, I better undo that before I really
mess this document up, with a Command+Z
| | 05:40 | or a Ctrl+Z. There we go!
| | 05:42 | Now it's back to the proper three-
page spread with the spine in the middle.
| | 05:46 | Now the only thing I really want to
warn you about when changing sizes like
| | 05:50 | this, is that if you're going to be
sending this to be output, you really need
| | 05:54 | to talk to your printer first.
| | 05:55 | In fact, talk to them even before you
layout the document, if possible, so that
| | 05:59 | you know just what they want, because
you can export this file to a PDF with
| | 06:03 | crop marks and fold marks
and everything, it works great.
| | 06:06 | But if your printer doesn't realize
that different pages are different sizes,
| | 06:09 | you might get a really unhappy
surprise when it comes off press.
| | Collapse this transcript |
| Adding page numbering| 00:00 | I have my catalog open here, and I'd
really like to add some page numbers to the
| | 00:04 | lower left and to lower
right corner of each spread.
| | 00:07 | Wouldn't that be nice to get
some page numbers on there?
| | 00:09 | Well, how do you add page numbers?
| | 00:11 | It's easy if you know where to look.
| | 00:13 | Now because I want these page numbers to be on
every page, I want to add them to a master page.
| | 00:18 | I'm going to be covering master pages
in the next few movies, but let's just
| | 00:21 | jump ahead here and I'll show you how
you can add something to your master page.
| | 00:25 | Master pages, like all document pages,
live in the Pages panel, so I'll open
| | 00:29 | up my Pages panel, and all the master pages are
grouped up here at the top of the Pages panel.
| | 00:33 | I'll double-click on A-main page to
jump to that master page and I'm going to
| | 00:38 | zoom in to the lower left corner here, so I
can see a little bit better. There we go.
| | 00:42 | I want to add a page number right here
on the master page and that will show up
| | 00:46 | in the lower left corner
of all my left-hand pages.
| | 00:49 | So to do that I'm going to use my Type
tool and I'm going to drag out an area
| | 00:53 | for my page number to go in.
| | 00:55 | It's an important fact that you
need to make it wider than you expect.
| | 00:58 | InDesign insists that you be able to
have a text frame, which could fit page
| | 01:03 | 9,999 in it, if you really needed to.
| | 01:06 | So it has to be a wide frame in
order to get your page number in there.
| | 01:10 | Okay, now that I have that text frame
drawn out, I need to add a page number to it.
| | 01:14 | The automatic page number,
so where do I find that?
| | 01:17 | I find it under the Type menu.
| | 01:19 | I'll scroll down to Insert Special Character.
| | 01:21 | This is a very special
character. It's not a symbol;
| | 01:24 | it's called a Marker.
| | 01:26 | The Markers are things that will change.
| | 01:28 | They're like variables that change
depending on what's going on in the document.
| | 01:31 | So I'm going to choose a Marker called
the Current Page Number, or if you're
| | 01:36 | going to be using this a lot, you
should remember the keyboard shortcut,
| | 01:38 | Command+Shift+Option+N, or
Ctrl++Alt+Shift+N on Windows.
| | 01:42 | Anyway I'm just going to pull it out of
the Insert Special Character pop-up menu
| | 01:45 | here and there we go.
| | 01:47 | It adds the page number.
| | 01:49 | Now right here it just looks like an A.
Why does it say A instead of a page number?
| | 01:53 | It's because we're on master page A,
so it's reflecting what the current page
| | 01:58 | is, and that is A. Later on we'll see,
when you're on page 4 it's going to say
| | 02:02 | 4, because it's the current page.
| | 02:04 | Let's do a little bit of formatting here,
I'm going to open the Paragraph Styles
| | 02:07 | panel and simply click on
the folio paragraph style.
| | 02:11 | Again I'll be talking about styles
and so on in later chapters, but in this
| | 02:14 | document we already have a paragraph
style which will automatically apply all
| | 02:18 | that formatting with just
one click. So there we go.
| | 02:20 | We've applied the page number,
the folio style, to this frame.
| | 02:25 | That's good, and now I'm going to go
back to the Selection tool and just drag
| | 02:29 | this into position so it looks a
little bit better. There we go.
| | 02:31 | It looks good. It is good.
| | 02:33 | Let's go ahead and put another
one in the lower right corner.
| | 02:36 | I'm going to zoom back to fit spread in
window with Cmd+Option+0 or Ctrl+Alt+0,
| | 02:41 | and I'll teach you a little secret trick
here, because I don't want have to draw
| | 02:44 | out another text frame on this side,
I just want to duplicate this one.
| | 02:47 | So to duplicate an object you hold down
the Option or Alt key and drag the object.
| | 02:53 | That just duplicates it over here.
| | 02:54 | It's exactly the same thing as
in Adobe Illustrator as well,
| | 02:57 | Option-drag duplicates.
| | 02:59 | So now I have two different
text frames on my master page.
| | 03:02 | Both of them say A and let's go and find out
if it's going to work on our document page.
| | 03:07 | I'll open my Pages panel, I will double
-click on pages 4, 5, and there we go.
| | 03:12 | Better zoom in here so we can
see this a little bit better.
| | 03:14 | There is page 4, great.
| | 03:17 | Let's use our power zoom trick to
move over to the other side. Zoom in.
| | 03:21 | There is page 5, great.
| | 03:22 | So the automatic page numbers are working.
| | 03:25 | Okay, now you know how to add page numbers
to your documents, but there is a problem.
| | 03:29 | These documents will always start with page 1.
| | 03:32 | So how do you change page numbers or
break documents up so that you have Roman
| | 03:36 | numerals in one part and
Arabic numerals in another part?
| | 03:39 | That's where you need to know about sections.
| | Collapse this transcript |
| Changing page numbering with sections| 00:01 | In the last movie we learned to how to
add page numbers to our documents, but
| | 00:05 | how do you start a document
on something other than page 1?
| | 00:08 | Let's say you want the first page
to be page 47, how would you do that?
| | 00:12 | Well, if I'm creating a brand-new
document I can simply go to the File menu,
| | 00:16 | choose New > Document and then
start it on page whatever I want.
| | 00:20 | In this case start on page 47.
| | 00:23 | It's as simple as that and because
this is an odd number page and this is
| | 00:27 | going to be a Facing Pages document, I know that
the first page is going to be a right-hand page.
| | 00:32 | A lot of people ask me how do I make a new
document where the first page is a left-hand page?
| | 00:38 | Well, it's as simple as this.
| | 00:40 | Change this to an even number.
| | 00:41 | Let's started on page 2 let's say.
| | 00:43 | Any even number will work.
| | 00:44 | An even number page in a Facing Pages
document is always going to be a left-hand
| | 00:49 | page, and if I make these two pages
long and click OK, you'll see that I
| | 00:54 | immediately have a left and right spread.
| | 00:56 | If I open the Pages panel, you can see
left and right with a spine down the center.
| | 01:01 | So this is great if I'm creating a new
document from scratch, but what about
| | 01:05 | this other document, I'll
go ahead and close that.
| | 01:06 | I don't need it right now.
| | 01:07 | What about this other document?
| | 01:09 | Here I have a cover at the top, we can
scroll up here and I can see that I've
| | 01:14 | got the cover-up here and then I've
got this sort of front matter here, and
| | 01:17 | that's page number 2 here, and then this
starts on page 3 and I don't want that.
| | 01:22 | I want this page to be the first page.
| | 01:25 | I want that to be page 1 in my document.
| | 01:28 | So how do I tell InDesign to do that?
| | 01:31 | Well, I have to create a new page section.
| | 01:34 | To do that I have to go to my Pages
panel and select the page that I want to
| | 01:38 | be my section start.
| | 01:39 | Unfortunately right now
pages 2 and 3 are both selected.
| | 01:42 | They're both highlighted.
| | 01:43 | So I'm just going to click out here in
this blank area to deselect them, and
| | 01:47 | then come back and select just page 3.
| | 01:49 | That's a little shortcut for
choosing that one page of the spread.
| | 01:53 | And now I'm going to make that a new
section by going to the Pages panel menu
| | 01:58 | and scrolling down to Numbering
& Section Options, there we go.
| | 02:02 | Here is our Numbering & Section Options.
| | 02:04 | It's called the New Section dialog box
and as soon as this dialog box opens it
| | 02:08 | automatically turns on Start Section,
and that's exactly what we want.
| | 02:12 | We want this to be a new section.
| | 02:14 | Now we get to tell InDesign
what page should this start on?
| | 02:18 | Should it start on page 12?
| | 02:19 | No, we want it to start on page 1, so
I'm just going to type 1 in there and you
| | 02:24 | can see that it updated the
radio button for me automatically.
| | 02:26 | This section will start on page 1, and when
I click OK, it's going to warn me that, whoa!
| | 02:32 | Watch out!
| | 02:33 | There is already a page 1 in this document.
| | 02:35 | You might get confused
because you've got two page 1s.
| | 02:37 | So I just say, yeah, yeah, yeah, I know, I know.
| | 02:40 | I know what I'm doing, click OK, and
you can see in the Pages panel that it
| | 02:43 | starts with page 1, then page 2
and then it resets to page 1 again.
| | 02:48 | In fact if we zoom in here to the lower right
corner, I can see that indeed it says page 1.
| | 02:53 | Now I want to point out that in the
Pages panel something else happened.
| | 02:57 | This little black triangle showed up
above the page, and that black triangle
| | 03:02 | means this is a section start.
| | 03:04 | That's a little indicator, but it's
actually more than just an indicator.
| | 03:07 | It's also a secret little button there,
and if you double-click on that black
| | 03:12 | triangle, up comes the Numbering &
Section Options dialog box again.
| | 03:16 | So now we can change this to something else.
| | 03:18 | Let's say this is going to be page 47.
| | 03:19 | We will start this one on page 47. There we go.
| | 03:21 | So now we've got page 1, 2 and then 47,
and you can see that updated on the
| | 03:26 | page number as well.
| | 03:28 | So this is great, but I'm going to
do one more thing to this document.
| | 03:31 | I want pages 1 and 2 to be in Roman
numerals, actually there is not even a page
| | 03:35 | number on page 1, but I want page 2 in this
document to be in Roman numerals. How do I do that?
| | 03:41 | Well, look there's a little black
triangle, the first page of a document always
| | 03:45 | is a section start, sort
of has to be technically.
| | 03:48 | So I'm going to double-click on that
little black triangle, up comes the dialog
| | 03:52 | box here, and I'm going to say
this one can start on page 1.
| | 03:55 | That's fine, but I don't want it to
use regular Arabic numerals, I want it
| | 04:00 | to use Roman numerals.
| | 04:01 | You can see there is a number of
different options here in the Style pop-up menu.
| | 04:05 | I am going to choose Roman numerals,
lowercase Roman numerals, click OK, and you
| | 04:09 | can see that it updates here in the
Pages panel, i and ii, and in fact let's go
| | 04:14 | check it out on our page.
| | 04:15 | I am going to use the power zoom
feature by Option+Spacebar or Alt+Spacebar,
| | 04:19 | click-and-hold, and then
drag over to the new area.
| | 04:23 | And let go with the mouse button,
and here we are over in the lower left
| | 04:26 | corner of the spread and you can see that it
has updated to ii, page number 2 of our document.
| | 04:33 | Okay, so there's one more page
numbering thing that I really need to tell you
| | 04:36 | because you're bound to run into
trouble if I don't tell you this, and that is
| | 04:40 | sometimes you can't get
to the page that you want.
| | 04:42 | For example, I'll go to Layout menu
and choose Go to Page, and let's say I'm
| | 04:47 | going to go to page 6.
| | 04:48 | I want to go to the sixth page of our
document and I'll click OK and it says
| | 04:53 | that doesn't really exist.
| | 04:54 | There is no page 6 and you're thinking,
well, come on, I know there's at least
| | 04:58 | six pages in this document, what's wrong?
| | 05:00 | Well, each page has its own name, right?
| | 05:03 | The first page is page i and then ii, and
then 47, 48 and so on, but there is no page 6.
| | 05:10 | There is no number 6 in these
page names. So what do you do?
| | 05:15 | What you do is you use absolute page
numbering and you can type an absolute page
| | 05:20 | numbering that is the sixth page of
the document by putting a plus before it.
| | 05:25 | +6 means the sixth page of the document.
| | 05:29 | I'll click OK and it takes me right
to the sixth page, which is page 50.
| | 05:35 | This absolute numbering is very helpful
in all kinds of instances, for example,
| | 05:39 | if you wanted to export a PDF of just
the seventh and eighth pages you could use
| | 05:43 | that plus, you could say +7 and +8
and it would get you just those pages.
| | 05:48 | Now not all documents need multiple
sections of course, but when you do need
| | 05:53 | them the Section feature can really
help you manage your longer documents.
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| Creating and applying master pages| 00:01 | As I said earlier in this chapter,
you should use master pages whenever you
| | 00:04 | have text or graphics that appear
repeatedly throughout your document, such as
| | 00:08 | a page number or a logo.
| | 00:10 | We've already seen how to add a page
number to a master page, now let's learn
| | 00:14 | how to create even more
master pages in your documents.
| | 00:17 | To create a new master page, I have to
open up the Pages panel, and I can see a
| | 00:21 | list of all my master pages up
here at the top of the panel.
| | 00:24 | I'm going to drag this down a little
bit, just by hovering over this middle
| | 00:28 | line here, and dragging down, this
will give me a little bit more room for my
| | 00:32 | master pages at the top.
| | 00:34 | So to create a new master page, I go to
the Pages panel menu, and choose New Master.
| | 00:39 | I can give it a name if I want to, I'm
going to call this Order forms and I will
| | 00:45 | go ahead and click OK.
| | 00:46 | So it's going to be B - Order forms.
| | 00:49 | Now that I have a master page, it's
time to put something on it, and before I
| | 00:53 | put something on it, I'm going to
turn on my guides. There we go.
| | 00:57 | So I can know exactly where to put
stuff, and why don't I go grab this Frame
| | 01:01 | tool, and I'm going to drag out a big shape
here, and I'll say let's fill that with a color.
| | 01:07 | I'm just going up and doing this up
here in the Control panel, I'm saying
| | 01:11 | fill with this yellow, and I'll change
its Tint to something smaller, around
| | 01:15 | 50% of that yellow, great.
| | 01:18 | I'm going to stroke with None.
| | 01:20 | It's just going to be a yellow in
the background of my master page.
| | 01:24 | Okay, so I have my frame here, let's
go ahead and put something else on the
| | 01:27 | page, maybe a text frame, so I'll drag
out a text frame with the Type tool just
| | 01:30 | by dragging out a rectangle.
| | 01:32 | I'm going to zoom in with Command+2, or Ctrl
+2 on Windows, and I'll type hansel&petal.
| | 01:37 | Make it a little bit bigger.
| | 01:39 | I made it bigger with a keyboard shortcut.
| | 01:41 | I use that all the time.
| | 01:43 | Command+Shift+Period makes any
kind of selected text bigger.
| | 01:46 | I'm going to be covering text
formatting, and all of that in a later chapter.
| | 01:50 | I've got this setup, a text frame with
some text in it, and a big yellow box,
| | 01:54 | and zoom out to Command+0, fit page in window.
| | 01:58 | And now that I have my master page,
it's time to apply that to a document page.
| | 02:03 | I want to apply this master page,
master page B, to this document page down
| | 02:08 | here, page number 7.
| | 02:10 | Let's go ahead and look at that page,
and right now it's based on master page A.
| | 02:14 | I can tell that because it has an A
in the corner here in the Pages panel.
| | 02:18 | It looks like all the other
document pages in my file.
| | 02:21 | It has page numbers at the bottom and so on.
| | 02:24 | I'm going to apply master page B to
this page, and I'm going to do it in the
| | 02:29 | simplest way possible.
| | 02:30 | I'm simply going to drag it from the top of the
Pages panel, down on top of the document page.
| | 02:36 | Let go and that's it.
| | 02:38 | It's now applied master page B, the
one that I just created, to this document
| | 02:42 | page and you can see that it says B here,
the page number went away, and it was
| | 02:46 | all replaced by the objects that I put
on here, the yellow box, and the words
| | 02:51 | hansel&petal at the top.
| | 02:52 | There are other ways to apply master
pages to document pages that I should
| | 02:55 | let you know about.
| | 02:56 | For example, I'm going to
choose page 5, and page 6 here.
| | 03:01 | I just clicked on 1, and then I Command+
Click or Ctrl+Click on the second, that
| | 03:05 | lets me select more than one page
in the Pages panel at the same time.
| | 03:08 | And now I'm going to Option+Click, or
Alt+Click on Windows, on the master page.
| | 03:13 | And when you do that, it also applies
this master page to whatever was selected
| | 03:18 | inside the Pages panel.
| | 03:19 | So let's go ahead and look at page 6.
| | 03:21 | By double-clicking on it,
that takes me right to page 6.
| | 03:24 | And I can see that there's no yellow box.
| | 03:27 | What happened to the
yellow box? Where is the text?
| | 03:29 | Well, when I made my master page --
let's go ahead and look at the master page
| | 03:33 | by double-clicking on it, I put objects
on the right-hand page, but I neglected
| | 03:37 | to put any objects on the left-hand page.
| | 03:39 | That's very important to keep in mind when
you're working with Facing Pages documents.
| | 03:43 | Only stuff that's on the right-hand
page of the master page will show up on
| | 03:46 | right-hand sides of your
document pages as well and vice versa.
| | 03:50 | So let's go ahead and grab both of
these objects, I just dragged over that, and
| | 03:54 | I'm going to Option+Drag over to the
left side, and that duplicates all those
| | 03:59 | objects on to the left side, then I'll
just drag this one text frame over to
| | 04:03 | the left by itself. There we go.
| | 04:05 | So now I have a reflective, kind of a
mirror appearance with yellow on both
| | 04:09 | sides, and the text at the
upper-left and upper-right.
| | 04:12 | Now when I go back to pages 6 and 7, I
can see that we have the background color
| | 04:18 | and the text up in the
upper-left corner of page 6.
| | 04:21 | Now, if you're paying attention, you
might see that there's something weird
| | 04:26 | about these objects.
| | 04:27 | Let me zoom in here, so you can see in
the upper-left corner, this frame has a
| | 04:31 | dotted edge around it, but
this frame down here does not.
| | 04:35 | What's the difference?
| | 04:36 | Well, you guessed it.
| | 04:37 | Anything on a master page has a dotted line.
| | 04:40 | The frame is always dotted, and
that's one way that you can tell whether an
| | 04:44 | object is from a master page, or
here locally on the document page.
| | 04:48 | Now when you start using master pages,
there's one thing that's going to
| | 04:52 | drive you a little crazy.
| | 04:54 | If you wanted to move just one of
these, or maybe delete this on this one
| | 04:58 | page, you can't do it.
| | 05:00 | I'm clicking, and I'm trying to
move and nothing is happening.
| | 05:03 | There is no way to even select
those items that are on master pages.
| | 05:07 | InDesign is keeping them away from
you, so that you don't mess up your
| | 05:10 | master page items accidentally, but in
the next movie, I'm going to show you
| | 05:14 | how you can get past this safety net,
and access those master page items
| | 05:17 | directly on your document page.
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| Overriding master page items| 00:01 | As I mentioned in the last movie,
InDesign protects master page items when
| | 00:05 | you're on a document page.
| | 00:06 | You can't move them.
| | 00:07 | You can't delete them.
| | 00:08 | You can't even select them.
| | 00:09 | Let me show you what I mean.
| | 00:10 | I'm going to zoom in to the lower-left
corner of my Catalog page here, and I can
| | 00:15 | see that this is a master page item.
| | 00:16 | I know that because of
those dotted lines around it.
| | 00:19 | And you could see that I cannot select it;
| | 00:21 | I can't click on it, I can't do anything to it.
| | 00:23 | So what do I do if I want to
get rid of the page number?
| | 00:26 | Well, you need to override the master page item.
| | 00:29 | That is, you need to sort of take it off
the master page and make it a document item.
| | 00:33 | And to do that, you need to hold-down
two keyboard shortcuts, Command and Shift,
| | 00:38 | or on Windows it's Control and Shift.
| | 00:41 | Here on the Mac, I'm going to hold-down
Command+Shift and then, here's the trick, Click.
| | 00:46 | And that removes it from the master page item.
| | 00:48 | It overrides it, and it becomes a regular
document page item again that I can do stuff too.
| | 00:53 | I could delete it. I could move it.
| | 00:56 | In this case, I'm simply going to go
use the Type tool, select that 2, that
| | 01:00 | automatic page number, and delete it.
| | 01:02 | So, that's the effect I was looking for.
| | 01:04 | I don't want the Page number on this page.
| | 01:06 | Now I try and avoid overriding
master pages, because it can get you into
| | 01:10 | trouble if you do it too often, but in some
cases like this, it's the only thing you can do.
| | 01:14 | However, I also want to point out that
if you do make a mistake, and you want to
| | 01:19 | set this back to the way it was on
the master page, you can do that too.
| | 01:22 | I'll choose my Selection tool, the
black arrow tool, click on the item that I
| | 01:28 | want to set back to being a master
page item, and then I'm going to go to the
| | 01:31 | Pages panel, and in the Pages panel
menu, there is the secret feature called
| | 01:36 | Remove Selected Local Overrides.
| | 01:39 | I call it secret not because it
really is, but just because it's so hidden
| | 01:42 | inside this long list of items.
| | 01:44 | But Remove Selected Local Overrides will
throw away any overrides I've done, and
| | 01:49 | replace it with a brand-
new fresh master page item.
| | 01:53 | You see I even get my dotted line back.
| | 01:56 | So once again, Command+Shift+Click,
or Ctrl+Shift+Click on Windows, will
| | 02:00 | override a master page item, so I can
edit it, then I can do something to it,
| | 02:03 | let's say delete it, and I can put it
back by going to the Pages panel menu.
| | 02:07 | In this case, there's nothing for me
to select on the page, but I can still
| | 02:10 | go back to the Pages panel menu, choose
that item that says Remove All Local Overrides.
| | 02:16 | In this case, it says All Local
Overrides instead of Selected Local Overrides,
| | 02:20 | because there's nothing selected on my page.
| | 02:22 | So it just replaces all of the
master page items on to this page.
| | 02:25 | When it comes to building structured
documents, such as books and magazines,
| | 02:29 | master pages are necessity for an
efficient workflow, and controlling each
| | 02:33 | master page item is key in making
sure that the final document ends up just
| | 02:38 | the way you wanted it.
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|
5. TextUnderstanding text frames| 00:00 | While there are a few people who use
InDesign for pictures only, most of us need
| | 00:04 | to put text on our pages.
| | 00:06 | Well, you can't have text without a text frame.
| | 00:09 | But the good news is that there are a lot
of ways to make text frames in InDesign.
| | 00:13 | Let's look at a few of them.
| | 00:14 | The basic method is to use the Type
tool, the Type tool lets you edit text
| | 00:19 | inside of a text frame, but it
also lets you create new text frames.
| | 00:22 | For example, if I want a text frame here on
my page, I simply click-and-drag out an area.
| | 00:28 | Now I have a rectangular text
frame and I can start typing some text.
| | 00:32 | Just simple as that.
| | 00:35 | A second way you can make a text
frame is by making any kind of other frame
| | 00:39 | or shape in InDesign.
| | 00:41 | For example, I am just going to grab
this Graphic Frame tool and draw something
| | 00:45 | out on the pasteboard here.
| | 00:46 | Now this is technically a graphic frame.
| | 00:48 | It has a big X in it, which means it's
expecting a graphic to be put into it.
| | 00:52 | But I can grab the Type
tool and click inside of it.
| | 00:55 | Notice what happens to the
Type tool when I hover over it.
| | 00:58 | Out here the Type tool cursor is square
which means that it will make a new frame.
| | 01:03 | But as soon as I hover on top of a
frame it becomes circular kind of like
| | 01:08 | parenthesis and it means that if I click now
it's going to put the type into this frame.
| | 01:14 | In fact, if I do that it literally
converts that Graphic frame into a Type frame.
| | 01:19 | So it's changing from one type to
another, and then I can just type some
| | 01:22 | random text in there.
| | 01:24 | So that's another way you can make a frame.
| | 01:25 | Once again, any frame can turn into
a text frame simply by clicking on it
| | 01:30 | with the Type tool.
| | 01:31 | In fact, I could even use the Pencil tool,
just to kind of do some kind of crazy
| | 01:35 | shape, doesn't even need to be closed.
| | 01:37 | Grab the Type tool and click on top
of it and all of a sudden I have a text
| | 01:42 | frame in this wacky shape.
| | 01:43 | So anything can be turned
into a text frame in InDesign.
| | 01:47 | Now some people don't like that fact,
they want graphic frames to stay graphic
| | 01:51 | frames, they want weird pencil shaped
things to stay weird pencil shaped things
| | 01:55 | without text going into them
accidentally, and that's okay too.
| | 01:59 | You can set up InDesign so that
Graphic frames and regular paths do not get
| | 02:03 | turned into Type frames and the way you
do that is by changing its Preferences.
| | 02:08 | So I'll go to the InDesign menu on the
Mac or on Windows, it's under the Edit
| | 02:12 | menu and I'll scroll down to
Preferences and I'll choose Type.
| | 02:15 | That just is a shortcut to go to the
Type pane of the Preferences dialog box.
| | 02:20 | And there are lots and
lots of preferences in here.
| | 02:22 | I am not going to go through all of
them but I do want to point out one of them
| | 02:25 | here called Type tool
Converts Frames to text frames.
| | 02:29 | And if I turn that off then I've
changed the behavior in InDesign, I'll click
| | 02:34 | OK, I'll make a new graphic frame here,
just draw a big graphic frame right in
| | 02:38 | the middle of the page here.
| | 02:39 | Grab my Type tool and look what
happens when I place the cursor over it.
| | 02:43 | It no longer changes into
those rounded parenthesis.
| | 02:46 | I can click on it and nothing happens.
| | 02:48 | It will not convert that
frame into a text frame.
| | 02:51 | So I have changed the behavior of InDesign.
| | 02:54 | Okay, there is one more way that you
can create a text frame in InDesign and
| | 02:58 | that is by importing text, either by
copying it from some other program and
| | 03:02 | pasting it in here when nothing is selected
on the page, or by using the Place command.
| | 03:07 | I am going to go into a lot of
detail later on in the chapter about
| | 03:10 | importing text from Word processors
like Microsoft Word, but I'll just do the
| | 03:14 | really quick version right now.
| | 03:15 | I'll go to the File menu, I'll choose Place
or you can Command+D or Ctrl+D on Windows.
| | 03:20 | I'll select my text file, it's an RTF
file and I'm going to click Open and it
| | 03:25 | loads up something called the Place
Cursor, it gives me a little thumbnail
| | 03:29 | description of the first few words of
that text file right next to the cursor.
| | 03:33 | And this Place Cursor can
create a Type frame for me as well.
| | 03:37 | If I hover on top of an empty frame
you'll see that the cursor changes to again
| | 03:43 | those rounded parentheses, and that
means if I click it's going to fill some
| | 03:47 | frame in the background with my text.
| | 03:49 | But I can still click-and-drag out an
area, and if I click-and-drag out an area
| | 03:54 | it automatically makes a frame, that
size, and fills the place text into it.
| | 03:59 | Now that you know how to get a Text
frame let's take the next step, editing that
| | 04:03 | text inside the frame.
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| Typing and editing text| 00:00 | I know people who have actually put away
Microsoft Word and they use InDesign as
| | 00:05 | their sole Word Processor. It's true.
| | 00:08 | Now while that does seem a
little bit extreme to me.
| | 00:10 | I mean, if you need an alternate Word
Processor that works well with InDesign, I
| | 00:14 | strongly recommend you
take a look at Adobe InCopy.
| | 00:17 | But that's said InDesign does let you
type and edit text pretty efficiently.
| | 00:22 | Let's take a look how.
| | 00:24 | The first thing you need to know is
that when you want the Type tool, you don't
| | 00:27 | have to go and grab it out
of the tool panel every time.
| | 00:30 | Just double-click on a text frame
with either the Selection or the
| | 00:34 | Direct Selection tool.
| | 00:35 | Whenever you double-click it
automatically switches to the Type tool and places
| | 00:40 | the cursor exactly where you double-clicked.
| | 00:42 | I love that feature, very efficient.
| | 00:44 | Now I'll zoom in here with Command+2 or
Ctrl+2 on Windows and I want to show you
| | 00:48 | various ways that you could
edit or move through your text.
| | 00:52 | It's very important that you learn some
keyboard shortcuts for moving through your text.
| | 00:56 | For example, the Command+Left Arrow or
Ctrl+Left Arrow on Windows moves one word to the left.
| | 01:02 | Command+Right Arrow or Ctrl+Right
Arrow moves one word to the right.
| | 01:06 | Command or Ctrl+Up Arrow moves to the
beginning of a paragraph and Command or
| | 01:10 | Ctrl+Down Arrow moves either to the end
of the paragraph, as in this case here
| | 01:15 | where there is no second paragraph here.
| | 01:17 | Or if there is another paragraph it will
move to the beginning of the next paragraph.
| | 01:21 | Now if you add the Shift key to
any of those keyboard shortcuts you
| | 01:25 | actually select the text.
| | 01:27 | For example, if I place my cursor
back in the middle here and do a
| | 01:30 | Command+Shift+Left Arrow, it selects
the word off, and I could copy it, cut it
| | 01:35 | or format it or whatever.
| | 01:37 | So the more that you want to work with
text in InDesign, the more you are really
| | 01:41 | going to want to use your keyboard shortcuts.
| | 01:43 | Command+Up Arrow to jump to
the beginning of the paragraph.
| | 01:46 | If I want to select the entire
paragraph it would be Command+Shift+Down Arrow.
| | 01:50 | Now I have selected the entire paragraph.
| | 01:53 | A couple of other quick
shortcuts about selecting.
| | 01:55 | You know that clicking places the
Text Cursor and you probably know that
| | 01:59 | double-clicking selects a word in a paragraph.
| | 02:03 | But did you know that triple-clicking
selects a line and quadruple-clicking
| | 02:06 | 1234, actually selects an entire paragraph.
| | 02:11 | So that can be very handy as well.
| | 02:13 | If you click five clicks in a row you
actually select the entire story but there
| | 02:17 | is a better way to select the entire story.
| | 02:19 | If you really need an entire story
then you just press Command+A or Ctrl+A on
| | 02:24 | Windows, and that selects the
entire story, so that's pretty good too.
| | 02:27 | The other thing you need to
know is about deleting text.
| | 02:30 | Every now and again you
have to delete something.
| | 02:32 | Of course the Delete key or the
Backspace key will move one letter at a time
| | 02:36 | backward, or the Forward Delete key
will move forward one letter at time.
| | 02:42 | So it actually deletes forward,
and that's pretty cool too.
| | 02:45 | If you want to make it one word at a
time, add the Command or a Control key.
| | 02:50 | For example if I want to remove this
entire word now, I place the cursor at
| | 02:54 | the end of the word and say Command+Delete
and that deletes backward one word at a time.
| | 03:00 | Or if I want to remove this word more
I can place it before the word and do a
| | 03:05 | Command+Forward Delete and
that will delete forward one word.
| | 03:09 | So that's very handy as well.
| | 03:10 | Now I have really messed up the text
in this story here, but that's okay, I
| | 03:14 | might as well just mess it up a little bit more.
| | 03:16 | Let's say I want to drag-and-drop some text.
| | 03:18 | I'll just drag over some text here
and I want to move this some place else.
| | 03:21 | A lot of InDesign users like drag-and-drop
text, I personally don't actually.
| | 03:26 | I am forever putting stuff in the
wrong place so I don't like it, and so I am
| | 03:30 | kind of happy that by default InDesign does
not let you drag text from one place to another.
| | 03:35 | But for those of you who do like
drag-and-drop text, don't fret, InDesign
| | 03:39 | will let you do it.
| | 03:40 | In order for to get drag-and-drop text
however, you have to change your Preference.
| | 03:44 | So I'll go up to the InDesign menu
and go down to the Preferences sub-menu.
| | 03:48 | Remember that on Windows this shows up
in the Edit menu not the InDesign menu,
| | 03:52 | and under the Preferences menu I'll
choose Type, and in here you'll see there is
| | 03:57 | an option for Drag and Drop Text Editing.
| | 03:59 | Right now, it is disabled for the Layout View.
| | 04:02 | That's what this is
called here in the background.
| | 04:04 | So if you turn this on, just click in
that checkbox, click OK, now suddenly
| | 04:09 | you're able to do drag-and-drop.
| | 04:11 | You'll even notice that the cursor
changes a little bit to indicate that, now
| | 04:14 | that I have text selected I can click
on it and drag it wherever I want to put
| | 04:18 | it and then let go, and it
will drop it right there.
| | 04:22 | So editing text, right on the
document page here in the Layout View is
| | 04:25 | acceptable, but it's not always efficient.
| | 04:28 | Now later on in this chapter we are
going to learn about something called the
| | 04:31 | Story Editor and that often
makes editing text much simpler.
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| Filling with placeholder text| 00:01 | Sometimes you need some dummy text to fill a
frame, just to complete a mockup of your design.
| | 00:06 | Traditionally, designers have type
some Latin text called Lorem Ipsum.
| | 00:10 | To stand in position for
text that they may not have yet.
| | 00:13 | Now, if you need some
Placeholder Text like that.
| | 00:15 | You'll be pleased to hear that InDesign
can type it all for you. Let's see how?
| | 00:19 | I am going to fill this
frame with some dummy text.
| | 00:22 | So, I'll select it with the Selection
tool and I'll zoom into 200% by pressing
| | 00:26 | Command+2 or Ctrl+2 on Windows.
| | 00:28 | Then I am going to double-click to
switch the Type tool automatically.
| | 00:32 | Now, let's fill this with the dummy text.
| | 00:34 | I'll go to the Type menu and way down
at the bottom you'll see an item called
| | 00:38 | fill with Placeholder Text.
| | 00:40 | That's all you need to do, select that,
and it fills it with this random Latin text.
| | 00:46 | So, that's great. It's very easy.
| | 00:47 | It formats it with whatever formatting
was already in that text frame, looks good.
| | 00:52 | But some people don't like Latin.
| | 00:54 | They don't feel like it matches
their final look and feel, well enough.
| | 00:58 | So, I am going to show you how you can
replace this Latin with any text you want.
| | 01:03 | First, I am going to select all that
text with a Command +A or Ctrl+A on
| | 01:06 | Windows and delete it.
| | 01:08 | Next, I am going to go grab
a new Placeholder Text file.
| | 01:12 | Now, I've created one of these for you,
but you can make your own if you want.
| | 01:16 | Just take any text at all.
| | 01:18 | It could be legal boilerplate stuff.
| | 01:20 | It could be lists of things.
| | 01:21 | It could be anything you want.
| | 01:22 | I just grabbed some random text off of
the website, and I saved it in a text file.
| | 01:27 | On the Mac, you could use a simple text
editor that comes with, on windows you
| | 01:31 | could use Notepad, doesn't matter.
| | 01:32 | Just save it a straight ASCII text, and
give it a name called placeholder.txt.
| | 01:38 | Now, in this case I have made one for
you, if you have the Exercise Files.
| | 01:42 | So, I am just going to grab this
placeholder text file and drag it into, where?
| | 01:47 | The Adobe InDesign folder.
| | 01:49 | This is the actual program.
| | 01:51 | There is the InDesign program,
inside the Application folder or the
| | 01:54 | Program folders on Windows.
| | 01:56 | All you need to do is put the placeholder.
txt file loose inside that InDesign folder.
| | 02:02 | You don't need to restart
InDesign or anything like that.
| | 02:04 | I'll comeback to
InDesign and let's try it again.
| | 02:07 | Let's try filling with our Placeholder Text.
| | 02:09 | This time, instead of going to the Type
menu, I'll use my context menu by right
| | 02:13 | clicking or Ctrl+Click with one-button mouse.
| | 02:16 | There it is, filled with Placeholder Text.
| | 02:19 | Click it, and in comes all of that text.
| | 02:22 | This is that random text that
I pulled off of the website.
| | 02:25 | I don't even know what language that is.
| | 02:26 | Kind of interesting.
| | 02:27 | But it fills the text.
| | 02:29 | But I do need to warn you that
there is an important role when you
| | 02:32 | use Placeholder Text.
| | 02:34 | Don't forget to replace it
with the final text later.
| | Collapse this transcript |
| Inserting special characters| 00:00 | Quick! What's the keyboard shortcut to
type the Registered Trademark Symbol or
| | 00:04 | how about an Em Dash?
| | 00:06 | If you don't use these characters very
often, there's just no reason to clutter
| | 00:09 | your head with trying to
remember all those shortcuts.
| | 00:12 | Besides, InDesign has a couple of
features that make inserting special
| | 00:15 | characters like these a
breeze. Let me show you.
| | 00:18 | I'm going to place a special
character after this word Hansel & Petal.
| | 00:22 | I want the Registered Trademark Symbol.
| | 00:23 | So, I'll double-click with the
Selection tool to insert the text cursor there.
| | 00:28 | I'm going to go to the Type menu and
scroll down to Insert Special Character.
| | 00:32 | There's all kinds of
interesting characters in here.
| | 00:35 | It's really worth taking a little time
just to go through each of these submenus
| | 00:38 | and find out what kind of cool stuff there is.
| | 00:41 | Bullets and Copyrights, and let's go
down to Hyphens and Dashes, if you want to
| | 00:45 | know how to do an Em Dash or
special Quote Marks, etcetera, etcetera.
| | 00:48 | There are really cool things in here.
| | 00:49 | But in this case, I just want Symbols >
Registered Trademark Symbol. There we go.
| | 00:54 | I'll select that from there and you'll
see that it inserts the little R with a
| | 00:58 | circle around it, just where
I wanted it, very, very handy.
| | 01:01 | Now over here, just before this word
Hansel & Petal, I'm going to put a forced
| | 01:06 | line break, but I can't remember
what the keyboard shortcut is for that.
| | 01:10 | So, I'm going to grab it out of the
Insert Special Characters menu item again.
| | 01:14 | This time I won't go to the Type menu.
| | 01:16 | I'll simply right-click
anywhere on my page and scroll down.
| | 01:19 | You can see I have the same sorts
of menus here in the context menu.
| | 01:23 | So, that makes it very handy.
| | 01:25 | In this case, it's not a special character.
| | 01:27 | It's a break character.
| | 01:28 | So, I'm going to choose it from the
Insert Break Character submenu and it's down
| | 01:32 | here, Forced Line Break. Oh!
| | 01:34 | That's right!
| | 01:35 | It's Shift+Return or Shift+Enter.
| | 01:37 | Now I know, now I'll try to remember.
| | 01:38 | But if you don't
remember next time, don't worry.
| | 01:41 | It's there in the menu waiting for you.
| | 01:43 | I'll select that and it forces it
down to the next like. Pretty keen!
| | 01:47 | Now, another way to find
uncommon characters is the Glyphs panel.
| | 01:51 | You can find the Glyphs panel by
choosing it from the Type menu.
| | 01:54 | It is right there, or you can find
it, of course, in the Window menu.
| | 01:57 | All the panels are in there as well.
| | 01:59 | Down here in Type & Tables, there we go.
| | 02:02 | I'll choose Glyphs from here.
| | 02:03 | Now, the Glyphs panel shows me
every character inside of a font, even
| | 02:08 | characters I cannot type.
| | 02:09 | That's the cool part.
| | 02:10 | There are a lot of characters inside
fonts that you cannot type, but the font
| | 02:14 | designer put them into the font anyway.
| | 02:16 | So, for example, there's all these
wacky little ornaments and stuff inside
| | 02:20 | this particular font.
| | 02:21 | I can choose a different font from the
Font menu here or from the Type menu in
| | 02:25 | the Font fly-out menu here.
| | 02:27 | Just grab any font you want and it will
show you all the characters from that font.
| | 02:31 | In this case, I'm going to
stick with this Chaparral Pro.
| | 02:33 | I'll make this little bit bigger, so
you can see lots of characters in here.
| | 02:36 | Now, if that text is too small, if
these characters are too tiny for you, you
| | 02:39 | can zoom in on them by clicking
on this little mountain range.
| | 02:43 | Click the one on the right to make them bigger.
| | 02:44 | You click the one on the
left to make them smaller.
| | 02:47 | But you get the idea.
| | 02:47 | You can zoom in and out here.
| | 02:49 | There's another way to change
your view of the Glyphs panel here.
| | 02:53 | That is by choosing stuff
from the Show pop-up menu.
| | 02:56 | So, for example, let's say I'm
only looking for math symbols.
| | 03:00 | I can choose Math right
out of the Show pop-up menu.
| | 03:04 | Here's all the symbols in this font that
have to do with math, or maybe I'm just
| | 03:08 | looking for some cool
ornaments to insert somewhere.
| | 03:11 | I could do the same thing by choosing Ornaments.
| | 03:13 | Now, it's going to show me
the ornaments inside this font.
| | 03:16 | To add one of these special
characters, I place the cursor where I want
| | 03:19 | the character to be.
| | 03:20 | In this case, I'm going to put it
right before the word Attention.
| | 03:22 | Then I double-click on it in the Glyphs panel.
| | 03:25 | I'll double-click on that ornament and
you can see that it added it to my text
| | 03:29 | frame right where the flashing cursor was.
| | 03:31 | I'll put a space after that to
give it a little extra space.
| | 03:34 | The other thing you should notice here
is as soon as I did that, InDesign added
| | 03:38 | it to my list of Recently Used glyphs.
| | 03:40 | Now, a glyph is just a character.
| | 03:42 | Don't get confused with
glyph or character or whatever.
| | 03:44 | It's just a character within a font.
| | 03:46 | So, these are the recent
little glyphs that I used.
| | 03:49 | It's not just in this
document, but for all my documents.
| | 03:52 | That's really handy, because, next time
I need that character, maybe I want to
| | 03:55 | put it down here, I don't have to go
searching through my Ornaments or whatever,
| | 03:58 | for example, I could switch this
back to entire font, I don't have to go
| | 04:01 | searching through all of this again.
| | 04:03 | I simply click where I want the
character and then double-click it right out of
| | 04:07 | the Recently Used glyphs.
| | 04:08 | There it is and I'll put a space after
it to give it a little space as well.
| | 04:12 | I use the Glyphs panel all the time.
| | 04:14 | I use it so much that I reserve a
special place for it in my dock.
| | 04:17 | So, I'm going to grab this Glyphs
panel from the title and drag it out here
| | 04:21 | and dock it over here.
| | 04:22 | Now, every time I need a glyph, I
just click on it, up comes a panel.
| | 04:26 | I grab what I want, and then close it again
by clicking on the tile in the dock again.
| | 04:31 | No matter what font you're using, I
really encourage you to take a little bit of
| | 04:34 | time and just scroll through it to
find what kind of characters are in there.
| | 04:38 | There are all kinds of treasures
hiding and they are waiting for you to use.
| | Collapse this transcript |
| Importing text| 00:01 | Okay, you have some text files, such as
Microsoft Word documents, and you need
| | 00:05 | to get them into InDesign.
| | 00:07 | There are two basic methods
for importing text into InDesign.
| | 00:10 | The first one is to go to
the File menu and choose Place.
| | 00:14 | That opens the Place dialog box and it
lets you choose which Word files, or in
| | 00:19 | this case RTF files that you want to import.
| | 00:22 | RTF is just another file format
that a lot of word processors use.
| | 00:27 | In this case, I'm going to choose the
Shrubs RTF file from my Exercise Files
| | 00:31 | folder and I am going to click Open.
| | 00:33 | Now, if I had an empty text frame
selected when I did that, it would
| | 00:37 | automatically fill it with that story.
| | 00:40 | But in this case, nothing was selected on
the page and so it did not fill any frames.
| | 00:44 | Instead, it loaded the place cursor and is
asking me, where do you want to put this thing?
| | 00:50 | I'm going to put it right in
here, inside this empty frame.
| | 00:53 | Once again, I want to point out that
cursors in InDesign are very important.
| | 00:58 | If I'm out here, where there is no
frames, I get that solid line cursor.
| | 01:03 | That means it's going to create a new
frame, but over here, I'm getting sort of
| | 01:07 | the rounded parentheses cursor.
| | 01:09 | That means it's going to
place the text inside this frame.
| | 01:13 | So I'll click and in comes the text.
| | 01:15 | Now I'm going to do the same thing
again, but this time I'll use the keyboard
| | 01:19 | shortcut, Command+D or Ctrl+D on Windows.
| | 01:21 | Instead of just grabbing one, I'm going
to grab four different files here that
| | 01:26 | I'm going to import.
| | 01:27 | I'll click Open and all four of
them get loaded into the Place cursor.
| | 01:31 | You can see the little blue 4 there
saying there's four files here to be placed.
| | 01:36 | If I press the Down Arrow key, I will go
through each of those files one at a time.
| | 01:41 | There is a Hibiscus, there is the--
whatever that is. I can't read it.
| | 01:45 | It's Latin.
| | 01:46 | So here it is, Azalea.
| | 01:47 | Back to the first one and I'm going to
click, one, two, three, four, and all
| | 01:53 | four files imported into the
text frame there. Looking good.
| | 01:57 | Now, I will also point out that these
are formatted, let me zoom in here and
| | 02:01 | you'll see that these are already formatted.
| | 02:04 | How did that happen?
| | 02:05 | Well, I'm going to be talking about
paragraph styles and character styles in a
| | 02:09 | later chapter, but I just want to
point out now that if your original Word
| | 02:13 | document has styles in it, like
paragraph styles and character styles, when you
| | 02:17 | import that document,
those styles will come with it.
| | 02:21 | In fact, if your Word document uses
exactly the same name as your InDesign
| | 02:26 | document, exactly the same naming
between the two, then InDesign throws away
| | 02:31 | the definition of the Word document and it
uses the definition of the InDesign document.
| | 02:36 | That's typically, exactly what you want it to.
| | 02:38 | So it's extremely helpful to make
sure that you've got the same names
| | 02:41 | between the two programs.
| | 02:43 | And it works beautifully like this.
| | 02:45 | Okay, let me zoom back here, back
with a Command+Option+0 or Ctrl+Alt+0 on
| | 02:49 | Windows to fit the spread in window.
| | 02:52 | I'm going to bring in one more text story
into this spread, to fill this frame over here.
| | 02:56 | But this time, instead of using the
Place command, I'm going to drag and drop.
| | 03:01 | Let me switch to my Mac Finder, on
Windows you would use Windows Explorer,
| | 03:05 | either way, and I'm going to grab up my
HP story and I'm just going to drag it
| | 03:10 | right out of this folder and into
InDesign in the background there.
| | 03:15 | Once again, pay attention to the cursor,
if it's out here on the pasteboard or
| | 03:19 | someplace where there is no frames, you
get one kind of cursor, but if you're on
| | 03:23 | top of an empty text frame, you
get a different kind of cursor.
| | 03:27 | So very handy, this cursor tells me
it's going to go right into that frame.
| | 03:31 | In fact, when I let go of the mouse
button, that's exactly what happens.
| | 03:34 | It fills this text frame with all of
that text and formats it automatically.
| | 03:39 | So this is great, if you're just
dealing with a little bit of text, enough text
| | 03:43 | to fit inside of a single text frame.
| | 03:45 | But what do you do when you're
importing a lot of text, like a whole book's
| | 03:48 | worth of text, or an
article that has multiple columns.
| | 03:52 | Well, that's what we're going
to look at next, here in this
| | 03:55 | snowboarding document.
| | 03:56 | So, I've got the snowboarding document
open here and I'm going to import an RTF
| | 04:00 | file using Command+D or Ctrl+D on Windows.
| | 04:03 | Grab my snowboarding file. Click Open.
| | 04:05 | I want this article to be imported
into all of these different columns here.
| | 04:10 | So, couple things you need to know,
they all have to do with modifier keys.
| | 04:15 | There's all these six little modifier
keys that you should know about when
| | 04:18 | you're importing text.
| | 04:19 | The first thing is, if I simply click
with no modifier keys, InDesign will make
| | 04:24 | a frame and fill it with text, except
that there is way too much text inside
| | 04:28 | this frame, so I get a
little overset mark there.
| | 04:30 | That's what that little red + is.
| | 04:32 | That means there is more text
than can fit into this little frame.
| | 04:36 | So I'm going to undo that with
Command+Z or Ctrl+Z with Windows.
| | 04:39 | It reloads the cursor and I'll show you
another trick, which is the Shift+Click.
| | 04:45 | This is one of the most important
secret modifier keys in the whole program.
| | 04:49 | You've got to know this one.
| | 04:50 | Shift+Click with the Place cursor
means load the whole document, keep adding
| | 04:56 | text frames, keep adding pages.
| | 04:59 | So, Shift+Click and it loads in all the story.
| | 05:03 | It added one, two, three, let's see,
about eight frames here, nine frames.
| | 05:08 | In fact, that was still not enough, so
you can see that it added a new page at
| | 05:12 | the end here and even
linked to that one as well.
| | 05:14 | All of these text frames are threaded together.
| | 05:17 | So, it's just what you want in most instances.
| | 05:20 | But not always, so it can be extreme.
| | 05:22 | Sometimes it adds too many pages, so you
have to be a little bit careful with it.
| | 05:26 | Let me undo that, Command+Z or Ctrl+Z
with Windows and show you a couple other
| | 05:30 | things that you might want to do instead.
| | 05:32 | For example, instead of Shift+Clicking,
you might Shift+Option+Click and again
| | 05:38 | pay attention to the cursor.
| | 05:39 | It shows a different icon
depending on which modifiers you hold down.
| | 05:43 | Shift+Option on the Mac or
Shift+Alt on Windows gives you the sort of
| | 05:47 | semi-automatic placement feature, which
means that I can click and adds as many
| | 05:53 | text frames as it can, but it will
not add additional pages, just uses the
| | 05:58 | available space on this spread.
| | 06:00 | So, that could be a very useful one as well.
| | 06:03 | At the very end here, it added a
frame and overset, there was just one line
| | 06:07 | there, so that's not very handy.
| | 06:08 | Let's undo that, Command+Z, Ctrl+Z on
Windows, and show you one last modifier key.
| | 06:13 | This happens to be my favorite, which
is the Option or Alt key, which loads and
| | 06:19 | reloads the Place cursor.
| | 06:21 | Option+Drag out of frame, I'm
going to drag over two columns here.
| | 06:26 | We'll place that inside of a frame.
| | 06:28 | So it builds a frame.
| | 06:29 | It puts the text in there.
| | 06:31 | If there is more text than can fit,
it will automatically reload the Place
| | 06:35 | cursor and I will Option+Drag again.
| | 06:39 | It makes a frame, puts the text in there and
then Option+Drag again, and you get the idea.
| | 06:44 | It keeps making frames and then
reloading the Place cursor for me.
| | 06:48 | This one, I happen to
know is the last one I need.
| | 06:50 | So, I'm simply going to drag out and it
loads it in and places the text in there.
| | 06:56 | Actually, there's a little
bit of extra text in there.
| | 06:58 | I think that's because these aren't long enough.
| | 07:01 | So we could play around with that and
make these frames longer if we wanted to,
| | 07:04 | and make sure all the
text fits here in the story.
| | 07:08 | So that's another way to
automatically or semi-automatically add a long
| | 07:13 | story into your document.
| | 07:14 | Now there is one other method
for getting text into InDesign.
| | 07:18 | And that's simply to copy and
paste it from some other program.
| | 07:22 | While this often works just fine, I
honestly really don't recommend it for
| | 07:26 | anything more than just a paragraph or two.
| | 07:28 | I certainly wouldn't use copy and
paste, for any text that was formatted or
| | 07:33 | included foreign
languages or special characters.
| | 07:35 | I have just seen too many problems
over the years, with text showing up.
| | 07:39 | Well, just wrong, really wrong after pasting it.
| | 07:43 | The Place command is much more
reliable, when you're trying to get text
| | 07:47 | into InDesign.
| | Collapse this transcript |
| Threading text frames| 00:00 | It's time to talk about
threading text frames together.
| | 00:03 | I am going to zoom in on this lower part
of this page and I can see a little red
| | 00:07 | plus sign at the bottom of this text frame.
| | 00:10 | Like if I select the text frame it
becomes more obvious that red plus sign
| | 00:14 | inside the red box means that there is
more text than can fit inside that frame.
| | 00:18 | So what are we going to do about it,
Well, we could make the text frame bigger
| | 00:22 | but in this case we want the text to
flow on to the next column over here, so
| | 00:27 | the trick here is to
thread one frame to another.
| | 00:30 | I've already made a text
frame here in this document.
| | 00:33 | It's an empty frame and I want to
thread the text from here to here.
| | 00:37 | So in some programs like Quick Express,
there is a Threading tool or Chaining
| | 00:41 | tool or Linking tool but in, InDesign
there is no special tool, the only thing
| | 00:46 | you need to know is select the frame
with the regular selection tool, that black
| | 00:50 | area tool and then Click on this little red box.
| | 00:53 | And that red box is called the outport.
| | 00:55 | The outport right now is red but as
soon as I Click on it, it turns into a
| | 01:00 | Threading Port a little blue
box with a little triangle in it.
| | 01:04 | And I am going to come over here and
place my cursor on top of this empty frame
| | 01:08 | and you will see my cursor changes to
a link icon that means it's going to
| | 01:11 | thread into this frame.
| | 01:13 | If I move my cursor down here where
there is no empty frame, I get a regular
| | 01:17 | place cursor and I could actually drag
out a new text frame if I want or click
| | 01:21 | in it, it would make a text frame for
me but in this case I have an empty text
| | 01:24 | frame and I want to thread from
the one on the left into here.
| | 01:27 | So I simply click and I am done.
| | 01:30 | It threaded them together.
| | 01:31 | I can see that they are threaded
together by going to the View menu, choosing
| | 01:35 | the extra Submenu and choosing Show
Text Threads or Command+Option+Y or
| | 01:39 | Ctrl+Alt+Y on Windows.
| | 01:41 | And it shows me this blue line going
from the outport of the frame on the left
| | 01:46 | to the inport on the frame on the right.
| | 01:49 | So every text frame has an outport and
an inport and that is what we're going to
| | 01:53 | be using to thread some more of these.
| | 01:55 | I am going to zoom back here with the
Command+Minus or Ctrl+Minus on Windows a couple of times.
| | 02:00 | Let's try it again.
| | 02:01 | I am going to create a new
text frame with a Type tool.
| | 02:03 | I'll simply drag out a frame to fill
this column here and then I'll go back
| | 02:07 | to the Selection tool.
| | 02:08 | I could have pressed the Escape key.
| | 02:10 | That would be more efficient.
| | 02:11 | Choose the frame that is coming to.
| | 02:14 | Click on the outport.
| | 02:15 | Click on the frame itself.
| | 02:17 | I don't have to try and find its inport,
just click anywhere inside the frame
| | 02:20 | and they are threaded now. Pretty good.
| | 02:22 | Now let's thread it even faster.
| | 02:24 | Instead of creating a text frame
first I'll simply load the placed cursor
| | 02:28 | by clicking on the outport here and then
drag out with my placed cursor, a new frame.
| | 02:34 | There I am done. Pretty good.
| | 02:35 | Now what if I made a mistake, what if I
don't actually want to thread these together?
| | 02:40 | How can I un-thread two frames?
| | 02:42 | The trick there is simply Double-Clicking
on either the outport or the inport.
| | 02:47 | Here I'll double-click on
the inport and it unthreads.
| | 02:50 | So the frame is still here
but it's no longer threaded.
| | 02:54 | Now, I am going to pan over here to the
right, holding on the Option +Spacebar
| | 02:57 | or Alt + Spacebar temporary hand tool
and I want to point out that you don't
| | 03:02 | have to link to empty frames.
| | 03:04 | These are two separate frames over
here on the right and I can still
| | 03:09 | thread those together.
| | 03:10 | In fact, I don't even need to thread them
together from the outport to the inport.
| | 03:13 | I can go from the inport down here up
to this frame up here and it knows that
| | 03:19 | what I really mean is
going from here, down here.
| | 03:21 | So you can see the thread is going
from the outport here into this new frame.
| | 03:26 | So right now, what I did was, I threaded
two frames even though they had text in
| | 03:31 | them and I went from the
inport to the earlier frames.
| | 03:34 | So that is also an option.
| | 03:36 | It's very flexible.
| | 03:37 | By the way, some people call this
Linking Text frames but Linking means
| | 03:41 | something different in InDesign.
| | 03:42 | It means maintaining a link to files on
your hard drive so that if they change
| | 03:47 | InDesign changes too.
| | 03:49 | I am going to talk about that in detail
in a later chapter but when I talk about
| | 03:53 | text flowing from one frame to another,
I always try and say threading and
| | 03:57 | InDesign is threading text frames.
| | Collapse this transcript |
| Setting text frame columns and insets| 00:00 | If you've ever framed some artwork to
hang on your wall, you know that there's
| | 00:04 | all kinds of ways to present an image
inside of a frame, the same goes for text
| | 00:08 | inside a text frame.
| | 00:10 | The key to arranging your text in your
frame is the text frame Options dialog box.
| | 00:14 | Now, I've chosen a text frame here.
| | 00:16 | I've selected it with the Selection
tool, so I'll go to the Object menu and
| | 00:19 | choose Text Frame Options from the
Object menu or you can press Command+B
| | 00:23 | or Ctrl+B on Windows.
| | 00:25 | The text frames Options gives me a number
of controls, the first of which is Columns.
| | 00:30 | You can see that this text
frame currently has one column.
| | 00:33 | It goes all the way from the left edge
of the frame to the right edge and this
| | 00:36 | is just too wide for my taste.
| | 00:38 | I'd like to split into two columns.
| | 00:40 | Now I could have made two different text
frames I suppose and then threaded them
| | 00:44 | together and so on but
that's just too much work.
| | 00:46 | I would rather just make one text frame
and then change the Number of Columns to 2.
| | 00:50 | Here we go.
| | 00:51 | It's the simple as that.
| | 00:52 | I just click that little up arrow there
and it increased this to two different
| | 00:56 | columns in one frame.
| | 00:58 | Now the space in between those columns
is called the Gutter and you can control
| | 01:02 | that here in this field.
| | 01:03 | Right now it's .3 inches, if you wanted
to make it little bit bigger you could
| | 01:07 | just change this to some other number.
| | 01:08 | I'll change that to .4 and then I'll
press Tab and because the Preview checkbox
| | 01:12 | is turned on, when I hit Tab which is
just the little shortcut for jumping from
| | 01:16 | one field to the next inside of dialog
box, when I press that Tab, it updated
| | 01:20 | automatically on the page.
| | 01:22 | So that's kind of handy.
| | 01:23 | So we can see here inside the text
frame Options dialog box, there are two
| | 01:27 | columns in this frame with .4 inches in
between the columns and the Width is 3.47.
| | 01:32 | InDesign figured out this number for me.
| | 01:34 | It just figured that out based on width
of the frame and then it figured out the
| | 01:38 | Number of the columns and the amount of
Gutter space, it figured out there was
| | 01:41 | this amount of space.
| | 01:42 | So that's kind of handy.
| | 01:43 | I'm going to go ahead and click OK and
point out something which is that if I
| | 01:46 | change the width of this right now it
changes the Width of the columns but it
| | 01:52 | will not change the width of the Gutter.
| | 01:54 | So that's kind of handy but it can
cause problems because in some publications
| | 01:58 | you don't want the Width
of your column to change.
| | 02:00 | For example, a magazine or a newspaper
where you have a very specific Column
| | 02:04 | Width that you don't want it to change.
| | 02:05 | So let's go ahead and open
up that dialog box again.
| | 02:08 | Press Command+B or Ctrl+B on Windows and I
want to point out that the width has changed.
| | 02:13 | I could say that I want this to be
exactly 3.5 inches. Isn't that cool?
| | 02:18 | And then I'll click OK and you'll see
that now it has figured out that this is
| | 02:22 | 3.5 inches, this is 3.5 inches, this is
the Gutter width that I've specified and
| | 02:27 | make sure it's exactly the correct
amount but as soon as I go here and nudge the
| | 02:31 | size of this text frame, I've
messed up my Column Width again.
| | 02:34 | So once again I've got a problem. It's okay.
| | 02:37 | InDesign has a solution for this.
| | 02:39 | I'll open up the text frame Options one
more time, and I want to point out that
| | 02:42 | after I change this to the Column
Width that I wanted, 3.5 inches, I believe
| | 02:47 | is what it was, I can turn on a
checkbox called Fixed Column Width and
| | 02:51 | when Fixed Column Width is turned on
then I am sure that I will always get that
| | 02:57 | 3.5 inch wide column.
| | 02:59 | Here is what happens.
| | 03:00 | If I try and come in here and make
it narrower, it snaps wide again.
| | 03:04 | It won't let me nudge that.
| | 03:06 | In fact if I go wider than this,
InDesign automatically just adds a third column.
| | 03:11 | It says, oh I bet you want
another 3.5 inch column over here.
| | 03:14 | So that's very handy again for
magazines, newspapers, anyone who needs a very
| | 03:19 | clear column width, wants to use that
fixed column width feature inside the text
| | 03:23 | frame Options dialog box.
| | 03:24 | That's pretty nifty.
| | 03:25 | I'm going to go ahead and scroll down
to the bottom of my page here and apply
| | 03:29 | multiple columns to this text frame
at the bottom of the page as well.
| | 03:32 | Once again Command+B or Ctrl+B. I'll
increase the Number of columns here to
| | 03:37 | let's say 3 columns for all this
little boilerplate legal text and now I want
| | 03:41 | to point out another feature inside the
text frame Options dialog box, Balance Columns.
| | 03:46 | This is a new feature in CS5 and it's so cool.
| | 03:49 | Balance columns help you with the
problem that a lot of people have where you
| | 03:53 | have too much space in the final column.
| | 03:55 | See how I filled the first two columns
but the third column is empty at the bottom.
| | 03:59 | A lot of people want to
bottom out these columns.
| | 04:02 | That is, make sure that you have an
equal amount of text in each column.
| | 04:05 | So you don't have a lot of white space
at the end and typically the way people
| | 04:09 | fix this is by changing the height
of this text frame until it fits.
| | 04:13 | Well, InDesign will do it for you if
you turn on the Balance Column checkbox.
| | 04:17 | That's all you need to do now, turn on
Balance Columns and it will automatically
| | 04:21 | add space at the bottom of the text frame.
| | 04:23 | It sort of insets it, until all
three columns are as equal as possible.
| | 04:27 | Of course some times you won't have an
equal number of lines and so it may not
| | 04:31 | be exactly right but it will do it as
close as it can, so that you have an equal
| | 04:35 | amount of space and bottoms out.
| | 04:36 | So that's the very, very handy feature
inside the text frame Options dialog box.
| | 04:41 | I'm going to click OK and
look at this text frame up here.
| | 04:44 | This special requests item in this
form is right up against the edge of the
| | 04:49 | frame and in fact, if I go into
Preview Mode by pressing W, you'll see there
| | 04:52 | is a thin gray line around it and the text
is just bumping right up against that line.
| | 04:57 | It just looks ugly.
| | 04:58 | I want to move it down and in kind of
like this payment method is down and
| | 05:02 | in from the edge here.
| | 05:04 | I want to move it in, so it's not
touching that line, how would I do that?
| | 05:07 | Well, I can use the text frame
Options dialog box for that too.
| | 05:11 | Once again, choose it from the Object
menu and move it over here so we can
| | 05:14 | see it better and I want to point out the
Inset Spacing fields inside this dialog box.
| | 05:19 | Inset Spacing means how far from
the edge do you want the text to set?
| | 05:23 | And you have four controls here of
course top, bottom, left and right and you
| | 05:27 | also have this little weird item right
there that looks like an exploding piece
| | 05:32 | of popcorn or something but if you
click on that, it turns into a link icon and
| | 05:36 | all of that means is it makes sure all
of your four fields are linked together,
| | 05:41 | so you have this same number in all four sides.
| | 05:43 | That's just a little convenience for
you so you don't have to type the same
| | 05:45 | number four times if you
want them to be the same.
| | 05:48 | Click it again and they're unlinked and
now can have different values in each field.
| | 05:52 | In this case I'm going to have the same
value in all four fields and I'm going
| | 05:55 | to make it oh let's say 9 points so
I just press P9 and hit Tab and it
| | 05:59 | automatically converted it into inches
so that's the measurement system, I'm
| | 06:02 | working on this document.
| | 06:04 | So we can set it exactly 9 points.
| | 06:06 | I'll click OK and I'll deselect this
object just by clicking in this white area
| | 06:10 | here and you can see that the text is
now moved away from that gray line, which
| | 06:14 | is exactly the effect that I was looking for.
| | 06:17 | When you're trying to get your text to
look just so on your page, don't forget
| | 06:20 | about the text frame Options dialog-box.
| | 06:23 | In the next movie, I'll continue this
discussion of the text frame Options
| | 06:26 | dialog box, showing you why you want
to pay attention to a vertical alignment
| | 06:30 | and baseline position.
| | Collapse this transcript |
| Setting vertical justification and first baseline position| 00:00 | I have my flower catalog open here, I'm
going to click on this text frame in the
| | 00:04 | lower-right corner of this page, zoom
into 200% with Command+2, or Ctrl+2 on
| | 00:09 | Windows, and open up the text frame
Options dialog box from the Object menu.
| | 00:14 | I can see that this has some Inset here,
2 millimeters Inset on all four sides.
| | 00:19 | I can even see a little visual of that
by this thin blue line that's kind of
| | 00:23 | Inset from the text frame side.
| | 00:26 | But now I want all this text to
be centered in the text frame.
| | 00:29 | Now I could go in and adjust the Top
Inset Spacing to push it down, down, down
| | 00:34 | until it looks centered, but that's
just going to be too much trial and error.
| | 00:37 | I'd rather have one quick fix for
centering all this text, and I can get that
| | 00:41 | by using the Vertical Justification
control inside the text frame Options dialog box.
| | 00:46 | Right now, the Align pop-up menu is set
to Top, which means that the first line
| | 00:51 | is going to start at the top of the frame.
| | 00:52 | That's typically how text frames work.
| | 00:54 | But if I'd change this to Center, then
suddenly all the text gets centered in
| | 00:59 | the text frame vertically.
| | 01:00 | I can see that without closing the dialog box,
because the Preview checkbox is turned on here.
| | 01:05 | There is other controls in
here as well, such as Bottom.
| | 01:08 | When it's set to Bottom, then the last
line of the text frame bottoms out of the
| | 01:11 | bottom minus the Bottom Text Inset.
| | 01:14 | It bottoms all the way to that Text
Inset line, and then all the other text kind
| | 01:18 | of grows up from there.
| | 01:20 | So if I added another line of text in
here, it would push up from the bottom,
| | 01:24 | instead of pushing further down.
| | 01:25 | There is one last option in here, Justify,
that I want to point out, but I'm not
| | 01:30 | going to do that in this text frame,
I'm going to click OK, scroll over here,
| | 01:34 | and then do it to this text frame here.
| | 01:36 | This text frame has a bunch of space at the
bottom, and I'd like to get rid of that space.
| | 01:40 | So I'm going to press Command+B or
Ctrl+B on Windows, open up the text frame
| | 01:44 | Options dialog box, and change the
Vertical Justification to Justify.
| | 01:49 | Now when you change this to Justify,
it tries to make every column justified
| | 01:53 | from the top of the text frame to the bottom.
| | 01:56 | So in this first column, it had to
just add a little bit of space in between
| | 01:59 | each line, and on the second column, it had
to add a bunch of space in between each line.
| | 02:04 | That's right, Vertical Justification,
when it's set to Justify, it'll actually
| | 02:08 | override the amount of space that goes
from one baseline to the next, and force
| | 02:12 | it to push all the way to the bottom.
| | 02:14 | Now if you ask me that looks pretty
ugly, but some people like that sort of
| | 02:18 | things, so it's good for you to know
about, you can change this to Justify.
| | 02:21 | Now fortunately there is
one more thing you can do.
| | 02:24 | I'm going to set this back to top, so
we can see that there is a lot of space
| | 02:27 | here, and in an earlier movie, we
looked at the Balance Column feature.
| | 02:31 | So I'm going to first turn on Balance
Columns, and now you can see that both of
| | 02:35 | the columns are balanced out, because
InDesign added some extra space at the
| | 02:39 | bottom of the text frame
here automatically for me.
| | 02:42 | Now, that it's balanced out, I'm
going to change to Justify, and now it's
| | 02:46 | added equivalent amount of space in each column
so that they bottom out and it looks not so bad.
| | 02:53 | It still is not great, I don't like
having this extra spacing here in between
| | 02:57 | every line, but it's not quite as bad.
| | 02:59 | So there is one more thing I'm
going to do, and that is to change my
| | 03:02 | Paragraph Spacing Limit.
| | 03:03 | Right now, it's set to 0, which means
that I'm letting InDesign add zero amount
| | 03:08 | of space in between each
paragraph to justify this text.
| | 03:12 | But if I up this to something like 10
millimeters, then I'm telling InDesign to
| | 03:16 | go ahead and add up to 10 millimeters
of space in between each paragraph, so
| | 03:20 | that you don't have to add as
much space in between each line.
| | 03:24 | To me that looks a little bit
better, but again it's up to you.
| | 03:27 | You have some control here by
adjusting the Paragraph Spacing Limit to tell
| | 03:30 | InDesign how much space you're going to let
it put in between each paragraph. All right!
| | 03:34 | I'm going to click OK here, and I'll
scroll up a little bit, and I want to
| | 03:38 | control this text frame up here,
this headline that's above the story.
| | 03:42 | I'm going to open the text frame Options
dialog box one more time, and I want to
| | 03:46 | point out another way that I can
control how far down this text is going to sit
| | 03:51 | inside this text frame.
| | 03:52 | In this case, I'm not going to use
the Inset Spacing, not going to use
| | 03:55 | Vertical Justification.
| | 03:56 | I'm going to use my Baseline Options.
| | 03:59 | And when I click Baseline Options at
the top of the text frame Options dialog
| | 04:02 | box, I see that the dialog box
completely changes, I'm looking at a new tab
| | 04:07 | inside this dialog box.
| | 04:09 | And I'm going to control
this with First Baseline Offset.
| | 04:12 | The First Baseline Offset lets you
control where the first baseline of text
| | 04:17 | falls in a text frame.
| | 04:19 | So in this case, you can see that the
first baseline that is the bottom of the
| | 04:22 | text in this headline is going to be
placed in such a way, so that the top of
| | 04:28 | the ascenders hits the top of the frames.
| | 04:30 | I have various options
here though to control that.
| | 04:33 | For example, I could change it to Cap
Height, and because Preview is turned on
| | 04:37 | it updates automatically.
| | 04:38 | And now the ascenders actually
stickup above the text frame, but the Cap
| | 04:42 | Height, the height of a capital letter is
pushed up against to the top of the text frame.
| | 04:47 | Let's look at a couple of other options here.
| | 04:49 | x Height means the height of a lowercase letter.
| | 04:52 | The x Height of the font is
built into the font itself, the font
| | 04:55 | designer specifies that.
| | 04:57 | And now I can set that that is going be
to be at the top of the text frame, but
| | 05:00 | the ones I like are Leading and Fixed.
| | 05:03 | Leading means whatever the Leading is
of this document, and we'll be talking
| | 05:06 | about Leading in a later chapter.
| | 05:08 | But every character has its own Leading,
and whatever the overriding Leading of
| | 05:12 | this line is, it's going to be used for
the amount of space from the top of the
| | 05:16 | frame to that first baseline.
| | 05:18 | I find that very useful, but the
other one I find really useful is Fixed,
| | 05:23 | because Fixed means I get to specify
exactly how much space I want from the
| | 05:27 | baseline to the top of the frame.
| | 05:29 | And I specify that here in this
Min field, the Minimum field here.
| | 05:33 | Right now, it's set to 0, which means
that there is zero space between the top
| | 05:37 | of the frame and the baseline, but if I
increase this to oh say 5 millimeters,
| | 05:42 | and hit Tab, now I know
exactly where that baseline is.
| | 05:46 | It's exactly 5 millimeters
from the top of the frame.
| | 05:49 | So that's incredibly helpful when I'm
trying to be extremely precise about the
| | 05:53 | position of every item on my page.
| | 05:55 | Okay, there are several other
features inside the text frame Options dialog
| | 05:59 | box including the Baseline Grid
feature here, and this Ignore Text Wrap
| | 06:03 | feature here, but those are a little
bit more complex, so I'm going to cover
| | 06:06 | those in later chapters.
| | Collapse this transcript |
| Putting text on a path| 00:00 | I get asked this question all the time,
how do I put text on a path instead
| | 00:05 | of inside of a path?
| | 00:06 | It's not a foolish question, because
InDesign does not make it obvious at
| | 00:10 | all how to do that.
| | 00:12 | But once you see how to do it, you'll
find that it's not that difficult at all.
| | 00:16 | First, I need a path, I'm just going
to use an Ellipse tool here to drag out
| | 00:20 | kind of a nice shape here, and why
don't I use the Rotate widget up here, I'll
| | 00:24 | change that's to 50, and drag this
down into more or less position, just so I
| | 00:29 | have a path that I'm going to put my text on.
| | 00:31 | Now if I choose the Type tool and
place the cursor over the edge of this
| | 00:34 | Ellipse, it might look like if I click,
I might be putting some text on the side
| | 00:39 | there but in fact that's not the case.
| | 00:40 | If I'd click and start typing, you'll
see that the text goes into the frame, not
| | 00:44 | on it, so that's not what I want.
| | 00:46 | So I'm going to undo with Command+Z
or Ctrl+Z a couple of times.
| | 00:50 | And I'm going to show you that instead
you should use not the Type tool at all,
| | 00:54 | but click-and-hold it just for a moment,
and you see there is a whole separate
| | 00:57 | tool called the Type on a Path tool.
| | 01:00 | You can get to that by pressing
Shift+T, when you're not editing text.
| | 01:04 | So now that I have the Type on a Path
tool, I can place that near the edge, and
| | 01:09 | I'll see the cursor changed
to a little Plus Sign there.
| | 01:12 | That's the indicator that it's safe to click,
and now that I've clicked, I can start typing.
| | 01:17 | I'll just type a little bit of text
here, and I need to format that text.
| | 01:23 | It's little bit too hard to read.
| | 01:24 | So, I'm going to go to the Window menu,
choose from the Styles sub-menu, and
| | 01:28 | choose Paragraph Styles.
| | 01:30 | I have a Paragraph Style all set up here
that I can click on called Blue Type on
| | 01:34 | a Path, there we go.
| | 01:34 | It's just is a nice fast way
of formatting text quickly.
| | 01:38 | I'll be covering Styles in a later
chapter, but for now that was such a fast way
| | 01:41 | to get the formatting I needed.
| | 01:43 | I'll go ahead, and close that panel and
show you more stuff about Type on a Path.
| | 01:47 | So you see the text is going on the
path just the way we want, but maybe it's
| | 01:51 | not in exactly the right position.
| | 01:53 | How do I move it back-and-forth on that path?
| | 01:57 | Well, for that I need the Selection tool,
so, I'm going to press the Escape key
| | 02:01 | as such a little shortcut to jump back
to the Selection tool, and I'm going to
| | 02:04 | zoom in on this a little bit with the
Command+Plus, or Ctrl+Plus on Windows,
| | 02:08 | just to see the details of this more closely.
| | 02:12 | Now, this is a very
confusing part about Text on a Path.
| | 02:15 | You see how, there is this weird shape
thing with two little squares, and some
| | 02:19 | vertical lines, and so on.
| | 02:20 | Well, here is what's going on?
| | 02:22 | Type on a Path should be treated just
like a text frame, which has been wrapped
| | 02:27 | around the path that fits one paragraph.
| | 02:30 | That's what's going on here.
| | 02:31 | It starts at this point where I clicked,
and it's wrapping all the way around
| | 02:35 | the path, and it ends here.
| | 02:37 | In any text frame as you know has an
inport and then outport for doing threading.
| | 02:42 | That's what's going on here.
| | 02:43 | The vertical lines are the edges of
that frame as it were, and those little
| | 02:48 | white boxes are the inport and outport.
| | 02:51 | Now I can actually drag
those lines, if I'm careful.
| | 02:55 | You really have to be
careful to look at the cursor.
| | 02:57 | Right now what I'm seeing0-- if
you really squint, you'll see this.
| | 03:01 | I'm seeing a cursor with a little tiny
line and a left-arrow, and that indicates
| | 03:06 | that if I drag, I'm going to
be dragging the left line over.
| | 03:11 | See how that worked?
| | 03:12 | I can do the same thing on this line as well.
| | 03:14 | Now I see a cursor with a little tiny
itsy bitsy right-arrow next to it, and if
| | 03:19 | I drag that, I'm dragging
the left edge of my text there.
| | 03:23 | So I can move it back-and-forth
along my path by dragging that left edge.
| | 03:28 | I'm going to go ahead and drag this side,
the edge of that all the way over to
| | 03:32 | the right here, and you can see that I
can even drag it all the way over until
| | 03:36 | the text won't fit inside that path
anymore, and I get a little Plus Sign
| | 03:40 | overset mark just like a text frame.
| | 03:43 | And in fact, Text on a Path acts just
like a text frame, so I can thread it from
| | 03:48 | one frame to another, or one line to
another, I'll show you how to do that?
| | 03:52 | Use the Selection tool to click on
the outport, and then come over here and
| | 03:55 | click on this new path, and you'll see
that now the text is threaded from this
| | 04:00 | path to this path, and that's pretty cool.
| | 04:03 | Once I do that, I can adjust that text
of course by dragging the endpoints, so I
| | 04:07 | can put more text on this side,
and less on this, and so on.
| | 04:10 | I didn't get my extra space in there,
so I'm going to double-click with the
| | 04:14 | Selection tool to switch the Type
tool temporarily, press Space just so I
| | 04:18 | can fix that, good.
| | 04:19 | Hit Escape to go back to adjusting the
object itself, and I'll zoom out to see
| | 04:23 | how it looks with the Command+Minus or
Ctrl+Minus on Windows hitting that a few
| | 04:27 | times until I could see more of the page.
| | 04:30 | So that's pretty darn cool, but there is
actually one more thing about Text on a
| | 04:33 | Path that I want to point out to you.
| | 04:35 | I'm going to actually select both of
those objects, I just Shift+Clicked over on
| | 04:38 | this Text on a Path as well,
so we can see both of those.
| | 04:41 | Now I'll zoom back in, so I
can see the text more clearly.
| | 04:44 | Now, I'm going to go to the Type menu,
and scroll-down to the Type on a Path
| | 04:49 | sub-menu, and there is a couple of
things I need to point out, one is I can
| | 04:52 | delete the Type from the Path, this is
how you turn something that has Text on a
| | 04:56 | Path into just Paths.
| | 04:58 | I just selected that, so the
text just goes thrown away.
| | 05:01 | That's not actually what I wanted to do,
but I wanted to show you that you can do it.
| | 05:04 | Let me undo that, Command+Z or Ctrl+Z on
Windows, and instead I'm going to go to
| | 05:08 | Type on a Path > Options, we
can move this out of the way.
| | 05:11 | This is where the power is for
really fine-tuning the text on that path.
| | 05:15 | For example, I can turn on the Flip
checkbox, and because the Preview checkbox
| | 05:19 | is turned on, I see it take effect immediately.
| | 05:21 | The Type actually flipped over to
the inside of the path, instead of the
| | 05:25 | outside of the path.
| | 05:26 | So that's one option, we turn that off.
| | 05:28 | Another thing I can control is what part
of the text is going to align to the path.
| | 05:33 | Right now, I'm aligning the Baseline of
the text to the path, but I could change
| | 05:37 | this to something else, for
example, the Center of the text.
| | 05:40 | And now the Center of the
text is aligned along the path.
| | 05:43 | So, that can give you a
slightly different effect.
| | 05:46 | And then if you want to have some fun
with this text, try changing the effect.
| | 05:49 | Right now, this is set to Rainbow, which
means the text will move along the path
| | 05:54 | like the colors will move along the
Rainbow, but if you change this to something
| | 05:56 | completely different like Skew,
you get all kinds of wacky effects.
| | 06:00 | This is probably not what we want but
it's interesting to play around with
| | 06:03 | these effects to get a sense of what kinds
of cool things you can do with Text on a Path.
| | 06:07 | 3D Ribbon makes the text kind of
skew and rotate so on around the path.
| | 06:12 | Stair Step is kind of
interesting for some effects.
| | 06:15 | Gravity makes everything kind of
warped into the center of gravity, each
| | 06:19 | object has it's own center of gravity
which is the center point of the frame
| | 06:22 | itself, and all the text is being sort
of pulled into that center of gravity,
| | 06:26 | but you know ultimately all of those
are cool, but generally you're just going
| | 06:30 | to be using Rainbow, so that's the one that I'm
going to stick with right now, and I'll click OK.
| | 06:34 | So, setting text along a path is a
wonderful way to create all kinds of special
| | 06:39 | effects on your page.
| | 06:40 | As we saw, you can even edit that
text later, but editing along a path can
| | 06:44 | be well challenging.
| | 06:46 | Fortunately, that's where InDesign
Story Editor comes to the rescue.
| | Collapse this transcript |
| Using the Story Editor| 00:00 | It's time for me to talk about one
of my favorite features in InDesign.
| | 00:04 | It's not a particularly flashy feature
but it is incredibly helpful to anyone
| | 00:08 | who needs to write or
edit text inside of InDesign.
| | 00:11 | And that feature is called Story
Editor, and it's like having a little Word
| | 00:15 | Processor built right into
InDesign. Let me show you.
| | 00:18 | Now I have my Catalog file open here
and my Editor has told me that I have
| | 00:22 | to make a little bit of change to
this text down here, so I'm going to zoom
| | 00:25 | down into this lower left corner of this page
and I need to edit some text inside this frame.
| | 00:31 | But the problem is that the text is so
small and the text frame is so wide that
| | 00:36 | the only way for me to see the text is
by scrolling back and forth, left and
| | 00:40 | right to see it all.
| | 00:41 | That's really annoying and makes
it very inefficient to edit text.
| | 00:45 | But I know about Story Editor
so I am going to edit it there.
| | 00:48 | Let me show you how it works.
| | 00:49 | I will select that text frame, go up to
the Edit menu and choose Edit in Story
| | 00:54 | Editor, or the shortcut is
Command+Y or Ctrl+Y on Windows.
| | 00:59 | Now Story Editor opens a
little new window that is completely
| | 01:03 | formatting neutral.
| | 01:04 | It's line ending neutral, in other
words it just shows me the text as though I
| | 01:08 | were editing in a Word Processor and
it's so great because it's very easy to
| | 01:12 | read and it shows me all the text, I
don't have to scroll back and forth to see it.
| | 01:17 | Now there is one problem with Story
Editor in my opinion and that is it starts
| | 01:22 | off by showing you this weird letter Gothic
font, which I'd actually don't like reading.
| | 01:26 | It's just not happy on my eye.
| | 01:28 | But the good news is that InDesign lets
you change that and you change that by
| | 01:32 | going to the InDesign menu on the Mac or
the Edit menu on Windows and choose the
| | 01:37 | Preferences sub-menu Story Editor Display.
| | 01:40 | You can change the Story Editor
Display to what ever you want it to be.
| | 01:44 | I'd like something like Georgia,
personally I am just going to type Geo so it
| | 01:47 | guesses I want Georgia.
| | 01:49 | I like that from my Preview Font and I
am going to make this a little bit bigger
| | 01:53 | so it's easier for me to read.
| | 01:54 | I am getting a little bit older.
| | 01:56 | I want to be able to see it really easily on
screen, so I am going to make it 16 points as well.
| | 02:00 | You could see you have a lot of
different controls in here over how much space
| | 02:05 | do you want in between each line,
what color do you want the text to be.
| | 02:08 | I like the black and white but you can
have all kinds of options here if you are
| | 02:12 | really into the old-style terminals
you could change it into something like
| | 02:16 | green on black, but both would drive me crazy.
| | 02:20 | So I am going to leave it set to black and
white, the Ink on Paper theme and move on.
| | 02:25 | I will actually change one
more thing while I am here though.
| | 02:27 | I am going to change this to the
Barbell Cursor, because again as I am editing
| | 02:31 | text, sometimes it's hard to
see exactly where the cursor is.
| | 02:34 | But if I change the Cursor Options to
this Barbell text or one of these other
| | 02:38 | options, it really pops off the screen.
| | 02:40 | I'll show you what I mean. Click OK.
| | 02:42 | It updates the font, it updates the size,
and you could see the cursor really easily.
| | 02:47 | Wherever I click it just really
pops out at you, I love that feature.
| | 02:50 | So now I can easily read
this, make the change I want.
| | 02:54 | I will say change this to click here,
maybe it's going to be interactive
| | 02:57 | document, put a period at the end.
| | 02:59 | Those are the changes I needed to
change, and I can close it and it will
| | 03:03 | update on the page.
| | 03:05 | I can see that update if I
scroll over to the right.
| | 03:07 | This is what I was trying to avoid, right,
the scrolling around, but you can see
| | 03:10 | that the text has changed, so
that's exactly what I wanted.
| | 03:14 | Let me show you another example of
Story Editor, I am going to zoom back to fit
| | 03:17 | in window with the Cmd+Opt+0 or Ctrl+Alt+0
on Windows and I am going to look at
| | 03:23 | this text frame up here
in the upper left corner.
| | 03:25 | I can immediately see that there is
overset text here, there is more text than
| | 03:30 | can fit into that frame.
| | 03:31 | Let's zoom in on that, I'll just click
inside that frame and then press Cmd+2 or
| | 03:36 | Ctrl+2 on Windows to zoom into 200%.
| | 03:38 | And I can really say that's right.
| | 03:40 | The text has dropped off here
unfortunately. But how much text?
| | 03:44 | Is there a whole paragraph missing or just
one word missing or one character missing?
| | 03:48 | Sometimes it's hard to know.
| | 03:49 | Now most people would say well, I
will just make the text frame bigger, but
| | 03:53 | that's going to ruin my layout,
so I don't want to do that.
| | 03:56 | I just want to see what's overset.
| | 03:58 | So here again is one more use for Story Editor.
| | 04:01 | I am going to open Story Editor by
pressing Cmd+Y or Ctrl+Y on Windows and I can
| | 04:05 | see immediately, there is
my story, and look at this.
| | 04:08 | See that little red line and
this little gray line over here?
| | 04:11 | That's how much text is overset.
| | 04:13 | All of this stuff did not fit into the frame.
| | 04:15 | That's incredibly helpful information
because now I can edit it or I can copy it
| | 04:19 | or I can do something with it, I could
copy it, cut it out, and paste it some
| | 04:22 | place else, whatever I need
to do with that overset text.
| | 04:25 | Now there is one other editorial
like feature that I want to show here.
| | 04:29 | It's actually not a part of Story
Editor but I do need to point it out
| | 04:31 | because it's really cool.
| | 04:33 | Under the Window menu, I
am going to choose Info.
| | 04:36 | That opens the Info panel and the Info
panel when I'm editing text either of
| | 04:40 | inside Story Editor or just
in a regular layout window.
| | 04:43 | Whenever I am editing text the Info
panel gives me information about that text.
| | 04:47 | For example, I can see here that it says 334+53.
| | 04:50 | That means that this story, this whole
story has 334 characters in it plus 53
| | 04:59 | overset, anything after
the plus means it's overset.
| | 05:02 | That's the part that's over
here that won't fit in the frame.
| | 05:05 | It also shows me the number of
words and lines and paragraphs.
| | 05:08 | It doesn't know the number
of lines because it's overset.
| | 05:10 | It doesn't know what to do with overset
lines, but it knows that there are seven
| | 05:14 | extra words beyond that which can fit
into the frame, so that's really cool.
| | 05:18 | This is also useful when I want to find out
how many words are there in this sentence?
| | 05:23 | Let's say I can simply select the text
in the sentence again, in Story Editor
| | 05:27 | or on the document page and the Info panel
updates and shows me there's 17 words in there.
| | 05:32 | Isn't that cool?
| | 05:33 | I just love that feature.
| | 05:34 | All right, I am going to close the
Info panel and show you a couple of more
| | 05:37 | things about Story Editor,
which you absolutely need to know.
| | 05:40 | One is, that that Cmd+Y feature or
Ctrl+Y on Windows does more than just
| | 05:45 | opens Story Editor.
| | 05:47 | It synchronizes the Story Editor
selection and the Layout selection.
| | 05:51 | Here's what I mean, if I select this text
and simply close Story Editor nothing happens.
| | 05:57 | But if I select some text, like I
will select these three words and use the
| | 06:01 | keyboard shortcut, it synchronizes it,
so what's selected inside the Layout menu
| | 06:06 | is also selected inside Story Editor.
| | 06:08 | If I select the word greenhouse here and
press the keyboard shortcut it switches
| | 06:12 | back to the Layout Mode and
synchronizes the selection so that the word
| | 06:16 | greenhouse is selected here as well.
| | 06:18 | That's a little thing but it turns out
to be extremely efficient whenever you
| | 06:21 | are trying to move back and
forth between the two views.
| | 06:24 | Select some text, press the keyboard
shortcut and it syncs so that you'll
| | 06:27 | have the same selection.
| | 06:29 | Earlier on I mentioned that the Story Editor
was formatting neutral, what does that mean?
| | 06:34 | It means that it only shows you bold and italic.
| | 06:37 | It won't show you superscripts.
| | 06:39 | It won't change the font for you.
| | 06:41 | It doesn't show you any of the
formatting except bolds and italics.
| | 06:44 | That can be good and bad depending on
what you want, but it is an important
| | 06:47 | thing for you to know about.
| | 06:49 | And the last thing I need to tell you
about Story Editor is that you can see tables.
| | 06:53 | A Table Layout is kind of wacky so I
want to point it out to you, I am going to
| | 06:56 | zoom back to the Fit Spread in Window,
click inside my table over here in the
| | 07:00 | lower right corner, and then zoom in,
just so you can see that better with Cmd+2
| | 07:04 | or Ctrl+2 on Windows.
| | 07:05 | This is a big table that I've created.
| | 07:07 | I'm going to be talking about tables
in a later chapter, but I just want to
| | 07:10 | point out that if you do have tables in your
document, you can even see those in Story Editor.
| | 07:15 | I will press Cmd+Y or Ctrl+Y on Windows
and scroll up here so you can see this
| | 07:20 | is what tables look like inside Story Editor.
| | 07:22 | It first gives you a little table icon
that you can roll up if you want to with
| | 07:26 | that little twirly triangle thing.
| | 07:28 | You can make the whole table go away or
visible again just by clicking on that,
| | 07:32 | and inside that it shows you Row number
1, Column number 1 and then Row number
| | 07:37 | 1, Column number 2, Row number 1, Column
number 3 and then Row number 2, so it's
| | 07:41 | going to go one row at a time.
| | 07:43 | And some people like seeing the tables
like that and some people prefer to see
| | 07:47 | columns first and then one row at a time.
| | 07:50 | Let me just show you what I mean.
| | 07:51 | If I right-click or Ctrl+Click with a
one-button mouse on the Table icon I can
| | 07:57 | scroll to the bottom, way down near at
the bottom you can see that there are two
| | 08:00 | options arranged by rows or
arranged by columns. There we go.
| | 08:04 | Now I'm seeing it in Column View.
| | 08:06 | So in Column number 1 I have Item
Number, Example Flower and then blank,
| | 08:10 | blank, blank down there.
| | 08:11 | I'll actually type something here.
| | 08:13 | Here is another example, and you'll
see that as soon as I stop typing, it
| | 08:18 | updates on the Layout page as well.
| | 08:20 | Now I will come down here and you can
see there is Column 2 and I can say Type
| | 08:25 | and then wait for a moment and it updates here.
| | 08:27 | So you get the idea.
| | 08:29 | That's how tables work in Story Editor.
| | 08:31 | Whether you are editing really tiny
four-point text at the bottom of a legal
| | 08:35 | contract or text on a path or a table
or any kind of long story, the Story
| | 08:40 | Editor makes life so much easier.
| | Collapse this transcript |
| Checking spelling| 00:00 | Nobody spells everything
right all the time. I mean, hey!
| | 00:03 | That's what Spell Checking features are for.
| | 00:05 | And fortunately there is a pretty
good one built right into InDesign.
| | 00:09 | I have this brochure open here, but
before I send it off to print I'd better
| | 00:13 | check the spelling, and see if it's all right.
| | 00:16 | I'll click Edit, I'll go down to the
Spelling sub-menu and I'll choose Check Spelling.
| | 00:20 | The shortcut is Cmd+I or Ctrl+I on Windows.
| | 00:24 | Up comes the Check Spelling dialog box
and it immediately kicks into gear and
| | 00:29 | finds the first thing that's misspelled.
| | 00:31 | It say's the word Monterey is misspelled.
| | 00:34 | Now if you don't know where on your
page it's on, sometimes it's not exactly
| | 00:38 | immediately obvious.
| | 00:39 | It is highlighted but sometimes you
don't see it, especially if it's on top of
| | 00:42 | an image like it is right now,
fortunately the Check Spelling dialog box is
| | 00:46 | kind of like a panel.
| | 00:47 | I can move it around.
| | 00:48 | It just floats on top of things and I could
even use my View menu to zoom in and out on things.
| | 00:54 | So I'll choose zoom in and I can see
that it zooms in on the word Monterey
| | 00:58 | that's highlighted on the page.
| | 01:00 | You can also use the keyboard
shortcuts like Cmd++ or Ctrl++ on Windows.
| | 01:05 | Now Monterey, it says that it's misspelled.
| | 01:07 | I happened to know that it's not misspelled.
| | 01:09 | This is the way Monterey is spelled in
California as opposed to Monterrey, Mexico
| | 01:14 | which is how it's spelled here in
this list of suggested corrections.
| | 01:18 | So if I was talking about Mexico I
would simply click on the suggested
| | 01:21 | correction and then click Change.
| | 01:23 | But in this case I'm not going to
do that, I'm going to say Ignore All.
| | 01:29 | Now I actually have two options here,
I could choose Ignore All or Skip.
| | 01:33 | Skip just jumps past this one instance
of the word Monterey, but the next time
| | 01:38 | Monterey shows up in this document
it would flag it as being incorrect.
| | 01:41 | Or I could choose Ignore All, which
will jump past all instances of the word
| | 01:46 | Monterey throughout this document.
| | 01:48 | That's what I'm going to do.
| | 01:49 | I'll click Ignore All, which just
says this is not a problem for me.
| | 01:53 | Actually there is a third option too
and that is, I could click Add, if I do
| | 01:57 | that it will add it to my User
Dictionary and so that this word will not be
| | 02:02 | flagged as misspelled in any of my
documents that I am spellchecking from now on.
| | 02:06 | So actually I'll do that for this word Salinas.
| | 02:08 | Salinas is another city in California,
I know it's going to show up a lot, I'll
| | 02:12 | click Add and it's added to the dictionary.
| | 02:15 | It will no longer be marked as
misspelled in any of my documents.
| | 02:19 | Here's another one Sur.
| | 02:20 | That's from Big Sur I'm just
going to Skip past that one.
| | 02:23 | I'll skip past a few of these.
| | 02:25 | Here's another one.
| | 02:26 | It can check for repeated words.
| | 02:28 | Always look in the upper left corner
here of the dialog box and you can see what
| | 02:32 | its finding is it a misspelled
word or in this case a repeated word.
| | 02:35 | It saw that the word if showed up two
times, and it's saying we suggest that you
| | 02:40 | change it to just that one word if.
| | 02:42 | So I'll click on Suggested Corrections to
tell it yes please, do make that change.
| | 02:47 | And then I will say Change it and it
makes that change on my document and jumps
| | 02:51 | to the next problem. What did it find?
| | 02:54 | It found the word, mucho.
| | 02:56 | Mucho is not English.
| | 02:58 | That's why it is saying
it's misspelled. It's Spanish.
| | 03:02 | So what do I do?
| | 03:03 | I could say go ahead and add it
to my dictionary, or Ignore All.
| | 03:06 | But in this case I am going to do
something completely different, I am going to
| | 03:10 | tell InDesign that this is
Spanish. How do I do that?
| | 03:14 | Well, I select it on the document page here.
| | 03:17 | It's already selected for me there,
and I'll go to the Control panel and over
| | 03:21 | here in the Control panel I
see a pop-up menu for Language.
| | 03:24 | And right now, it says English: USA.
| | 03:27 | Now if you don't see that pop-up menu make
sure that your Control panel is in Character Mode.
| | 03:33 | That's a little A button up here
instead of Paragraph Formatting down here.
| | 03:36 | So make sure it's on the A. Anyway here
I have a Language pop-up menu and it's
| | 03:41 | currently set to English, I'm going to
change this to Spanish, you can see all
| | 03:46 | the different dictionaries that are
built into InDesign and I'm going to tell
| | 03:49 | it, this word is Spanish.
| | 03:51 | And now, next time I'd spell-
check it, it will come up as correct.
| | 03:55 | In fact, why don't I just try that,
I'll click off of here to tell it that I'm
| | 03:59 | done and then I'll start up again.
| | 04:01 | And you see that it jumped right past
mucho, and because it says mucho is a word
| | 04:06 | and it's spelled correctly in Spanish.
| | 04:08 | It knows that it's Spanish now so it's handy.
| | 04:10 | Now what did it find?
| | 04:12 | It found an un-capitalized sentence.
| | 04:14 | This is the first word in the sentence.
| | 04:17 | It was un-capitalized.
| | 04:18 | It's suggesting that we
change it to a capitalized word.
| | 04:21 | Sure, I'll do that.
| | 04:22 | Click Change and it then goes to find
the next one and it found unspoileed is
| | 04:28 | not a word, so let's go
ahead and fix that, good!
| | 04:30 | This is looking good.
| | 04:32 | Now this is interesting.
| | 04:33 | It found a URL in here and that is
spelled correctly but it doesn't know that
| | 04:40 | it's spelled correctly because it can't
tell that this is an Internet address.
| | 04:45 | So I'm going to tell it to stop
checking the spelling on this.
| | 04:48 | How do I tell it to stop checking the spelling?
| | 04:51 | Well, I can't tell it that it's English or
Estonian or Finnish or Spanish or whatever.
| | 04:56 | Instead I am going to change the
language to No Language, up here in this pop-up
| | 05:00 | menu the very first item is No Language.
| | 05:03 | And if I change the setting to No
Language, then InDesign will no longer
| | 05:07 | flag this as incorrect.
| | 05:09 | Once again I'll click off here, I'll
start up Spell Checking again and it skips
| | 05:13 | right past it to the next thing.
| | 05:15 | It found Sur, okay fine, ignore all of
those, ignore those and as soon as I see
| | 05:20 | this little checkmark here, now I know I'm done.
| | 05:22 | It's spell-checked the entire document.
| | 05:25 | So I'll click Done and I'm pretty much
ready to go, but before I do that I want
| | 05:29 | to point out one other Check Spelling feature
that you should know about. It's really cool.
| | 05:34 | I am going to go back to the Spelling
sub-menu under the Edit menu and turn
| | 05:38 | on Dynamic Spelling.
| | 05:40 | I like Dynamic Spelling because it
does the same sort of thing as the Check
| | 05:43 | Spelling dialog box, but it does
it on the document page itself.
| | 05:47 | For example, in here let me zoom in on
this text, I just clicked on this word, I
| | 05:51 | am going to zoom in to 400% with Cmd+4
or Ctrl+4 on Windows, and I will misspell
| | 05:56 | something on purpose, you see what it just did.
| | 05:59 | It put this little squiggly red line
under the word that was misspelled.
| | 06:04 | It says this is not a word,
what do you want to do about it?
| | 06:08 | So I could manually come in here and
type the E if I know where to do it.
| | 06:12 | The little squiggle goes
away or let me remove it again.
| | 06:14 | I can right-click with a two-button
mouse or Ctrl+Click with a one-button mouse
| | 06:19 | right on that word and look what it says.
| | 06:21 | It says hey, here are all
the words that this might be.
| | 06:24 | Go ahead and pick one and I can pick United
right out of that list. Isn't that great?
| | 06:28 | I love Dynamic Spelling.
| | 06:30 | It works just terrifically.
| | 06:31 | It works in all kinds of ways too, like
if I remove this H, if I put a lowercase
| | 06:35 | h instead of an uppercase H in there.
| | 06:38 | It gives me a green highlight.
| | 06:40 | And that green highlight means that it's
an un-capitalized word at the beginning
| | 06:44 | of a sentence, and once again I can right-click
on it and choose the capitalized
| | 06:48 | version and it gets better.
| | 06:50 | So that's great, but one more thing
before I go to print is I am going to zoom
| | 06:55 | back to Fit in Window with Cmd+0 or Ctrl+0
on Windows and I'm going to look at
| | 07:00 | this and say am I sure everything is right?
| | 07:03 | Because just because Check Spelling
says that it's all right does not mean that
| | 07:07 | it's truly all right.
| | 07:09 | It's always a good idea to proof it yourself.
| | 07:12 | Use the human brain to proof it, or
even better, send it somebody else who
| | 07:15 | will proof it for you.
| | 07:17 | Because they are going to read through
this and they are going to say bite off
| | 07:19 | more than you cam chew.
| | 07:22 | That's wrong, wrong, wrong, wrong.
| | 07:24 | Well, the word cam is a real word so
InDesign's Check Spelling said well, I
| | 07:30 | guess that's what he meant
to type there, but it's not.
| | 07:33 | So always be sure to check it
carefully with a human brain before you print.
| | 07:38 | That's the most important thing of all.
| | Collapse this transcript |
| Using Find/Change| 00:00 | I'm old enough that I remember
manually searching through all the text in a
| | 00:04 | document for one word and replacing
it with another all by eye, just hoping I
| | 00:09 | didn't miss one instance and all I
can say is thank goodness for InDesign's
| | 00:13 | Find/Change feature which let's me
do all of it, with a single click.
| | 00:18 | It never misses a beat.
| | 00:19 | To use Find/Change, I'll go to the
Edit menu and choose Fine/Change or press
| | 00:24 | Command+F or Ctrl+F on Windows, up
comes the Find/Change dialog box which I
| | 00:29 | almost always move off to this side, so
that I can see more of my document page
| | 00:33 | and see what it actually finds.
| | 00:35 | Now in this case my Editor has told me
that in this document, I have a couple of
| | 00:40 | instances of the word Californios,
so I'll type that in the Find What.
| | 00:44 | I want to find that Californios, but
it should be the word Californians.
| | 00:50 | I don't even know where Californios came from.
| | 00:51 | Californians, there we go.
| | 00:54 | So now I'm going to search for the
word Californios and replace it with
| | 00:58 | Californians just like that.
| | 01:01 | Now I have a number of options in this
dialog box here including the Search popup menu.
| | 01:06 | Right now, it's going to search the entire
document but I have various controls here.
| | 01:10 | For example if I had more than one
document open at the same time, I could
| | 01:14 | search all the open documents.
| | 01:16 | This is not all of the
documents on your hard drive.
| | 01:18 | This is just all the
documents that are currently opened.
| | 01:21 | I could do all of them at once with the
Find/Change dialog-box by choosing that.
| | 01:24 | Alternately, if I have a text frame
selected, I just double-clicked on this
| | 01:28 | text frame over here.
| | 01:29 | It will give me several other options in
here including Story or To the End of Story.
| | 01:34 | Story means to the entire story
from the beginning to the end.
| | 01:39 | To the End of Story means just
search from where the cursor is currently
| | 01:43 | flashing to the end of the story.
| | 01:45 | Now in this case, I still want to search
the entire document not just that one Story.
| | 01:50 | So I'm going to start the
search by clicking Find.
| | 01:53 | I click Find and it jumps right to
the first instance in this page here.
| | 01:58 | Now the good news is I can use my
keyboard shortcuts like Command+Plus or
| | 02:03 | Ctrl+Plus on Windows to zoom in on
it and I can actually see to make sure
| | 02:06 | that I've got it right. That's good.
| | 02:08 | Now I have several options here.
| | 02:10 | I could just skip that one Find Next.
| | 02:13 | I could change this one instance and
just stay where I am by clicking Change.
| | 02:17 | That's very rarely useful.
| | 02:19 | I don't use that very much or I could
click Change All, which would go through
| | 02:23 | the entire document and change all
instances of Californios to Californians.
| | 02:28 | Or, the final option would be
Change/Find, which is simply a combination of
| | 02:33 | clicking Change and then clicking Find Next.
| | 02:36 | So this will change this one
instance and then jump to the next one.
| | 02:40 | In this case, I'm pretty sure that I've
got it right and I want to change all of
| | 02:43 | them so I'm just going to click Change
All and you can see that it says that
| | 02:47 | Search is completed.
| | 02:48 | 5 replacements were made,
all right, I'll click OK.
| | 02:52 | Now, let's find another example.
| | 02:54 | My Editor told me that in several places
the abbreviation Ca should be CA capitalized.
| | 03:01 | It shouldn't be a lowercase A. It
should be capital A. Okay, well, let's go
| | 03:06 | and try to find one.
| | 03:07 | I'll click Find and it jumps to, oops
that's not right, I wanted to find Ca,
| | 03:14 | uppercase C, lowercase A and only when
this is a whole word as an abbreviation.
| | 03:20 | So how can I tell InDesign to just search for
that exactly, not just any Ca that it finds.
| | 03:27 | Well, to do that I need to limit the
scope and to limit the scope, I need to use
| | 03:31 | these various buttons along the
middle of the Find/Change dialog box.
| | 03:35 | Now the problem is that these
little icons here are very cryptic.
| | 03:39 | I honestly almost never
could tell what these things do.
| | 03:43 | So in order to figure out what they are,
just move your cursor on top of them
| | 03:47 | and hover it just for a
movement until you see a tool Tip.
| | 03:50 | So this one has include
Locked Layer and Locked Objects.
| | 03:53 | This one is Include Locked Stories,
This o ne is Include Hidden Layers and
| | 03:57 | Hidden Objects, so you just go through
these various ones and that will remind
| | 04:01 | you what those are.
| | 04:02 | The one we're looking for is Case Sensitive.
| | 04:05 | We want our search to be case sensitive.
| | 04:08 | We wanted to pay attention to
uppercase, lowercase Ca, right?
| | 04:11 | And then the other we want here is Whole Word.
| | 04:15 | That's the last button in this list,
Whole Word, so only search whole words.
| | 04:20 | Don't search for Ca inside
of a word, like it found here.
| | 04:24 | Now let's try it out, I'll click Find
and it finds Ca, uppercase C, lowercase a,
| | 04:30 | whole word that should be all uppercase CA,
so let's go ahead and Change All. Here we go.
| | 04:35 | It made four replacements
in the document, much better.
| | 04:38 | Now I'm seeing another problem here
right away and that is somebody typed two
| | 04:42 | dashes right next to each other,
where there should be Em Dashes.
| | 04:47 | That is so frustrating
when I see people do that.
| | 04:49 | You need to type a real Em Dash in there.
| | 04:52 | So we're going to use Find/Change to
find all of those double dashes and
| | 04:55 | replace it with an Em Dash.
| | 04:57 | So it's easy enough to type two dashes
into the Find What field, but what do we
| | 05:02 | type into the Change to field.
| | 05:04 | I've just deleted that but
what am I supposed to type?
| | 05:07 | Well, you might remember what the
keyboard shortcut is for an Em Dash or you
| | 05:10 | might not and if don't, don't panic.
| | 05:13 | It's not a big problem because you
want to pay attention to this little @
| | 05:16 | sign popup menu here.
| | 05:18 | This is the Special characters popup
menu and inside here, there're all kinds of
| | 05:23 | goodies that you may not know how to type.
| | 05:25 | For example, you can type a
Tab or a Force Line Break.
| | 05:29 | Let me just choose Tab here, just for
a moment to show you see what happens.
| | 05:32 | You get a little code.
| | 05:33 | That code (^t) means a tab
inside the Find/Change dialog-box.
| | 05:38 | So you don't have to try to memorize that
code, just pull it out of the popup menu.
| | 05:42 | I'm going to delete that again and look
for what I meant to look for, which is
| | 05:46 | an Em Dash, so I'll come down here
until I see Hyphens and Dashes and pop out
| | 05:51 | Em Dash, there we go.
| | 05:52 | That's the one I want and
you see the code (^_), all right.
| | 05:56 | That is apparently what InDesign believes I
should type for an Em Dash. Let's try it out.
| | 06:02 | I'll click Change All.
| | 06:04 | It goes through, made lots of changes
and I can see that I now how Em Dashes in
| | 06:08 | all the right places.
| | 06:10 | When you've set up the Find/Change
dialog box just the way you wanted and you
| | 06:13 | think you're going to be using at a
number of times, you should think about
| | 06:17 | saving your Find/Change Query.
| | 06:19 | This is called the Query Find What, Change To.
| | 06:21 | Save this Query and you can do that by
clicking on this little floppy disk icon.
| | 06:26 | I think it's very funny that they still
have a floppy disk icon, like who uses
| | 06:29 | floppy disks anymore.
| | 06:30 | But anyway, it's a floppy disk icon
which means Save this Query and if you
| | 06:35 | click on that, it'll ask you to give
it a name and I'm going to call this
| | 06:38 | dashes to em dash, click OK.
| | 06:42 | It then shows up in the query
popup menu, right here in the list.
| | 06:47 | Now actually there already was one there,
Dash, Dash to Em-dash, but you get the idea.
| | 06:51 | Once you've set up a query, you can
save it in this popup menu and there's a
| | 06:56 | bunch of cool things in here already.
| | 06:57 | For example one of the searches that I
do all the times is find Multiple Spaces
| | 07:03 | and change it to a Single Space.
| | 07:04 | You know sometimes people put two
spaces after a sentence or they put like 5
| | 07:09 | spaces in a row or someplace.
| | 07:10 | So I can choose that Query and what
happens is I get this really weird set of codes.
| | 07:17 | No, that's not a mistake. It's really okay.
| | 07:19 | Also notice that it switch to the
GREP tab of the Find/Change dialog box.
| | 07:25 | Now GREP is an advanced topic, it's
outside the scope of this essential training
| | 07:29 | title but it is really cool.
| | 07:31 | So I encourage you to check out one of
the other GREP titles in the Lynda.com
| | 07:35 | Online Training Library.
| | 07:37 | This will search for a whole bunch of
different types of spaces that might be
| | 07:41 | inside of this document and it'll
change them all to an individual space.
| | 07:45 | So you don't need to know about the
codes, all you need to know is that you
| | 07:48 | can pull it out of this Query popup
menu, which is as simple as that and then
| | 07:52 | click Change All and it went through up,
there's no problems in this one but you get the idea.
| | 07:57 | It will find multiple spaces if they're there.
| | 08:00 | There is lots of other stuff going
on inside this Find/Change dialog box,
| | 08:03 | I'll switch back to the Text tab here, so you
can see that, this is what we were working on.
| | 08:08 | We were to looking for basic text and
changing it to other basic text that
| | 08:12 | really crazy thing was in the GREP tab,
but note that there is two other tabs
| | 08:16 | here as well Glyph, so you can Find/
Change a Glyph and you can find/change
| | 08:20 | Object formatting and I'm going to be
covering Object formatting and also Text
| | 08:25 | formatting in a later chapter in this title.
| | 08:29 | So it's important to note that
there're four different tabs inside this
| | 08:32 | Find/Change dialog box, Text, which is
the one we were working on originally.
| | 08:36 | That's just the basic text Find/Change.
| | 08:38 | GREP, which let's you do all as kind of
crazy codes, which is advanced geeky stuff.
| | 08:43 | Glyph, that's you find and change
individual characters when you have a very
| | 08:47 | specific character that you're trying to find.
| | 08:50 | That's kind of an advanced topic and
Object for Find/Change, which let's you
| | 08:54 | find and change object formatting,
like find all my text frames that have a
| | 08:59 | one point black stroke and change
them into a three point cyan stroke,
| | 09:03 | something like that.
| | 09:04 | Anyway, I'm going to be covering object
formatting and special text formatting
| | 09:09 | in Find/Change in a later chapter.
| | 09:12 | But for right now, I just wanted to
give you an introduction to the Find/Change
| | 09:16 | dialog box and how incredibly powerful
it is when you take the time to dial-in
| | 09:21 | exactly what you're looking for and
exactly what you want to change it to.
| | Collapse this transcript |
| Tracking text changes| 00:00 | Let's say I send you this document and I
want you to make some edits to the text.
| | 00:04 | Then when you're done, you save it and
send it back to me, how on earth am I
| | 00:08 | supposed to see what you did?
| | 00:10 | Well, if you had used the Track
Changes feature, it would be a piece of cake.
| | 00:14 | Here's what you need to do.
| | 00:16 | First you go to the File menu and choose User.
| | 00:19 | This is how you tell InDesign what your name is.
| | 00:22 | I'll put my name in here and I will
choose a color, how about Mustard?
| | 00:27 | That's a pretty good, great.
| | 00:29 | Click OK and then I'm ready to go.
| | 00:31 | I need it next turn on Track Changes
and I do that in the Track Changes panel,
| | 00:37 | which I get to by going to the Window
menu and then I go down to Editorial and
| | 00:42 | then choose Track Changes.
| | 00:44 | Here's the Track Changes panel.
| | 00:46 | Now, technically you can also find the
Track Changes features in the Type menu,
| | 00:51 | down here under Track Changes and
here's all kinds of Track Changes features
| | 00:55 | that you can choose but honestly I
just find the menu to be so clunky to use
| | 00:59 | that I would much rather have a floating panel.
| | 01:01 | It's right there in front of your
face, much easier and faster to use.
| | 01:05 | So Track Changes only tracks text
changes, so in order to get Track Changes to
| | 01:10 | work, I must have my cursor in the Text Story.
| | 01:13 | So I'll double click inside of any
Text Story and that switches to the Type
| | 01:17 | tool, all right and it places the
cursor right there and now I'm going to turn
| | 01:22 | Track Changes on for All
the Stories in my document.
| | 01:25 | Actually you have different options here.
| | 01:27 | You could turn on Track
Changes for the Current Story.
| | 01:29 | It let's look it's already been
turned on and that's interesting.
| | 01:32 | That's a clue that might give us the
information about changes that have already
| | 01:36 | been made in this document and you can
also turn on Track Changes for an entire
| | 01:39 | document by turning it on here from the
Track Changes flyout menu, just choose
| | 01:44 | Enable tracking in All Stories.
| | 01:46 | Now it will work for all of the stories.
| | 01:48 | You can also turn Track Changes on and
off for an individual story by clicking
| | 01:53 | on that little Track Changes button here,
the first button in the Track Changes menu.
| | 01:58 | So for example I might click inside
this frame right there and I can turn
| | 02:02 | Track Changes off there.
| | 02:03 | So any changes I make inside here
will not be tracked. It's up to you.
| | 02:08 | You can turn them on or off.
| | 02:10 | Now that I've turned on Track Changes
for all my frames, except for that one, I
| | 02:13 | just turned it off, I'm going to
go ahead and make some changes.
| | 02:16 | Maybe I'll change this to or again
instead, not California, that's go to Oregon
| | 02:22 | and let's go ahead and say this is
going to go from Desert to Beach instead.
| | 02:26 | Oh, I better make this
frame a little bit bigger.
| | 02:29 | I just got the Selection tool
temporarily by holding down the Command key or the
| | 02:33 | Ctrl key that gives me the selection
tool temporarily, which let me drag that
| | 02:37 | frame down, make it little bit
taller to fit the word Beach in there.
| | 02:41 | Just in case you were wondering what
I was doing there and then maybe I'll
| | 02:44 | change this text up here to say what our
customers are raving about. There we go.
| | 02:50 | So, I've made some changes to this text,
to this document but you'll notice that
| | 02:55 | I can't see the changes.
| | 02:57 | There's no indication here that any changes
have actually been made and that's on purpose.
| | 03:02 | Adobe did that, so that if I now
make a PDF or I print this, I will not
| | 03:07 | actually see any changes.
| | 03:09 | It won't be messy on my output.
| | 03:11 | However the changes were
tracked, so how do I see them?
| | 03:15 | Well, that's where Story Editor comes in.
| | 03:17 | In an earlier movie in this chapter,
we talked about the Story Editor feature
| | 03:21 | and how you can get it by going to
the Edit menu and choosing Edit in Story
| | 03:25 | Editor and up comes this little Word
Processing window that shows us not just
| | 03:31 | the story that I had my cursor in
but also the changes that were made.
| | 03:36 | Now notice here that there are
two different colors going on.
| | 03:40 | That means that two different people
have edited this document and if I just
| | 03:44 | select some text in one of them, you'll
see that the Track Changes panel, let's
| | 03:48 | move this over here, so we can see it
better, shows us this change was made by
| | 03:52 | someone named Joe Editor, all right.
| | 03:55 | Now down here we can see that the changes
were made by me, David Blatner, all right.
| | 03:59 | So we've got two different people working on
the same file and handing it back and forth.
| | 04:04 | It also shows that this text down here
was deleted and this text here was added
| | 04:10 | but of course I can tell that just
because the highlighted stuff is added and
| | 04:13 | the highlighted and struck
through stuff is obviously deleted.
| | 04:17 | So all text changes are saved but
you can only see them in Story Editor.
| | 04:22 | That's a key piece of information that
you need to know when you're using the
| | 04:24 | Track Changes feature.
| | 04:26 | Now you don't need to clean up these
things before printing or exporting or
| | 04:31 | saving it, you can just
leave that in there if you want.
| | 04:34 | Though in my opinion, it's not a bad
idea to clean it up, just in case your
| | 04:38 | boss later has to open this file, you
wouldn't want your boss to see all this
| | 04:41 | stuff in there, right?
| | 04:43 | So let's go ahead and clean it up,
I'll show you how to do that.
| | 04:45 | There're several ways that
you can clean this stuff up.
| | 04:48 | First of all, I want to point out
these other buttons along the top of the
| | 04:51 | Track Changes panel.
| | 04:52 | The first two buttons are the Previous
and Next Change buttons and that lets you
| | 04:56 | jump to the next change.
| | 04:58 | So I'll go ahead and click that and
it jumped to select the whole change.
| | 05:02 | Now I can click Except Change or Reject Change.
| | 05:06 | It shows the two buttons, a checkbox or
the X will let you accepted or change it.
| | 05:11 | Now little trick shows up in that tooltip
there which is important to pay attention to.
| | 05:15 | If you hold on the Option or the
Alt key, it will accept it and then
| | 05:19 | automatically jump to the next change,
which is very, very helpful. So I like that.
| | 05:24 | I typically will just Option+click or Alt+
click on these to go through one at a time.
| | 05:28 | There we go.
| | 05:29 | Now I accepted those changes and it
jumped to the next one and look what happened.
| | 05:34 | It opened a new Story Editor window.
| | 05:37 | So for each different story in the document
that has changes, it's going to open a new window.
| | 05:42 | I'm just telling you now that can get
messy, you typically have to go back and
| | 05:46 | close these manually.
| | 05:47 | I just clicked on this title bar and
then I close this window just so I don't
| | 05:51 | have too many windows open at any one
time, but you can see here that there're
| | 05:55 | some more changes from Joe Editor here.
| | 05:57 | This one I'm not going to accept,
I'll go ahead and hit Reject.
| | 06:01 | Actually I'll do the XX button.
| | 06:03 | The XX button means reject
everything in this story.
| | 06:06 | All the changes in this story I could reject.
| | 06:09 | So I'll go ahead and reject that.
| | 06:11 | It says, are you sure you want to?
| | 06:13 | Yes, I'm sure that I want to.
| | 06:14 | Let's go ahead and find another one
by clicking the Previous Change button.
| | 06:18 | Here's another one that was changed
by two different people, looks like Joe
| | 06:21 | Editor changed Dessert to Desert and
I changed Sea to Beach, so those are
| | 06:26 | options that I can change.
| | 06:28 | Now it looks like the Joe
Editor edits are pretty reliable.
| | 06:31 | I'd seem to want to accept most of his
and why don't I go ahead and just accept
| | 06:35 | all of his throughout the document?
| | 06:37 | And I can do that by going to the
Track Changes flyout menu while the Story
| | 06:41 | Editor is opened and I can
look down at the very bottom.
| | 06:44 | Here's an option Accept All Changes
by This User, now it's grayed out, why?
| | 06:49 | Well, because InDesign doesn't
know which user I'm talking about.
| | 06:52 | So to tell it which user I'm
talking about, I need to place the cursor
| | 06:56 | inside some of his edits.
| | 06:59 | I'll just select that crossed out S there.
| | 07:02 | That's what I'm trying to find, so
I'm going to say go ahead and accept all
| | 07:06 | changes by this user the one that is
currently selected, in his whole document.
| | 07:11 | I'll go ahead and select all of those
throughout the entire document and I'm
| | 07:15 | done and you know I don't like these
changes that I made, I'm going to go
| | 07:18 | ahead and reject all the changes in this
document that I had made and it's as simple as that.
| | 07:24 | Once again, I have to close my windows
manually and I'm back to where I was.
| | 07:29 | Now when you're done with the document,
you probably don't want Track Changes on
| | 07:33 | anymore and you can disable it
throughout the entire document by choosing
| | 07:37 | Disable Tracking in All Stories from
the Track Changes panel fly-out menu.
| | 07:42 | And now I won't have any
changes tracked in this document.
| | 07:46 | That's really up to you, I prefer doing
it that way but you have to turn it off,
| | 07:50 | if you don't want to.
| | 07:51 | I've been waiting for a Track Changes
feature in InDesign for a decade literally
| | 07:55 | and I have to tell you, I am so excited
that it's finally here in InDesign CS5.
| | Collapse this transcript |
|
|
6. GraphicsImporting graphics| 00:00 | It's time to start talking
about using pictures in InDesign.
| | 00:03 | Let's start at the beginning.
| | 00:05 | How to get our images on to our InDesign page?
| | 00:08 | Fortunately, InDesign makes it really easy.
| | 00:10 | I'll go to the File menu, choose Place
or press Command+D or Ctrl+D on Windows
| | 00:15 | and up comes the Place dialog box.
| | 00:17 | I'm looking at the Links folder in my
Exercise Files folder and I'm going to
| | 00:21 | scroll down until I find
the image called girl and boy.
| | 00:25 | Now click Open and it
loads it into the Place cursor.
| | 00:28 | You can even see a little thumbnail of
that image and it lets me do a number of
| | 00:33 | things with the Place cursor.
| | 00:34 | I could simply click and it would build
a frame and place the image into it, and
| | 00:39 | you can tell that this is
actually a huge, huge image.
| | 00:42 | So that's not what I want to do.
| | 00:43 | I'm going to press Command+Z or Ctrt+Z
on Windows to undo that, which reloads
| | 00:47 | the Place cursor and lets me
do something different with it.
| | 00:50 | I could click-and-drag out an area, and
notice that as I'm dragging, the frame
| | 00:55 | that it's building for me is
going to be proportional to the image.
| | 00:58 | That is, the frame will always be just
the right size, so that when I let go,
| | 01:03 | the image fits it perfectly.
| | 01:05 | Let me undo that with Command+Z or Ctrl+Z,
and I'll show you a couple other options.
| | 01:10 | I can drag at a frame and hold
down the Shift key and the Shift key
| | 01:15 | deconstrains the frame, so I could
make it any size I want, like I'll make it
| | 01:18 | really, really narrow.
| | 01:20 | Then when I let go, it
automatically fills that frame with that image.
| | 01:24 | That's, of course, a very silly
looking thing, so I'm not going to do that,
| | 01:27 | Command+Z, I'm just showing you
all your different options here.
| | 01:30 | What I really want to do with
this is place it inside of a frame.
| | 01:34 | So notice how the cursor changes very
subtly, when I go on top of an image frame.
| | 01:39 | It's a little hard to see there, but
the cursor changes to a rounded sort
| | 01:42 | of parenthesis, dotted lines, and that means
when I click it's going to go into this frame.
| | 01:48 | So I'll click and in comes the image and
it's, in this case, automatically sized
| | 01:52 | to this frame and automatic sizing is
something I'm going to be talking about
| | 01:56 | later on in this chapter.
| | 01:58 | But for now, suffice it to say
that it's automatically sized to that.
| | 02:01 | Let's go ahead and grab some other images.
| | 02:04 | Now let me show you another way
to import graphics into InDesign.
| | 02:07 | You can use drag-and-drop.
| | 02:09 | You can drag-and-drop from the Mac OS
Finder, which is what I have right here or
| | 02:13 | on Windows, the Windows Explorer, just
open up any folder you want and take an
| | 02:18 | image and drag it right out on to
your InDesign layout in the background.
| | 02:22 | You can see that once again the
cursor changes, if I'm out here on the
| | 02:26 | pasteboard, I get one kind of cursor.
| | 02:28 | That means it's going to load the Place cursor.
| | 02:30 | If I come over here, on top of this
empty frame, I get a different kind of
| | 02:34 | cursor, which means it's going
to drop right into that frame.
| | 02:37 | In fact, that's what happens.
| | 02:38 | So this is a very easy way to get images
right out of your desktop and into InDesign.
| | 02:44 | Okay, now I'll do one more image.
| | 02:46 | I'm going to grab this California_snow image
out here and drop it out on the pasteboard.
| | 02:50 | It loads the Place cursor, but I can't
actually see that until I get back to InDesign.
| | 02:55 | Now you can see that it's loaded
up and I can put it anywhere I want.
| | 02:58 | I'm going to put it right inside this area here.
| | 03:01 | I'll do that by clicking-and-dragging
and I'm going to let go when it's
| | 03:05 | about the right size.
| | 03:07 | This is going to be a little
bit too tall. So that's okay.
| | 03:09 | I'll just drag it in here and then
I'll grab the lower handle and drag it up
| | 03:14 | until it's the right height. There we go!
| | 03:16 | But all the images that I've
imported so far are raster images.
| | 03:19 | They're pixel images from Photoshop.
| | 03:21 | Let's go ahead and get a vector image.
| | 03:24 | I'm going to press Command+D or Ctrl+D
on Windows to open the Place dialog
| | 03:27 | box, and then I'm going to scroll to
the bottom of my Links folder and choose
| | 03:31 | this taste_of_cal_logo.
| | 03:32 | Now notice that this is an .AI file.
| | 03:35 | What does that mean?
| | 03:36 | It means it's a native Illustrator file.
| | 03:39 | InDesign tries to be as flexible as
possible when it comes to importing images.
| | 03:43 | That means you can import all the
regular things like TIFF files, JPEG, PDF and
| | 03:47 | so on, but it also supports native
Illustrator files, these AI files, native
| | 03:53 | Photoshop files, otherwise known as PSD files.
| | 03:56 | In fact, it even lets you import
native InDesign files. That's right.
| | 04:00 | You can import one InDesign file into another.
| | 04:03 | It's treated like a graphic.
| | 04:04 | So, it's very, very flexible and very powerful.
| | 04:08 | In this case, when I choose my AI file,
my Illustrator file, I'm going to turn
| | 04:12 | on the Show Import Options checkbox here.
| | 04:15 | That way, I get one additional dialog box to
help me fine-tune what I'm going to import.
| | 04:21 | Click Open and you can see that
it says Place PDF, but it's really
| | 04:24 | an Illustrator file.
| | 04:25 | But in this dialog box, it gives me a
preview of the image, which is kind of
| | 04:29 | cool, and also lets me
choose a page within this.
| | 04:33 | What does that mean?
| | 04:34 | Well, if I had more than one artboard
in my Illustrator file, it would let me
| | 04:39 | choose which artboard I want.
| | 04:41 | If I had more than one page in a PDF
file that I was placing, or an InDesign
| | 04:45 | file I was placing, it would let me
choose which page in that PDF or InDesign
| | 04:50 | file I was importing.
| | 04:51 | So that's very handy.
| | 04:52 | It also lets me choose what I want
to crop to, and usually this is set to
| | 04:57 | Bounding Box, but if I set this to something
like Media, you can see the dash line here.
| | 05:02 | It's going to import this entire area
with the image just in the upper left corner.
| | 05:06 | Media means the artboard or the page
that art was actually on in Illustrator.
| | 05:11 | In this case, I actually do just want the
art or just the bounding box of the art.
| | 05:15 | The bounding box means the smallest
rectangle that will fit that artwork.
| | 05:18 | That's what I want in this case.
| | 05:20 | So, you can see you have a lot of
options when it comes to importing graphics
| | 05:24 | into InDesign, if you turn on
that Show Import Options dialog box.
| | 05:28 | I'll go ahead and click OK.
| | 05:29 | It loads that image up into the Place
cursor and I'll drag it out and you can
| | 05:34 | see that I now have that vector
artwork inside my InDesign document. Okay.
| | 05:39 | I would be remiss in my duty if I did
not show you one more special, cool,
| | 05:44 | hidden trick for importing graphics.
| | 05:46 | I'm going to just pan over to the
side here with the Option+Spacebar or
| | 05:50 | Alt+Spacebar panning trick.
| | 05:51 | To get the Hand tool, scroll over here.
| | 05:53 | I'm going to use this blank space over
here, so I have some space to work with.
| | 05:57 | I'm going to use Command+D or Ctrl+D
to open up the Place dialog box.
| | 06:01 | I'm going to grab a bunch of these images.
| | 06:03 | That's about six images, great, and I'm
going to turn off Show Import Options,
| | 06:07 | because I don't need that this time.
| | 06:08 | I'll click Open and it loads all six
of those images into my Place cursor.
| | 06:13 | So that's very handy if I want to click
very quickly, like I could go click and
| | 06:17 | click-and-drag, click-and-drag, click-
and-drag, so I have all of those images
| | 06:21 | loaded up and I can place them very quickly.
| | 06:23 | That's cool, but that's not
actually what I was going to show you.
| | 06:25 | So let me undo that, Command+Z, and
now I'm going to place all of them with
| | 06:30 | one click-and-drag. How do I do it?
| | 06:32 | I start dragging out and it thinks
that I'm just going to drag out for one
| | 06:36 | image, but while the mouse button is
held down, I'm going to click one of the up
| | 06:40 | arrows or right arrows on my keyboard.
| | 06:43 | So I press the Up Arrow and you can see that all
of a sudden I have two frames. Can you see that?
| | 06:49 | I've got two frames there.
| | 06:50 | I'll click the Right Arrow
and now I have two columns.
| | 06:53 | So I've got four frames total.
| | 06:55 | Why don't I go ahead and click that again.
| | 06:57 | Now I've got six different
frames for all six images on here.
| | 07:01 | I can make this any size I want.
| | 07:03 | I'm still dragging around with this.
| | 07:05 | When I let go of the mouse button, all of a
sudden InDesign brings all of them in at once.
| | 07:10 | That's called the Gridify feature
because it makes a grid, although I think of
| | 07:14 | this as a Contact Sheet feature
because it is a great way to make a contact
| | 07:18 | sheet really quickly in InDesign.
| | 07:20 | Notice that the gutter space, the
amount of space in between each of these
| | 07:23 | frames equals the gutter space for our document.
| | 07:27 | It picked up that number to put
in between each of these as well.
| | 07:30 | So that makes it very fast for placing
in a document, if I were, in fact, going
| | 07:34 | to put this on my document page.
| | 07:36 | Note that I have not said anything
about how to copy and paste images from one
| | 07:41 | application to another.
| | 07:42 | You can actually copy and paste vector shapes
from Illustrator into InDesign and vice versa.
| | 07:48 | If you do that, all the objects
remain editable, all those Bezier shapes.
| | 07:52 | However, I strongly urge you not to
copy images from Photoshop or any other
| | 07:57 | program other than Illustrator.
| | 07:59 | There are a number of technical
reasons for this, but suffice it to say that
| | 08:03 | it's rarely a good idea.
| | 08:04 | But those pixel images, you really
should place them just like I showed you
| | 08:08 | earlier in this movie.
| | Collapse this transcript |
| Importing from Mini Bridge| 00:00 | Adobe Bridge is a program that comes
with InDesign in a creative suite that
| | 00:04 | offers an awesome way to organize your files.
| | 00:07 | It's like a little content management
system that you can get to anytime you want.
| | 00:11 | And when it comes to importing
graphics into InDesign, it's a dream.
| | 00:15 | First I am going to show you Bridge
and then I am going to show you a new
| | 00:18 | feature in InDesign CS5, which is even
cooler, something called Mini Bridge.
| | 00:23 | You can get to Bridge from within
InDesign by choosing Browse in Bridge from
| | 00:28 | the File menu, or are even faster click
on the little Bridge button up here in
| | 00:32 | the application bar.
| | 00:33 | Now Bridge is a whole application in its
own right, and I don't have time to get
| | 00:38 | into all the details.
| | 00:39 | If you're interested in the details of
Bridge, make sure you check out one of
| | 00:43 | the other Bridge titles in the
Lynda.com online training library.
| | 00:47 | What I will say is that I'm
currently looking at the Links folder from my
| | 00:50 | Exercise Files folder and
it has lots of images in it.
| | 00:54 | It's a great way to see all my images
in one place, see previews of them, add
| | 00:58 | keywords, metadata, and so on.
| | 01:00 | You can even create little collections of
your images to make them easier to find.
| | 01:04 | I am going to pick my cactus collection
out of here, and this is simply like a
| | 01:08 | subset of the images
that are inside that folder.
| | 01:11 | I am going to grab one of these images
and place it inside of InDesign, and I
| | 01:16 | can do that by selecting it and going to
the File menu, choosing Place, and then
| | 01:22 | choosing In InDesign.
| | 01:24 | Bridge actually grabs that image
and switches me back to InDesign.
| | 01:27 | I didn't do anything there.
| | 01:29 | It just switch me back InDesign,
and loads my place cursor for me.
| | 01:32 | Now I can click and drag, or figure out
which of these frames I want put this in.
| | 01:36 | I am going to it drop it right here, great!
| | 01:39 | Let's go back to Bridge and see one other
way that you can bring images in from Bridge.
| | 01:43 | I'll press Command+Tab or Alt+Tab on
Windows to switch back to Bridge this time,
| | 01:47 | as I know it's running in the background.
| | 01:49 | And I'm going to drag something from Bridge.
| | 01:52 | I am going to grab this lithops image here,
and I am simply going to start dragging.
| | 01:56 | You see the cursor change, and while
my mouse button is being held down, I'll
| | 02:00 | use my applications
switch here again on the Mac.
| | 02:02 | That's Command+Tab or on Windows it's Alt+Tab.
| | 02:06 | And here you can see that I'm suddenly
dragging what I was dragging from Bridge.
| | 02:10 | I'm now dragging in InDesign.
| | 02:13 | Drop it right into this frame and in it comes.
| | 02:16 | So I find Bridge a great way to organize
my images and import them into InDesign.
| | 02:20 | But now in CS5, there is even easier
way to import images using Bridge, and
| | 02:25 | that's using this new panel called Mini Bridge.
| | 02:28 | Just like every other panel, it lives
up in the Window menu, so I am going to
| | 02:32 | choose Mini Bridge from the window
menu, and you can see that when it first
| | 02:36 | opens, it kind of sparse, in that
little cryptic, what's going on there?
| | 02:40 | Well, you need to first click Browse
Files, and that makes the link between
| | 02:45 | InDesign and Bridge happen.
| | 02:47 | It goes out and gets all the information
from Bridge and puts it into this panel.
| | 02:52 | Let me make this a little bit bigger so you
can see what's going on here, there we go.
| | 02:55 | Here are all the images that we
were just looking at in Bridge.
| | 02:59 | Now you do have to have Bridge running
for Mini Bridge to do this, because it's
| | 03:02 | sort of doing a behind the scenes
communication with Adobe Bridge.
| | 03:06 | But once you have this running, it's great.
| | 03:09 | Now the number one problem with Bridge
is that it takes up way too much screen
| | 03:13 | real estate for it to be effective.
| | 03:15 | So what I do is I make it as large as I
want, and then I grab its little title
| | 03:20 | tab, and drag it into my dock.
| | 03:22 | I am going to drag it right to the
very top until I see that little blue line
| | 03:26 | let go and now it's docked over here.
| | 03:29 | Anytime I need it, I just click on the
tile, and up it opens, and then I click
| | 03:33 | it on the tile again to close it.
| | 03:34 | So it's a very efficient way to get
to all of my images that I might need.
| | 03:38 | Of course, I can adjust all sorts
of other things about Mini Bridge.
| | 03:41 | But the main thing I am going to do at
Mini Bridge is get my images out of it
| | 03:45 | and into my InDesign documents.
| | 03:47 | Here is my collection that I created
before, my list of all the collections.
| | 03:51 | There is my cactus collection, and I'm
going to grab another one of these images.
| | 03:57 | And you can see that I can simply drag and
drop it right out of Mini Bridge into a frame.
| | 04:03 | Or if I'm dragging it out and I let it
go on the pasteboard here where there is
| | 04:06 | no empty frames of course,
it will load the place cursor.
| | 04:09 | Let's go ahead and close Mini Bridge
and you can see that even if I close the
| | 04:13 | Mini Bridge panel, it's
still loaded in the place cursor.
| | 04:16 | So I can come over here
and click were I want it.
| | 04:19 | So that's the basics of importing
images from Mini Bridge, but there is one
| | 04:23 | other Mini Bridge feature that I really
want to show you, because this is so cool.
| | 04:27 | What if I want to reuse one of these
images in another file, but I am not
| | 04:31 | exactly sure where that image lives?
| | 04:33 | Well, here's a cool little Mini Bridge trick.
| | 04:35 | First, in the lower left corner of my
document window, there is this tiny little
| | 04:39 | button here, which is a pop-up menu,
and when I choose that I have various
| | 04:43 | options for Reveal and
Finder, Bridge or Mini Bridge.
| | 04:46 | And this is referring to
the InDesign document itself.
| | 04:49 | Reveal the InDesign document in one of these.
| | 04:52 | So I am going to choose Reveal in Mini
Bridge, and up comes Mini Bridge, and
| | 04:56 | look what's selected here.
| | 04:58 | The actual InDesign file, which you can
see where it's living on your hard drive.
| | 05:03 | You'll notice some of these
images aren't showing up here.
| | 05:05 | That's because I haven't saved this yet.
| | 05:06 | So let's go ahead and save this, then go
to Reveal in Mini Bridge one more time.
| | 05:12 | And then suddenly all of those images
show up on the little thumbnail there,
| | 05:16 | so that's pretty cool.
| | 05:18 | Mini Bridge is one of my favorite new
features in InDesign, because it puts
| | 05:21 | my whole hard drive at my fingertips,
ready to import whatever I need just
| | 05:25 | when I need it.
| | Collapse this transcript |
| Using the Links panel| 00:00 | When you import a picture unto
InDesign using place or by dragging in a
| | 00:04 | file from disk or Mini Bridge
InDesign doesn't actually embed the image
| | 00:08 | into your document.
| | 00:09 | Instead you get a thumbnail preview of
the image and a link to the file on disk.
| | 00:14 | Now this happens to any image file, whether
you import a PDF or JPEG or a TIF or whatever.
| | 00:21 | So each of the images in this file is
actually linked to a file on my hard disk,
| | 00:26 | and I can see that by opening the Links panel.
| | 00:28 | Over here in the dock I'll click on
Links, and here's a list of all the images
| | 00:33 | that are linked in my file.
| | 00:35 | If I click on one of these images,
it's highlighted in the Links panel.
| | 00:39 | I also get information at the bottom of
the Links panel in the Link Info area.
| | 00:44 | You can hide and show that by double
clicking on the link image, double click on
| | 00:49 | it once and it closes that Link Info,
double click again, and it opens.
| | 00:53 | Now this Link Info is very helpful
because it gives you information about the
| | 00:56 | name, the format, what page it's on,
its color space, and on and on and on.
| | 01:02 | It's especially helpful, because it
gives you information like it's scaling,
| | 01:05 | this image has currently scaled 6.3%.
| | 01:09 | So that kind of feedback is very useful
when you're working with images in InDesign.
| | 01:13 | I also want to point out these blue
numbers in the right column up here in the
| | 01:18 | top of the Links panel.
| | 01:19 | These are page numbers, and in a long
document they can really be helpful,
| | 01:24 | because they tell you exactly
what page these images are on.
| | 01:28 | In fact, if you click on one of these, it
takes you right to the image on that page.
| | 01:33 | The Links panel is also very
customizable, you can really customize it to the
| | 01:37 | way that you work, the kind of
information you most need in here.
| | 01:40 | I'll choose panel Options from the
Links panel menu, and you can see here that
| | 01:45 | you can turn on and off all kinds of
information in two different columns.
| | 01:49 | The Show in Link Info column lets you
control what shows up at the bottom here
| | 01:54 | in the Link Info area.
| | 01:55 | The Show Column checkboxes let you
control what shows up in the top part of the
| | 02:00 | Links panel up here.
| | 02:02 | So for example, if you really want to
find that Scale information up here in a
| | 02:06 | column you can get that information as
well, just turn on that checkbox, click
| | 02:10 | OK, and it's added here.
| | 02:12 | Now I can't see it, because it's too wide.
| | 02:14 | So I am going to make this Links panel
wider just by dragging the left edge out.
| | 02:19 | But you can see now that every image in my
document has a scale percentage next to it.
| | 02:25 | If it's too narrow, I can also make
this wider by dragging this little vertical
| | 02:29 | area to the right of it.
| | 02:31 | Notice that this image here says 5% by 7.5%.
| | 02:35 | That is very helpful because it
immediately give me feedback that the image was
| | 02:39 | scaled disproportionately, it's not
scaled evenly, horizontally and vertically.
| | 02:44 | So that kind of information once
again is very, very handy when you're
| | 02:48 | working in InDesign.
| | 02:49 | Now as I said all of these images are
linked to files on disk, but what happens
| | 02:54 | if InDesign can't find those files or
what happens if those files get modified.
| | 02:59 | Well, let's take a look.
| | 03:00 | I am going to open up a new InDesign
document here inside my Exercise files
| | 03:05 | folder, and I'm going to see that as soon
as I do that InDesign warns me, watch out.
| | 03:12 | There is one image in this file which is missing,
and one which is modified. What should I do?
| | 03:17 | Well, at this point I can update the
modified links if I want to, but I rarely
| | 03:22 | do, and the reason I rarely do is
because I like to see them update on the page.
| | 03:27 | I like to make sure that the
update is what I want to have happen.
| | 03:30 | So I'm going to say Don't Update Links,
it opens the document and now for this
| | 03:35 | document I say the Links panel
gives me some extra information.
| | 03:39 | I see the names of files of course,
but I also see this little icon, and this
| | 03:43 | little icon, that means
that the map image is modified.
| | 03:48 | So the yellow triangle means it's
modified, the stop sign with a question mark
| | 03:52 | in it means that one is missing.
| | 03:54 | So alert, alert, we must do something
before we print or export a PDF, or at
| | 04:00 | least we really should do something.
| | 04:02 | So let's go check those out, I'm going
to click on the one here to jump right to
| | 04:06 | the California map, and we can look at that.
| | 04:08 | I am going to switch this to high quality
display as well, so I can see this little clear.
| | 04:13 | It looks good.
| | 04:14 | Now if I want to update that, it's very easy.
| | 04:18 | I select it in the Links panel and
then I click the Update Link button in the
| | 04:22 | middle of this Links panel, or I could go
to Links panel menu and choose Update Link.
| | 04:27 | Note that I also have the
option to Update All Links.
| | 04:31 | This is very useful if you open a
document and you have like 30 links that are
| | 04:35 | all modified for one reason or another.
| | 04:37 | You could update all of them quickly here.
| | 04:38 | But in this case I am just going to
update this one link, and we can see that
| | 04:42 | well something changed about that.
| | 04:44 | Whatever changed, I think this little thing
moved down just a little bit. So that's good.
| | 04:48 | We can see that we now are okay.
| | 04:50 | There is no icon there, which means that
everything is good about this file. So that's helpful.
| | 04:55 | What about this file here,
this taste of cal logo thing?
| | 04:59 | Let's go take a look at
what that is. There it is.
| | 05:01 | It says Vector Artwork and it's missing.
| | 05:04 | So what should we do?
| | 05:05 | Well, we need to relink it to a file on
disk, and the way we do that is to click
| | 05:10 | on this Relink button, it
looks like the little broken chain.
| | 05:13 | Or we can go to the Relink
from the fly-out menu here.
| | 05:17 | It opens this dialog box and it asked
me to locate the file that was missing.
| | 05:22 | Now I happened to know that it's here
inside the Links folder, so I am simply
| | 05:25 | going to select it, and then click Open.
| | 05:28 | That's all it took.
| | 05:29 | It found it, it relinked it.
| | 05:30 | It comes in, it looks
beautiful, and we're good to go.
| | 05:34 | So what would've happened if I tried to
print or export without relinking that
| | 05:38 | image if it was missing?
| | 05:39 | Well, InDesign would have simply used
the low-resolution kind of pixilated
| | 05:43 | version that you saw on screen.
| | 05:45 | So that would not make me a very happy camper.
| | 05:47 | So it's really important that you go
in there, and relink your files before
| | 05:51 | printing or exporting.
| | 05:52 | Now one more thing I want to
show you about the Links panel.
| | 05:55 | I can select an image here in the Links
panel, and then choose Reveal in Finder
| | 06:01 | from the Links panel menu, or on Windows
it would be Reveal in Windows Explorer.
| | 06:06 | I can also reveal it in Bridge or Mini
Bridge, but in this case I'm simply going
| | 06:10 | to reveal it in Finder.
| | 06:11 | And this switches to the Mac Finder opens up
the folder and chooses it on my desktop there.
| | 06:17 | This is a very helpful thing when you're
trying to find an image and you are not
| | 06:21 | sure way around your
desktop that image came from.
| | 06:24 | Now there are a lot of other tools and
features in this Links panel and I am
| | 06:27 | going to be covering many of
those later in this chapter.
| | 06:30 | But from now it's obvious that the
Links panel is really something you want
| | 06:33 | to keep your eye on.
| | Collapse this transcript |
| Embedding links| 00:00 | In the last movie, I talked about how
images get linked to files on disk rather
| | 00:05 | than getting embedded in your InDesign file.
| | 00:07 | But it turns out that you actually can
embed images into your InDesign files,
| | 00:11 | which can be useful sometimes.
| | 00:13 | For example, I'm going to zoom in
on this vector image right there.
| | 00:17 | And let's say I going to be using this
logo a number of times in my document.
| | 00:21 | I might want to embed it into my
InDesign document if I don't want to pay
| | 00:25 | attention to where it is on disk anymore.
| | 00:27 | Maybe it's just one too many files
that I just can't pay attention to.
| | 00:30 | So I'll go to my Links panel, I'll make
sure it's selected in the Links panel menu.
| | 00:35 | And then I'll go to the fly-out
menu here and choose Embed Link.
| | 00:39 | It's as simple as that.
| | 00:40 | You can see I now have that little
Embed Link icon right next to the File Name.
| | 00:45 | Now, if I give this file to somebody else,
they don't have to have that logo on disk anymore.
| | 00:50 | It's inside the InDesign file.
| | 00:52 | If I print it, I don't need to have it
linked to a file on disk, it's embedded
| | 00:56 | in the InDesign file.
| | 00:57 | That really is okay.
| | 00:59 | Now, I am comfortable embedding this file
into InDesign, because it's not that big.
| | 01:04 | Look down here in the Link Info panel.
| | 01:06 | You can see that it's only about 2206K large.
| | 01:09 | That means my InDesign file is going
to become 2206K larger, which is hardly
| | 01:15 | anything about a quarter of a megabyte.
| | 01:17 | Now, if I had a 50 MB Photoshop file,
would I embed that? No, probably not.
| | 01:21 | That would make me kind of nervous actually.
| | 01:23 | Generally, I'll go ahead and embed small files.
| | 01:26 | If it's a little thing like a 100K
file or this few hundred K or something.
| | 01:30 | But those really big Photoshop files,
I'll leave those linked to my files on disk.
| | 01:36 | Now, if you receive a document that has
an embedded image in it or if you open
| | 01:40 | this document and you can't find it
on disk and you need to make an edit to
| | 01:43 | that file, maybe you need to open this in
Illustrator, don't worry, you can un-embed it too.
| | 01:49 | Simply select it in the Links panel, go to
Links panel menu and choose Unembed Link.
| | 01:54 | When you do that, InDesign asks, do you
want to link it to the original file or not?
| | 01:59 | This is a very confusing
dialog box in my opinion.
| | 02:02 | If you have the original image on disk
and you want to relink to it, click Yes.
| | 02:07 | If you don't have it and you simply want
to pull it out and rebuild the document
| | 02:11 | on disk, go ahead and click No.
| | 02:13 | InDesign then asks you,
where do you want to put it?
| | 02:16 | For example, I'll put it up here on
my desktop and I'll click Choose and it
| | 02:20 | saves it to the desktop or
wherever you put it, and relinks it
| | 02:24 | automatically there.
| | 02:26 | So once again embedding images into
InDesign can be very efficient especially
| | 02:30 | with these small images,
like logos, that kind of thing.
| | 02:33 | But for big images, you
probably want to avoid that.
| | Collapse this transcript |
| Editing graphics in their original app| 00:00 | What happens after you put an image on
your page and then realize you need to
| | 00:04 | edit that image somehow?
| | 00:06 | For example, I'm looking at this snowboarder,
and I am thinking, he just kind of looks wrong.
| | 00:10 | I want to do some image editing on him.
| | 00:12 | I'd like to do that in Photoshop.
| | 00:14 | Now, I could go to disk, find that image,
open it in Photoshop and edit it and so on.
| | 00:19 | But because I am looking at it here
in InDesign, it's far easier to use a
| | 00:23 | feature called Edit Original.
| | 00:25 | Edit Original lives in
several places inside InDesign.
| | 00:28 | For example, I can select that image, go
to the Edit menu and choose Edit Original.
| | 00:33 | I am not going to do that quite yet,
because I want to point out the other
| | 00:36 | places that it lives.
| | 00:37 | The natural place to find Edit
Original, of course, is the Links panel.
| | 00:41 | So I'll open the Links panel and we can see
that the Edit Original has its own button.
| | 00:45 | It's this little pencil shaped thing
down to the lower right corner of the panel.
| | 00:50 | Edit Original lives here, and of course
one more place, inside the Links panel
| | 00:54 | menu, we can choose Edit Original.
| | 00:56 | And if you choose any of those Edit
Originals, it will open this program up in
| | 01:00 | its original application.
| | 01:02 | Now, in this case, I want it to
open in Photoshop, but unfortunately,
| | 01:07 | that didn't happen. What happened?
| | 01:09 | It opened it up in the
Mac OS Preview application.
| | 01:13 | This sometimes happens.
| | 01:15 | Either on the Mac, it will open in Preview.
| | 01:17 | In Windows, it sometimes opens in the
Window Paint and Fax Viewer application or
| | 01:22 | whatever it's called.
| | 01:23 | And the reason it does this is because
InDesign doesn't actually know what the
| | 01:28 | original application is.
| | 01:29 | InDesign has no idea what the program is.
| | 01:33 | Instead it relies entirely on the
operating system for this information.
| | 01:37 | Basically, Edit Original is exactly the
same as double-clicking on the image in
| | 01:41 | a folder, right on your desktop,
inside the Finder or Windows Explorer.
| | 01:45 | So sometimes those files
open in the wrong program.
| | 01:49 | So if that happens, I come back to
InDesign, go to the Links panel menu or the
| | 01:53 | Edit menu, either place, and I look
for, not Edit Original, but Edit With.
| | 01:58 | So I'm telling InDesign, I want to edit
this image with, in this case Photoshop CS 5.
| | 02:04 | You'll see I have a bunch of different
applications on here that could edit that
| | 02:07 | file but I am going to use Photoshop CS 5.
| | 02:10 | So that tells Photoshop to open up the file.
| | 02:14 | Now, I can edit it.
| | 02:15 | For example, I rotate him around
around 180 degrees, and I'll so some kind of
| | 02:19 | crazy thing like Command+I or
Ctrl+I on Windows to invert him.
| | 02:23 | And then, I will simply save the file,
with File > Save, close the file and
| | 02:29 | come back to InDesign.
| | 02:31 | And watch what happens
when I come back to InDesign.
| | 02:33 | I am just going to click on
InDesign, and immediately it updates.
| | 02:36 | Let me move the Links panel out
of the way here. I'll close that.
| | 02:38 | And you can see that it updated.
| | 02:40 | I didn't have to click an Update button.
| | 02:42 | I did not do anything special,
because as soon as I use the Edit Original
| | 02:46 | feature or Edit With, InDesign is watching.
| | 02:49 | It's just sitting there waiting and
watching that file to see when it changes.
| | 02:54 | And as soon as I come back to InDesign, it
says, oh, he made a change. I'll update it.
| | 02:58 | So it's very simple, really easy.
| | 03:01 | Getting efficient with InDesign and the
Creative Suite means making the programs
| | 03:05 | all work together as smoothly as possible.
| | 03:07 | The Edit Original and Edit With
features are a big part of that operation.
| | 03:11 | So it's worth getting used to
using them whenever possible.
| | Collapse this transcript |
| Fitting graphics to a frame| 00:00 | When you import an image, it often
doesn't appear at the correct size on your page.
| | 00:05 | For example, I am going to grab this
Graphic Frame tool, and drag out a frame.
| | 00:09 | And then, I'll switch back to the Selection
tool, go to the File menu and choose Place.
| | 00:14 | I'm going to grab my red_cactus image.
| | 00:17 | So I just type red, so it jumps red_cactus.
| | 00:20 | Click Open and it places it inside the frame.
| | 00:23 | However, I happened to know that that
image is far bigger than that frame.
| | 00:27 | So it's sticking out of the side.
| | 00:29 | The image frame is actually cropping it down.
| | 00:32 | So I only see the upper
left corner of the image.
| | 00:34 | Now, what if I want to the whole image?
| | 00:36 | I could resize this frame by
grabbing one of the corner or side handles
| | 00:40 | and growing it out.
| | 00:41 | But I'm not really sure how large to make it.
| | 00:44 | So instead I am going to rely on a
feature underneath the Object menu, in the
| | 00:47 | Fitting menu, called Fit Frame to Content.
| | 00:51 | Fit Frame to Content will make sure
that the frame matches the content exactly.
| | 00:56 | It stretches it out so that
only the image is in here.
| | 00:59 | There is no white space.
| | 01:00 | It doesn't go any bigger than the
image or smaller than the image.
| | 01:03 | It's exactly the same size as that image.
| | 01:05 | Now, there are actually several
shortcuts that I could use instead of that menu.
| | 01:09 | So let me show you one of them,
because it's really handy.
| | 01:11 | I'll actually undo it a couple times here
to go back to the way it was originally.
| | 01:15 | That's Command+Z or Ctrl+Z on Windows of course.
| | 01:17 | If I want to fit the frame to the image,
all I have to do is double click on one
| | 01:21 | of the corner handles.
| | 01:23 | That's all you need to do.
| | 01:23 | Double click on it and poof, the frame
expands to meet the image, which is pretty cool.
| | 01:29 | It turns out that also works on text frames too.
| | 01:32 | For example, I have this text in its own
little text frame up on the pasteboard here.
| | 01:36 | I can make the frame match the size of the
text by double-clicking on a corner handle.
| | 01:41 | Double click on it and there we go.
| | 01:43 | It snaps to just the size of the text itself.
| | 01:47 | So that's kind of cool.
| | 01:48 | But in this case, I actually don't want
this to be a really huge image on my page.
| | 01:52 | I want to resize this frame down to
something smaller, and then make the image
| | 01:58 | fit the frame not the frame
fit the image. Can I do that?
| | 02:01 | Sure.
| | 02:02 | I simply select that image, that graphic
frame, go to the Object menu, go to the
| | 02:07 | Fitting submenu and look
at all these other options.
| | 02:10 | Instead of Fit Frame to Content, I
could choose Fit Content to Frame.
| | 02:15 | In this case, the content that is the image
itself gets squished into the frame itself.
| | 02:22 | Unfortunately, it squishes it
disproportionally in this case.
| | 02:26 | It makes the width of the image match
the width of the frame and the height of
| | 02:30 | the image match the height of the frame.
| | 02:32 | And so, this is actually disproportional.
| | 02:34 | That is it's, in this case, probably squished
down more vertically than it is horizontally.
| | 02:39 | So it's kind of ugly. Let's not do that.
| | 02:41 | Let's undo that.
| | 02:42 | Go back to the Fitting menu.
| | 02:43 | See if there is anything else we could use.
| | 02:45 | How about Fit Content Proportionally?
| | 02:48 | Now, Fit Content Proportionally is
interesting, because it fits the entire
| | 02:53 | image, inside the frame.
| | 02:55 | It makes sure the whole image fits
into that frame without any sticking out.
| | 02:59 | On the other hand, unfortunately, it
leaves this white space on the side.
| | 03:03 | So if this were too wide, it would
have left a white space on the bottom.
| | 03:08 | But whatever the case, it
does fit into the frame.
| | 03:10 | But it's still not what I
want for this particular layout.
| | 03:13 | I'll undo that and go
back to the Fitting submenu.
| | 03:17 | This time I am just going to right-
click or Ctrl+Click with a one-button mouse
| | 03:21 | and choose Fitting from the context menu.
| | 03:23 | Instead, it gives me the same
sort of menu. Same features.
| | 03:26 | And I am going to use this feature instead.
| | 03:28 | This is the feature I like the most.
| | 03:30 | Fill Frame Proportionally makes sure
the image completely fills the frame even
| | 03:35 | if some of the image is
going to get cropped out.
| | 03:38 | In this case, a little bit of the
bottom of the image is getting cropped out.
| | 03:41 | But that's okay, because it
looks really good all in all.
| | 03:44 | I should point out, just for the sake
of completeness that you don't have to
| | 03:47 | choose those out of any menu at all,
because all of those features live up here
| | 03:52 | in the Control panel as well.
| | 03:53 | For example, fill Frame
Proportionally is this first button up here.
| | 03:57 | That's the one I use most often.
| | 03:58 | There is Fit Content
Proportionally and so on and so on.
| | 04:01 | So you can just click on one of those
buttons in the Control panel to do the same thing.
| | 04:05 | Now, the cool thing is that whenever I
apply one of these fitting options, it
| | 04:09 | applies it not just to that
image, but also to the frame.
| | 04:13 | I've changed the behavior of the frame.
| | 04:15 | So if I put any other image in here, you
will automatically get the same scaling.
| | 04:19 | For example, I'll go to the File menu,
choose Place, make sure Replace Selected
| | 04:24 | Item is turned on here.
| | 04:26 | And then I'm going to pick another image,
maybe this exotic_dancer image that I
| | 04:29 | have already used on the page.
| | 04:31 | Click Open and in it comes
and it automatically scales it.
| | 04:34 | It fits it to that frame.
| | 04:36 | Now you can control that behavior a
little bit by going back to the Fitting
| | 04:40 | submenu and choosing Frame Fitting Options.
| | 04:43 | This is where the behavior of the
frame itself is being controlled.
| | 04:47 | And you can see this it
says fill Frame Proportionally.
| | 04:50 | I could change this to any of the
other frame fitting options if I want to.
| | 04:54 | But fill Frame, like I said,
is the one I use most often.
| | 04:57 | Now there is another feature in
here called the Align From feature.
| | 05:00 | And this let's you tell InDesign which
part of the image should be aligned to
| | 05:04 | which part of the frame.
| | 05:06 | In this case, you can see that the
upper left corner of the image is being
| | 05:10 | aligned to the upper left corner of the frame.
| | 05:13 | But you can control that by choosing any of
these other points on this little proxy here.
| | 05:18 | But you can change that behavior
by picking any of these other nodes.
| | 05:21 | I am going to click OK here and
resize this frame. What happens?
| | 05:26 | Nothing.
| | 05:26 | It just shows a little bit more of the image.
| | 05:29 | That's kind of a hassle.
| | 05:30 | I want the image to resize when I change
the size of the frame. Can you do that?
| | 05:35 | Sure.
| | 05:36 | It's a new feature in InDesign CS5.
| | 05:38 | I am going to undo that and I'm going
to go back to Fitting, and I am going to
| | 05:42 | go back to my Frame Fitting Options,
and I am going to turn on this new
| | 05:46 | checkbox called Auto-Fit.
| | 05:47 | Auto-Fit is really cool, because it
tells InDesign to reapply the Frame Fitting
| | 05:52 | Options every time I
change the size of the frame.
| | 05:55 | So as soon as I drag
this out larger, it fits it.
| | 05:58 | Make it smaller, it fits it. It's that easy.
| | 06:01 | Now you certainly don't have to make
your images fill your frames or your
| | 06:05 | frames fit your images.
| | 06:07 | But it is often helpful, especially
when trying to Layout a document or
| | 06:11 | template quickly.
| | Collapse this transcript |
| Taking advantage of image transparency and clipping paths| 00:01 | What if you need an array of
an image to be transparent?
| | 00:05 | For example, in this image with this
sign in it, I want the whole image to be
| | 00:08 | transparent except for this little arrow sign.
| | 00:10 | I want to make this outside part go away.
| | 00:13 | Now InDesign gives you two different options
for doing this, Clipping Paths or Transparency.
| | 00:19 | Let's take a look at clipping paths first.
| | 00:21 | I'm going to select this image on my page, go
to the Links panel and click on Edit Original.
| | 00:26 | That opens this image inside Photoshop.
| | 00:29 | If we look inside Photoshop's Paths panel,
we see that there is a path called arrow path.
| | 00:34 | I'll select that and then
zoom in on part of this image.
| | 00:37 | It's a little bit hard to see.
| | 00:40 | I'll select it with a White Arrow tool.
| | 00:42 | But you can see that there is a
Bezier path drawn around this image.
| | 00:46 | But how do I get that path into InDesign?
| | 00:49 | Well, let's switch back to InDesign
and then we go to the Object menu, choose
| | 00:54 | Clipping Path and then choose Options.
| | 00:57 | That clipping path is hiding
inside this Photoshop file.
| | 01:01 | It'll work with a TIFF file, a
Photoshop file or a JPEG file.
| | 01:04 | I can get it by choosing Photoshop Path
from the Type pop-up menu, then choosing
| | 01:09 | the name of my path from the Path pop-up menu.
| | 01:12 | In this case, there's only one path,
so it selected it for me automatically.
| | 01:16 | Now, I'll click OK and you
can see that path came in here.
| | 01:20 | Let's zoom in here, so we can see this well.
| | 01:23 | Because I have the Direct Selection
tool selected in InDesign, the White Arrow
| | 01:26 | tool, I can actually see the path and
even edit the path here in InDesign.
| | 01:31 | But I don't really want to do that.
| | 01:32 | I'm just going to go back to the
Selection tool, the Black Arrow tool.
| | 01:36 | I can see that the path
turned into transparency.
| | 01:40 | The background completely disappeared.
| | 01:43 | That said, there is two
problems with clipping paths.
| | 01:45 | The first is they are really a
hassle to make, especially really complex
| | 01:49 | clipping paths, it takes forever, I hate it.
| | 01:52 | The second problem is it if I zoom
really in close here, you see how the edge is
| | 01:57 | very, very sharp, there is no way
to make a clipping path a soft-edged.
| | 02:01 | It's always very sharp.
| | 02:03 | That might not show up so badly in
this particular image, but in many images,
| | 02:07 | that edge looks very artificial.
| | 02:09 | So, those are the problems with clipping paths.
| | 02:11 | So instead I usually like
to use native transparency.
| | 02:15 | Let me show you what I mean.
| | 02:15 | I'm going to zoom back to fit the whole page
in window with Command+0 or Ctrl+0 on Windows.
| | 02:21 | I'm going to place a new image in
here, deselect everything so it doesn't
| | 02:25 | accidentally replace that.
| | 02:26 | Deselect everything by clicking out here
in the pasteboard and then File > Place.
| | 02:30 | I'm going to choose my snowboarder.psd file.
| | 02:34 | I'll click Open and it loads the Place
cursor and I'll simple click-and-drag to
| | 02:38 | place that in at this size.
| | 02:41 | Now, this image has true transparency in it.
| | 02:44 | Let's zoom in, so we can see.
| | 02:46 | It's a little bit rough, so I want to
make sure that View > Display Performance
| | 02:50 | is set to High Quality Display.
| | 02:52 | That way, I get the best quality image.
| | 02:54 | I can really see the pixels in the image here.
| | 02:56 | I can see that even little threads
off this side here are showing up.
| | 03:00 | Now, how did I make this transparency?
| | 03:02 | I'm going to select that image, go to my
Links panel and then click Edit Original.
| | 03:07 | I'll open this one in Photoshop and you
can see the transparency in this file is
| | 03:12 | there because of the checkerboard.
| | 03:14 | Checkerboard in Photoshop means transparent.
| | 03:16 | If I look inside my Layers panel,
I'll see that this layer is actual image.
| | 03:21 | There is actually a blue background there,
but there is a layer mask on top of it.
| | 03:25 | I can turn my layer mask off by
Shift+Clicking on the layer mask.
| | 03:29 | You can see that this is actually a
solid image, has a blue background, but
| | 03:32 | when I add the layer mask by Shift+Clicking
again, it turns into checkerboard transparency.
| | 03:38 | So, InDesign can read that transparency and
it makes it transparent in InDesign as well.
| | 03:44 | I find it much easier to make
transparency like with a layer mask in Photoshop
| | 03:49 | than I do making a clipping path.
| | 03:50 | It's much easier, much faster, typically,
and it's much higher quality when it
| | 03:54 | gets into InDesign, because it's true
transparency, so it anti-aliases perfectly
| | 03:59 | into the background.
| | 04:00 | Now, in general, it's a good practice to
put any kind of text frames on a higher
| | 04:05 | layer than your image frame.
| | 04:07 | So, it actually prints on top of the image.
| | 04:09 | Now, I'll be talking about layers in a
later chapter, but I do want to point out
| | 04:13 | right here that in general it's a
good practice to put any text frames on a
| | 04:17 | higher layer than your image.
| | 04:19 | So, the text will print on top of your
transparency and not the other way around.
| | 04:23 | In most cases, it will still work.
| | 04:25 | It will still print out just fine,
if the image is on top of the text.
| | 04:29 | But on occasion, it can look as if the
text near the transparency is kind of
| | 04:34 | heaving up, getting bolder around the image.
| | 04:37 | So, just to be safe, be sure to
put the text on top if you can.
| | 04:40 | Now, InDesign can read native
transparency like this, from Photoshop PSD files,
| | 04:46 | PDF files and even Adobe Illustrator files.
| | 04:50 | Transparency effects like this are great.
| | 04:52 | Just use them.
| | Collapse this transcript |
| Adding live captions| 00:00 | One of the most frustrating aspects
of laying out a document with a lot of
| | 00:04 | images is managing all the captions,
like copyrights or image titles.
| | 00:09 | It's especially painful when you need to swap
one image for another just before a deadline.
| | 00:13 | But fortunately, InDesign CS5 has an
amazing new feature that can automate this.
| | 00:19 | Well, at least to some degree.
| | 00:20 | The feature is called Live Captions.
| | 00:22 | Let me shoe you how it works.
| | 00:24 | I want to select this image on the
right side of this page and zoom in to 200%
| | 00:28 | with Command+2 or Ctrl+2 on Windows.
| | 00:30 | I'm going to go up to the Object
menu and down to the Captions submenu.
| | 00:36 | Here, I will choose Generate Live Caption.
| | 00:39 | There is my caption right
underneath the image, Arial acrobatics - a
| | 00:43 | pelican dives for fish.
| | 00:45 | Somehow, it knew what that
image was. Isn't that cool?
| | 00:48 | Now when it did this, it
actually put it in a new text frame.
| | 00:52 | I'm going to make that text
frame a little bit bigger.
| | 00:54 | I'm going to apply some
formatting from my Object Styles panel.
| | 00:57 | I'll talk about Object Styles in a
later chapter, but they're really easy.
| | 01:01 | I'm just going to select that text frame,
open the Object Styles panel and click
| | 01:05 | on the caption box style.
| | 01:07 | You can see that it formats that for me.
| | 01:08 | It's just a little bit easier to read.
| | 01:10 | That's why I did that.
| | 01:12 | Now that was cool, but here is even cooler part.
| | 01:15 | I'm going to select that image
again and replace it with a new image.
| | 01:18 | I'll press Command+D or Ctrl+D on
Windows and I'll type in the first few
| | 01:23 | letters of my name.
| | 01:24 | I want this conservatory.jpg and I do
want to replace the selected item with
| | 01:28 | my conservatory image. There we go.
| | 01:30 | I'm going to click Open, in comes the image
and what happened to my caption? It updated.
| | 01:35 | Ah! That's incredible!
| | 01:37 | I love that!
| | 01:38 | But wait, there's more.
| | 01:39 | I'm going to select that
text frame again and move it up.
| | 01:43 | I'm moving it off this image
on top of this image over here.
| | 01:46 | Now, I'll pan down.
| | 01:47 | You can see once again the caption updated.
| | 01:50 | This is truly a live caption.
| | 01:52 | But as I asked earlier, how did it do it?
| | 01:55 | Where is that information coming from?
| | 01:57 | Well, each of these images has been
given some metadata, what's called XMP
| | 02:02 | Metadata, and it was added in Adobe Bridge.
| | 02:05 | You can add it in Bridge or in Photoshop.
| | 02:07 | It's called File Info and every
file can have its own file info.
| | 02:11 | Once that file info is added in Bridge,
InDesign can read it and put it into a text frame.
| | 02:17 | Now, I should point out here that
once I make one of these captions, I
| | 02:21 | cannot edit this text.
| | 02:23 | I'll double-click on this to switch to
the Type tool and I will show you that I
| | 02:26 | can't even select the text.
| | 02:28 | If there is a chance that I will need
to edit this text, it's better to use not
| | 02:32 | a live caption, but a static caption.
| | 02:34 | Let me show you what I mean.
| | 02:36 | I'll press the Escape key to
move back to the Selection tool.
| | 02:38 | I'm going to move this one back down here.
| | 02:40 | On this image, I'm going
to add a static caption.
| | 02:44 | Here's how you do it.
| | 02:44 | Back to the Object menu, Captions, and
I'm not going to generate a live caption,
| | 02:49 | I'm going to generate a
static caption. There we go!
| | 02:53 | There is the same thing.
| | 02:54 | I'll make it little bit bigger, add my
caption object style, looking pretty good.
| | 02:58 | It looks like the same thing, but if I
double-click on this to switch to the
| | 03:01 | Type tool, you'll see that
it's actually editable text now.
| | 03:05 | So, I can change it to anything I want,
maybe I want to just remove all of that
| | 03:08 | so it just has Coit Tower.
| | 03:09 | So, that's the main difference
between Static Captions and Live Captions.
| | 03:14 | Now, let me show you how to tell
InDesign what part of the Metadata to grab.
| | 03:19 | I'll press Escape again to
switch back to the Selection tool.
| | 03:21 | I'll select the image.
| | 03:23 | I'll go back to the Object menu.
| | 03:25 | In Captions, I'm going to choose Caption Setup.
| | 03:28 | Right now, the Caption Setup dialog
box is set up to choose the Description
| | 03:32 | Metadata, whatever is in the
Description field of the Metadata.
| | 03:36 | But I could change this to anything I want.
| | 03:38 | For example, I'm going to pick Copyright.
| | 03:40 | Just to be clear, the image has to be
set up already from Photoshop or Bridge
| | 03:44 | with the Copyright data.
| | 03:45 | But in this case, the image is.
| | 03:47 | I'm going to grab that Copyright data and
I'm going to put it into my own caption.
| | 03:51 | I'm going to actually type the word
Copyright space, and then I'm going to put
| | 03:56 | the Copyright data there.
| | 03:58 | I'm not going to put it below the image.
| | 04:00 | I'm going to put the Copyright
data to the right of the image.
| | 04:02 | It'll end up in the lower
right corner of the image.
| | 04:05 | I'm going to offset it a
little bit, maybe just two points.
| | 04:08 | In other words, I want my caption to
be on the right side of the image, about
| | 04:12 | two points away from the edge of this frame.
| | 04:15 | When I make the caption, I'd like to
apply a Paragraph Style called copyright.
| | 04:20 | Again, I'll be covering paragraph
styles in a later chapter, but for right now,
| | 04:23 | in this document at least, you can see
that I've created one called copyright.
| | 04:27 | That's what's going to be applied to my caption.
| | 04:29 | I'll click OK and it does
not make a caption yet for me.
| | 04:33 | That's a separate command, but I can
right-click on this image, go down to
| | 04:37 | Captions and choose Generate Live Caption.
| | 04:40 | I'll zoom in on this even
more, so you can really see it.
| | 04:43 | There is my Copyright.
| | 04:44 | There is the text I typed.
| | 04:45 | There is the copyright information that
came out of the Metadata for this image.
| | 04:50 | Now, what happens if I drag that
away from the image a little bit?
| | 04:53 | Let me zoom back here, so
you can really see this better.
| | 04:55 | You'll see that it says <No
intersecting link > because the caption no longer
| | 05:00 | knows what it's talking about.
| | 05:02 | You must have at least the edges
touching the image for this to work.
| | 05:06 | I can put it on top of the image
or I can put it so that it's just
| | 05:09 | barely touching the edge.
| | 05:11 | But if the edge is touching, then the
Caption knows that it's talking about this image.
| | 05:15 | If I have to have it way out here for
some reason, there is a way for me to tell
| | 05:20 | this Caption that I'm talking about
this image, and that is to select the
| | 05:23 | Caption and then I'll Shift+Click on
the image to select the image as well.
| | 05:28 | Then I'm going to Shift+Click on the
Caption down here, because I want that as
| | 05:31 | part of my group too.
| | 05:32 | Then I'll go to the
Object menu and choose Group.
| | 05:35 | When I do that, the caption updates.
| | 05:37 | Because the caption says ooh!
| | 05:38 | I'm part of a group, so I must be
referring to the image in that group.
| | 05:42 | It's as simple as that.
| | 05:44 | When you're working on a
deadline, you have to be efficient.
| | 05:47 | Making these kinds of labels for images
can save you an enormous amount of time
| | 05:51 | and save you from a big headache if
you need to make last-minute changes.
| | Collapse this transcript |
| Colorizing images| 00:00 | Sometimes, you need to colorize an image,
i.e., apply a color to an imported image.
| | 00:05 | Now you can do this in InDesign,
but there are three conditions.
| | 00:09 | It must be a pixel-based image,
i.e., no Illustrator vector files.
| | 00:14 | The image must be saved in a grayscale mode.
| | 00:17 | It can't already in color.
| | 00:19 | Third, there cannot be any
transparency in the image.
| | 00:22 | So, it has to be a flattened, grayscale
image, saved like a TIFF or a PSD file.
| | 00:28 | Let me show you how it works.
| | 00:29 | I've imported this image into the background
of this order form and I'd like to colorize it.
| | 00:34 | So, I'll select it with the Selection tool,
go to the Swatches panel and click on a color.
| | 00:40 | Does that look good to you?
| | 00:41 | Because it sure doesn't look good to me.
| | 00:43 | This is what most people do when
they try and colorize an image.
| | 00:46 | They select the graphic file and apply a color.
| | 00:49 | Well, this actually fills that frame with a
color and then puts the image into the color.
| | 00:54 | It's hard to explain
technically, but it's always ugly.
| | 00:57 | It's just not a good thing.
| | 00:58 | So, let me undo that, Command+Z, and
instead let me show you the real trick for
| | 01:04 | colorizing an image.
| | 01:05 | I'm going to place my cursor over this image.
| | 01:08 | Click on the content grabber in the middle.
| | 01:11 | That selects the image not the frame.
| | 01:14 | I could do the same thing by clicking
on the image with the Direct Select tool.
| | 01:18 | In either case, it selects the image
inside the frame and now I can apply the color.
| | 01:23 | I'll click on Spot Green and now every pixel in
the image that was black is now green instead.
| | 01:30 | That's the effect that most people want.
| | 01:33 | It's a little bit too strong.
| | 01:34 | So I'm going to ghost it back a little
bit by coming up here to the Tint field
| | 01:38 | and changing this from 100
% down to let's say 40%.
| | 01:42 | Hit Enter or Return.
| | 01:43 | That's looking much nicer.
| | 01:45 | I have now colorized an image.
| | 01:48 | I can't tell you how many people have
emailed me, saying they can't figure out
| | 01:51 | how to achieve this effect.
| | 01:53 | Now you know, just use the Direct
Selection tool or click on that Content
| | 01:57 | Grabber to select the image inside the frame.
| | Collapse this transcript |
| Turning image layers on and off| 00:01 | Not only can InDesign read the
transparency in your images, it can even see the
| | 00:05 | layers inside your files too.
| | 00:07 | That means you can actually turn on
and off layers in your files from within
| | 00:11 | InDesign without ever going back to
Photoshop or Illustrator. It's very cool.
| | 00:16 | Here is how it works.
| | 00:17 | In this file I have a very large
image that takes up the entire background.
| | 00:21 | I am going to select it and right
click on it, choose Edit Original, and see
| | 00:26 | what this looks in Photoshop.
| | 00:28 | Here it is in Photoshop, and you can see in
the Layers panel that I've a number of layers.
| | 00:32 | I've got five different layers in this
file, including a Title that has some
| | 00:36 | effects on it, like a Drop Shadow.
| | 00:37 | I have a hidden layer, which is
this image with a bit of a glow around.
| | 00:41 | I leave that hidden.
| | 00:43 | I have got a ghosted back box, it's
kind of white ghostly looking thing.
| | 00:47 | And I have two different backgrounds.
| | 00:49 | A background and an alternate background.
| | 00:51 | So I have set up this file with all
of these different layers in them.
| | 00:55 | Now I am just going to close
that and go back to InDesign.
| | 00:58 | I won't save my changes that I've made there.
| | 01:00 | I am just going to go back InDesign,
and will see that I can turn on and off
| | 01:04 | those layers from within in InDesign.
| | 01:07 | Once it's selected, I go to the Object menu
and choose Object Layer Options. Look at this.
| | 01:14 | All the layers that we saw in
Photoshop are listed here in the layers list.
| | 01:18 | There is the title, the inlay coast
image which is currently hidden, the
| | 01:22 | ghost box, and so on.
| | 01:24 | And because the Preview checkbox is
turned on, I can actually turn these
| | 01:28 | things on and off by clicking on that
little eyeball, and see what it's going
| | 01:31 | to look like in InDesign.
| | 01:33 | I don't even need to have
Photoshop running to do this.
| | 01:36 | InDesign itself is smart enough to
show and hide any of these layers.
| | 01:40 | For example, we might want to change
to the other background, the original
| | 01:44 | background, looks good, click OK.
| | 01:46 | And now when I print this
document or make a PDF, I am going to get
| | 01:50 | this background instead.
| | 01:51 | Okay, I am going to open the Object
Layer Options dialog box one more time,
| | 01:55 | because I want to point out two other things.
| | 01:57 | First, the Update Link Options,
currently this is set to when updating link:
| | 02:02 | Keep the Layer Visibility Overrides.
| | 02:05 | Now this feature has to do with, what
should InDesign do if the Photoshop file changes?
| | 02:10 | Let's say somebody goes in and edits
the Photoshop file, and it shows up as
| | 02:13 | modified in InDesign's link panel.
| | 02:16 | When you update it, InDesign needs to
know what you want to be done with all of
| | 02:21 | the changes that you've
made in this Show Layers list.
| | 02:24 | If you've turned layers on or off in
here, what should happen to those changes?
| | 02:28 | By default keep layer visibility
overrides means that InDesign will remember
| | 02:33 | what you did in this list.
| | 02:35 | But if you changed this to Use
Photoshop's Layer Visibility instead, then
| | 02:39 | each time you update the modified file, it
will throw away any changes that you've made here.
| | 02:44 | So that option is up to you.
| | 02:47 | I usually leave this set to the default.
| | 02:48 | I want to keep my layer visibility overrides.
| | 02:51 | Now the last thing I want to
point out here is the layer comps.
| | 02:54 | Photoshop has a feature called layer comps.
| | 02:57 | It's actually a panel inside of
Photoshop, and it lets you save different
| | 03:01 | permutations of your file.
| | 03:02 | For example, you can choose to have
some layers on some layers off, and then
| | 03:07 | save that in a little layer comp.
| | 03:09 | You can also move things around your file.
| | 03:11 | For example, move this title to a
different place on the page and then save
| | 03:15 | that in the layer comp.
| | 03:16 | Now layer comps are a wonderful way
to create a whole bunch of different
| | 03:20 | images and store them all in a single PSD file,
a single Photoshop file, it's really cool.
| | 03:26 | Anyway, the important thing is that if
you've done that, InDesign can read them.
| | 03:31 | We can see all the layer comps that
were stored in that Photoshop file here in
| | 03:35 | this pop up menu, and we
can choose one of those.
| | 03:37 | For example I'll change this to Title
lower left, and when I do that, InDesign
| | 03:43 | turns on and off the
layers to match the layer comp.
| | 03:46 | I'll change another one to Title in
center, and then I'll try third one, which
| | 03:50 | is Title upper left.
| | 03:52 | You can see if I move this out of
the way that this has turned on and off
| | 03:56 | different layers, and even
moved the objects on the layers.
| | 03:59 | The typed object, the image
object, and so on and so on.
| | 04:03 | So again, a great way to create a bunch
of different comps, and then once they
| | 04:08 | are in InDesign, I can choose which one I want.
| | 04:11 | I'll go ahead and click OK here.
| | 04:13 | There are so many great
ways to use this feature.
| | 04:16 | For example, you know I write
a lot of computer books, right?
| | 04:19 | They have a lot of before and after images.
| | 04:21 | So now, instead of creating two
different images, I just save a before and an
| | 04:26 | after as two different layers in one file.
| | 04:29 | I import that one file, I duplicate it, I
change which layers are visible in each one.
| | 04:34 | And so now I keep track of half the
number of files that I use to, and it's much
| | 04:39 | easier to go back and
make changes when necessary.
| | 04:42 | I just love this Object Layer Options feature.
| | Collapse this transcript |
|
|
7. Formatting ObjectsSelecting objects| 00:00 | You've seen me selecting objects on
pages throughout all the earlier movies.
| | 00:04 | But let's take a moment to really
look at the details of selecting objects,
| | 00:08 | because there are so subtle and
sometimes confusing aspects to this
| | 00:12 | seemingly simple task.
| | 00:14 | The basic method for selecting any
object in InDesign is to use the Selection
| | 00:18 | tool, otherwise known as the Black Arrow tool.
| | 00:21 | The Selection tool lets you select objects
or sometimes object inside of other objects.
| | 00:26 | Let me show you what I mean.
| | 00:28 | If I want to select this text frame,
I hover the cursor over it, and you'll
| | 00:32 | see that it highlights.
| | 00:33 | A blue line goes around the frame.
| | 00:35 | If I click on it, it becomes selected.
| | 00:38 | I can see the corner and side handles around it.
| | 00:41 | Now I can move it around my
page on to pasteboard or whatever.
| | 00:46 | If I place my cursor on top of an image
frame, something slightly different happens.
| | 00:51 | The frame gets highlighted, but I
also see this little round thing in the
| | 00:55 | middle, I call it the doughnut or the bagel.
| | 00:58 | But technically it's called the Content
Grabber, because it allows you to grab
| | 01:02 | the content inside the frame.
| | 01:04 | So if click out here, not on
top of that content grabber.
| | 01:08 | I select the frame itself that lets me move it.
| | 01:11 | But if I come over here and click on
the grabber, if I just click once, you'll
| | 01:15 | see that something else gets selected,
not the frame, but this big rectangle out
| | 01:20 | here, that's the image, and that
rectangle is the bounding box of the image.
| | 01:24 | That is the outside edges of
the image inside that frame.
| | 01:28 | Now as I click and drag, I move
the image inside the frame, it's
| | 01:33 | completely separate.
| | 01:34 | In order to get back to the frame
itself, I could either click off of it or
| | 01:38 | click on again, but that's kind of tedious.
| | 01:40 | Instead just double click,
double click switches to the frame.
| | 01:45 | Now while we are in a double clicking
mood, I should point out that double
| | 01:49 | clicking again switches back to the content.
| | 01:51 | So that's another way that you can move
back and forth between the frame and the
| | 01:54 | content, just double click.
| | 01:56 | I'll come over here, and I'll click
once, you can see it selects the frame,
| | 02:00 | double click, and it selects the
content, just as simple as that.
| | 02:03 | Now one of the most important
keyboard shortcuts that I can tell you is
| | 02:07 | Command+Shift+A or Ctrl+Shift+A on Windows.
| | 02:10 | And that means deselect all.
| | 02:13 | If you want to use the slow menu way,
you'd go up to the Edit menu and
| | 02:16 | choose Deselect All.
| | 02:18 | But again, I think that keyboard
shortcut is going to be very important, and
| | 02:21 | you'll why in future movies.
| | 02:23 | So I really encourage you to
get that one into your hands.
| | 02:26 | Command+Shift+A, or Ctrl+
Shift+A to deselect all.
| | 02:29 | That deselects everything on the page.
| | 02:31 | The opposite of that is just Command+A or
Ctrl+A to select everything on the spread.
| | 02:37 | In InDesign you can only select
objects on the current spread.
| | 02:40 | You can't select things on two or
more different spreads at the same time.
| | 02:44 | So Command+A or Ctrl+A to select all.
| | 02:47 | Command+Shift+A or Ctrl+Shift+A to deselect all.
| | 02:50 | Now what happens if you have one
object sitting on top of another object?
| | 02:55 | I'll select this object here, and I
can see this dash line around it, and the
| | 02:59 | dash line is an indicator that this
is more than one object that has been
| | 03:04 | grouped together, and I'll be talking
about grouping objects in a later chapter.
| | 03:08 | But for right now, just understand that
when you have a group of objects, they
| | 03:12 | act like a single object in some ways.
| | 03:14 | I can click on move it around in all
of those objects move at the same time.
| | 03:18 | But this group is on top of another frame.
| | 03:21 | There is that big blue frame behind there.
| | 03:24 | InDesign lets me click through an object
to an object behind, if you hold on the
| | 03:29 | Command key or Ctrl key on Windows and click.
| | 03:32 | So I click once to select the top most
object, and then Command or Ctrl click,
| | 03:37 | and it actually clicks through
that object to the object below.
| | 03:41 | If there was an object behind that one
I could Command or Ctrl click again, and
| | 03:45 | it works through that blue
frame, to whatever is behind it.
| | 03:48 | In this case it's just those two
frames, so I am going to stay there.
| | 03:52 | Back on the subject of groups one
more time, I want to point out that
| | 03:56 | that double-clicking behavior that we saw
earlier with images, also works with groups.
| | 04:00 | I have come back here and I have
selected this group, but now I am going to
| | 04:03 | double click on the group,
and you'll see what happens?
| | 04:06 | It selects inside the group to
one of the objects inside the group.
| | 04:10 | I'll double click over here, and you can
see that it selected this object once I
| | 04:14 | have selected one of those, actually I
don't even need to double click, because
| | 04:18 | InDesign understands that
I'm working inside that group.
| | 04:21 | So I can select individual
objects within the group.
| | 04:23 | When I want to move back up to select
the entire group, I press the Escape.
| | 04:28 | Escape is a little shortcut in
InDesign, which means move up a level.
| | 04:32 | In other words, select
whatever was containing this object.
| | 04:35 | So when I hit Escape it selected the
group that contained that little flower petal.
| | 04:40 | If I hit Escape again, it selects
another group, which was containing this
| | 04:44 | whole flower image.
| | 04:46 | So Escape is a great way to move up a
level when you have objects in a group, or
| | 04:51 | when they're nested.
| | 04:52 | Shift+Escape does just the opposite.
| | 04:54 | Shift+Escape moves down into selecting
an individual object inside the group.
| | 05:00 | So that's the same thing as double
clicking on it, but you know me, I like
| | 05:03 | keyboard shortcuts, so that's
an important one to keep in mind.
| | 05:06 | Same thing works with images as well.
| | 05:08 | If I have an image selected, this
graphic frame is selected here, if I press
| | 05:13 | Shift+Escape, it selects inside the
frame to select the image that's there.
| | 05:18 | Press Escape, and it moves up a
level and selects the frame itself.
| | 05:21 | So now that you've got the hang of
selecting objects in your documents,
| | 05:26 | let's explore how to format those
objects, starting with how to assign a
| | 05:30 | fill or stroke color.
| | Collapse this transcript |
| Applying basic strokes and fills| 00:01 | Need to set the color of an object?
| | 00:02 | Well, do you want to color its
background fill or its stroke, what some
| | 00:06 | people call the border?
| | 00:08 | InDesign, just like illustrator, lets
you apply a fill or a stroke color to any
| | 00:12 | object on your page, even text.
| | 00:15 | The trick is managing the fill and stroke icons.
| | 00:19 | To change the color of this frame, I'm
first going to select it, and then I'm
| | 00:22 | going to come up to the Control panel
and look at the fill and stroke widgets up
| | 00:27 | here in the Control panel.
| | 00:28 | The one on top is fill.
| | 00:30 | You can see is it's showing the
current fill color for this frame.
| | 00:33 | If I click on this little pop-up menu,
you can see a list of all the color
| | 00:37 | swatches in this document.
| | 00:39 | And I'm going to be covering how to
create new color swatches in a later chapter.
| | 00:43 | But for right now, we're just going to stick
with the color swatches that are listed here.
| | 00:48 | To change this to a different
color, I simply click on it.
| | 00:51 | Now it's green, now it's dark blue,
now it's back to the light blue again.
| | 00:56 | I can also adjust the tint of the color.
| | 00:59 | For example, if I do want that dark blue,
but it's a little bit too dark, I can
| | 01:03 | come up here and change my Tint field.
| | 01:05 | I can either use the Tint slider, by
clicking on that little pop-up menu there
| | 01:09 | or type in the exact value I want.
| | 01:12 | Like perhaps, I'll just
say it's a 40% of that color.
| | 01:15 | Click out here somewhere and it takes
effect, or click out on the page somewhere
| | 01:20 | and that little pop-up menu disappears entirely.
| | 01:23 | To change the stroke or the border,
I once again select the object, and
| | 01:27 | this time I'm going to use the
stroke pop-up menu, which is just below it
| | 01:31 | in the Control panel.
| | 01:32 | Right now, there is a red line through
the icon, which means that there is no
| | 01:35 | stroke at all, a None stroke.
| | 01:38 | But we can change that by
picking any other color.
| | 01:40 | For example, maybe I'll pick this dark green.
| | 01:42 | And it's hard to see that, but there
is now a dark green border around here.
| | 01:48 | The widgets in the Control panel are
among the easiest ways to set the fill or
| | 01:52 | stroke color of any object.
| | 01:54 | But there are many other ways to
set the fill and stroke color as well.
| | 01:57 | For example, the Swatches panel.
| | 01:59 | I'll come out here and click on
Swatches in my dock, and you can see that I get
| | 02:03 | exactly the same list of color swatches.
| | 02:06 | When I want to apply a color using the
Swatches panel, I must pay attention to
| | 02:10 | this little tiny icon up here.
| | 02:12 | It's actually two different icons, a
fill icon and a stroke icon, and whichever
| | 02:18 | one is on top will win.
| | 02:20 | In other words, whichever one is on top is
what I'm going to be changing the color of.
| | 02:23 | Right now, the stroke icon is on top.
| | 02:26 | If you squint, you can see that.
| | 02:27 | So if I change the color, it will
change the color of the stroke icon.
| | 02:31 | I'll change it to Black. There we go.
| | 02:32 | Now, I've got a black stroke around it.
| | 02:34 | To change this to the fill icon being on top,
I click on it, and that brings it to the top.
| | 02:40 | So I can change the color to whatever I want.
| | 02:42 | Now, it's bothering me that I
can't see that stroke there.
| | 02:45 | Suppose if I click off of here, you can see
that it has a black think stroke around it.
| | 02:49 | But I'd like that to be a
really thicker, bolder stroke.
| | 02:52 | So to do that, I'm going to, once again,
select the object, because I need to
| | 02:56 | select whatever object I want to change.
| | 02:58 | And then I'm going to go back up to
the Control panel and look at this object
| | 03:02 | next to the fill and stroke widget.
| | 03:04 | This widget here lets me control the width of
the stroke and also the style of the stroke.
| | 03:10 | So the Width currently is 1 point and
I can choose a different value out of
| | 03:14 | this pop-up menu here.
| | 03:16 | If I want let's say 3 points, now, you
can see it's getting a little thicker, or
| | 03:19 | I could even type in my own value here.
| | 03:22 | Maybe I want it to be exactly 3 mm instead.
| | 03:25 | Hit Enter or Return.
| | 03:26 | It does the math for me, the
conversion to 8.5 points. There it goes.
| | 03:30 | Now, I have a very strong thick
3 mm border around that frame.
| | 03:35 | If I wanted it not to be solid, but to
some other kind of style, I would choose
| | 03:40 | something else from the pop-up menu down here.
| | 03:42 | So you can see that I can get thick-
thick or thick on the outside thin on the
| | 03:46 | inside, or dotted lines.
| | 03:48 | This is called Japanese dots.
| | 03:50 | No idea why they call Japanese dots.
| | 03:52 | I've never found anybody at Adobe
who understands why they are called
| | 03:54 | Japanese dots either. But there we go.
| | 03:57 | There are all kinds of styles
in here that you can play with.
| | 03:59 | Let's go ahead and try this Thick-Thin,
and you get the idea that it is a thick
| | 04:03 | line on the outside, thin line on the
inside, but the total width of the stroke
| | 04:08 | is going to be just 8.5 points or
the 3 mm that we typed in earlier.
| | 04:12 | Okay, let's talk about a few other
ways that you can apply colors to frames.
| | 04:17 | I'm going to go back to my Swatches
panel here and I just want to point out that
| | 04:20 | I can drag and drop colors as well.
| | 04:23 | This is kind of an interesting effect.
| | 04:25 | Scroll down here until I get this dark green.
| | 04:27 | I can drag this color out and drop it anyplace.
| | 04:30 | If I drop it on top of the
selected object, it changes that fill.
| | 04:34 | If I drag it on top of something
that's not selected, it changes that fill.
| | 04:39 | So drag and drop is very handy, because
you do not have to select the object first.
| | 04:43 | It simply colors either the fill or the stroke.
| | 04:46 | To change the stroke of something, I
drag it out, and then drop it on top of
| | 04:50 | the edge of the object.
| | 04:52 | It's a little bit hard to tell there, but there
is an edge versus the fill. I'll change that.
| | 04:56 | Maybe you can see that it
changed to blue instead of black.
| | 05:00 | I can even drag and drop
colors on top of table items.
| | 05:03 | Like this table in the background.
| | 05:05 | If I drag it on top of this table cell, it
changes that one colored cell to a different color.
| | 05:10 | So that's kind of handy too.
| | 05:11 | You will notice that this is
tinted, while this was not.
| | 05:14 | That's because inside this
table, it was specified as a tint.
| | 05:18 | I'll cover tables in a later chapter.
| | 05:20 | Now, if you are paying attention, you
may have noticed that just above the
| | 05:23 | Swatches panel, there is
another panel called Color.
| | 05:26 | Let me pick that one instead.
| | 05:28 | The Color panel lets you choose localized color,
what's called unnamed colors in your document.
| | 05:33 | It's helpful when you want to
just tweak a color a little bit.
| | 05:37 | Although, you have to be a little bit
careful when you are using the Color panel.
| | 05:40 | I'll be explaining why that is and why
unnamed colors can sometimes be dangerous
| | 05:44 | later on in the chapter on Color.
| | 05:46 | But for now, I just want to point out
that there is a Color panel, and when
| | 05:50 | you have an object that is colored selected
on the page here, it gives you a tint stripe.
| | 05:55 | So I can very quickly come in here
and change the tint of this just by
| | 05:58 | clicking in this Tint bar down here, or I'll
hit the X key to flip the fill and stroke icons.
| | 06:05 | I could've just clicked on it I suppose,
and now you can see that I can change
| | 06:08 | the tint of this as well.
| | 06:10 | If I want to completely change the color
to something different, I would have to
| | 06:13 | change this Tint bar to a Color bar.
| | 06:16 | And I can do that in the
Color pop-up menu over here.
| | 06:19 | I can choose Lab, CMYK or RGB.
| | 06:22 | I'll pick CMYK, and you can see that
I can pick any CMYK color I want now.
| | 06:27 | I could make it Yellow.
| | 06:28 | I could make it Red and so on.
| | 06:31 | I could even dial in the values using
the sliders or typing numbers in here.
| | 06:37 | Now, if you have really messed up the
colors for an object, you can always get
| | 06:40 | back to the default color scheme, which
is a 1 point black stroke with no fill
| | 06:45 | by going down to the very bottom of the
tool panel and clicking on this little
| | 06:50 | tiny icon, and it takes you back to the
default color of 1 point black stroke,
| | 06:55 | no fill and now you're back in business.
| | 06:57 | You can start colorizing it or leave like that.
| | 06:59 | I've mentioned earlier that you can
apply fills and strokes to text as well.
| | 07:04 | It's just the same process
as applying it to objects.
| | 07:07 | But you need to select the text.
| | 07:09 | So I'll use my Type tool, select this text here.
| | 07:12 | I'll zoom into 200%, Command+2 or Ctrl+
2 on Windows, and while it's selected, I
| | 07:17 | can change its color, or in this case,
I'll use the Swatches panel, I'll change
| | 07:20 | this to something else,
perhaps that Paper color.
| | 07:23 | Paper is what InDesign calls white.
| | 07:25 | So it's really a white color
but it calls it Paper here.
| | 07:29 | When I choose that and then deselect
the text, you'll see that the text is now
| | 07:33 | colored white or paper.
| | 07:34 | Now, I'm going to select that one more
time and you can see that I can stroke
| | 07:37 | the text as well without having to convert
it to outlines or anything crazy like that.
| | 07:41 | I simply select the stroke
icon and then pick a color.
| | 07:45 | And it creates a 1-point stroke in that color.
| | 07:49 | If that was too thick, I'll select it
and then I go to the stroke panel, yet
| | 07:54 | another panel that you need to pay
attention to and I can change that to
| | 07:57 | something smaller perhaps a 0.
5 point stroke. There we go.
| | 08:01 | Now I've got a 0.5 point blue stroke around
white text inside of a green frame. How about that?
| | 08:07 | But that's not all.
| | 08:08 | There is so much more you can do
with fills and strokes including really
| | 08:12 | fine-tuning your strokes in all kinds
of ways and adjusting the transparency
| | 08:16 | of these objects too.
| | Collapse this transcript |
| Using advanced strokes| 00:01 | Want to fine-tune your strokes? No problem.
| | 00:03 | While the Control panel lets you adjust
the width and style of a stroke, for the
| | 00:07 | ultimate stroke control,
you need the strokes panel.
| | 00:10 | I'm going to zoom in on this portion of
the page, just so I can see the strokes
| | 00:14 | up close and personal.
| | 00:15 | I'm going to open the stroke
panel over here in the dock.
| | 00:19 | I'll select this little backward L-
shaped object, because I'm going to
| | 00:22 | change the stroke of that.
| | 00:24 | Right now, we have a one-point white
stroke, the paper colored stroke applied to
| | 00:28 | that, and I'm going to make
this thicker about five points.
| | 00:31 | Now the stroke panel lets me do
all kinds of things to strokes.
| | 00:35 | For example, I could change
the Type to Thick - Thick.
| | 00:38 | So I have two equally thick lines in
there with a gap running down the middle.
| | 00:42 | That gap color is
currently none. It's transparent.
| | 00:45 | I can see through it.
| | 00:47 | I can change that if I want to, to
any other color in my Swatches panel by
| | 00:51 | changing the Gap Color pop-up menu. Here it is.
| | 00:54 | Right now, it's None.
| | 00:55 | Let's change it something like
green, this light green color.
| | 00:58 | I can even change the Gap Tint of that
color to something -- let's make it even
| | 01:02 | lighter to a 50% green.
| | 01:05 | So that's looking kind of interesting.
| | 01:06 | Let's go ahead and add an
arrowhead on the end of it.
| | 01:09 | You can add an arrowhead by choosing
from the Start and End pop-up menus.
| | 01:14 | In this case, I want to put an
arrowhead at the end, so I'll choose it out of
| | 01:18 | the End pop-up menu.
| | 01:19 | You have a number of
different arrowheads to choose from.
| | 01:22 | I'm just going to choose this
Curved version. There it is.
| | 01:25 | Now, it's looking a little bit too big there.
| | 01:27 | I'd better make the weight smaller.
| | 01:30 | The arrowhead size is based
entirely on the weight of the stroke.
| | 01:35 | I'll bring this down to three points.
| | 01:36 | As you can see, the arrowhead got smaller too.
| | 01:40 | I can add something different to the
beginning of the stroke if I want to.
| | 01:43 | There is a number of different options
here, bars and more arrows and so on,
| | 01:47 | let's just choose the Square
just because kind of a wacky look.
| | 01:51 | To look at some of the other features
in the stroke panel, I'm going to zoom in
| | 01:54 | even closer, so I can really
see edge here, that corner.
| | 01:59 | Right now, it's a very sharp edge.
| | 02:01 | You might cut yourself on
that corner if you get too close.
| | 02:04 | I can change that by changing the Join value.
| | 02:08 | Right now, it's the sharp-edge join,
but if I click on the second one, you'll
| | 02:12 | see that it changes to be a little bit
softer, to soft edge, a rounded corner
| | 02:16 | join, or a beveled corner join.
| | 02:18 | Those are the three options
you have inside of InDesign.
| | 02:21 | Joins always have to do with sharp-edge corners.
| | 02:24 | I'll use the rounded corner a little bit here.
| | 02:27 | The other options in here, such as Align
stroke are easier seen on a closed object.
| | 02:32 | So I'll zoom out here just so
we can see this object here.
| | 02:36 | I'm going to double-click on to select
the one petal of that leaf and zoom back in.
| | 02:41 | Now this shape is actually a mathematical curve.
| | 02:44 | It's a Bezier curve and I can see it by
switching to the Direct Selection tool,
| | 02:48 | the White Arrow tool.
| | 02:50 | You can see that there's a
mathematical curve there and then a stroke placed
| | 02:54 | on top of that curve.
| | 02:55 | Let's make this a little bit thicker,
so you can really see the difference.
| | 02:58 | There's three points.
| | 02:59 | Now right now, the stroke is centered
on the curve, but I can change that by
| | 03:05 | changing the Align stroke buttons here.
| | 03:08 | Right now, it's set to center, but I
can set it to the inside of that curve or
| | 03:12 | the outside of the curve.
| | 03:14 | So you can see that you have a lot of
control over all the different aspects of
| | 03:18 | the strokes on your objects in InDesign.
| | 03:20 | And you probably won't need the strokes
panel for every job, but when you need
| | 03:25 | it, it's really good to know
that these features are all there.
| | Collapse this transcript |
| Adjusting transparency| 00:00 | What's the number one, coolest, most
amazing feature in InDesign? It's transparency.
| | 00:06 | We've already looked at how InDesign
can import images with transparency.
| | 00:10 | Now, let's take a step further and
look at how you can apply transparency
| | 00:14 | effects to any object in InDesign.
| | 00:16 | This layout is looking pretty nice,
but I think it would look even nicer if I
| | 00:20 | could make this green frame show
the image behind it a little bit.
| | 00:24 | To do that, I'm going to go up to
the Control panel and look at the
| | 00:28 | transparency widgets up here.
| | 00:30 | Right now, this transparency widget,
which I can tell, because it has a little
| | 00:34 | checkerboard there, and checkerboard
always means transparency, I'm going to
| | 00:37 | change that from 100% to let's say 60%.
| | 00:41 | Press Enter or Return and you can see
that now I can see through the green.
| | 00:45 | That's a little bit too much,
so why don't I bump that up?
| | 00:48 | I'll click on that little slider there.
| | 00:49 | Bring it up to maybe 80% or
something like that. There we go!
| | 00:52 | That's looking a little bit better now.
| | 00:54 | Now I can read the text and see through
it all the way to the image behind it.
| | 00:58 | I'm going to do the same thing to
this white frame down at the bottom of
| | 01:01 | the document page here. That's too white.
| | 01:04 | I'd like to see through it a little bit
and I'd change this to let's say maybe 50%.
| | 01:07 | There we go.
| | 01:09 | Now it just gives me a little
bit of a ghosted back feeling.
| | 01:11 | Now, it's nice that these features are
here inside the Control panel, but the
| | 01:16 | main control for doing transparency
effects is the Effects panel, which you can
| | 01:21 | find under the Window menu by choosing Effects.
| | 01:25 | This frame at the bottom of the page is
still selected, so that you can see that
| | 01:28 | the object is at Normal blending Mode at 50%.
| | 01:31 | Now, what do I mean by blending mode?
| | 01:33 | Blending mode shows up in many of
Adobe's applications, like Illustrator and
| | 01:37 | Photoshop, and it gives me
controls like Multiply, Screen and so on.
| | 01:42 | Those can fine-tune the
transparency effects in all kinds of ways.
| | 01:46 | For example, I'll select this green
frame back here and change it to Multiply,
| | 01:51 | and you'll see that the effect is dramatic.
| | 01:54 | It's multiplying the green into the
background instead of screening it back.
| | 01:59 | So let's try the Screen effect instead.
| | 02:02 | I encourage you to just try these
different blending modes to get the effect
| | 02:05 | that you're looking for.
| | 02:06 | I'm actually pretty happy with just the
Normal blending Mode, in this case, so
| | 02:10 | I'm going to leave this set back to Normal.
| | 02:11 | Let me show you another example of
what you can do with the Effects panel.
| | 02:15 | I'm going to move this text frame
down on top of this image over here.
| | 02:19 | That looks fine except for one thing.
| | 02:21 | I can't read the text.
| | 02:23 | That's kind of a disaster.
| | 02:24 | So here is an effect I use all the time,
ghosting back the background, so that I
| | 02:29 | can read the text, make it pop out a little bit.
| | 02:32 | The first thing I need to do is set
the background color to, well, let's say
| | 02:35 | paper, something light.
| | 02:36 | Well, that's a little too light, right?
| | 02:39 | So I want to make it transparent, so I can
still see the image through it a little bit.
| | 02:43 | I'll close that pop-up menu just by
clicking on the frame again, and I'm going
| | 02:47 | to change the transparency in the Effects panel.
| | 02:50 | But if I change the Opacity here from
100% down to let's say 60%, it makes the
| | 02:56 | whole object transparent,
the background and the text.
| | 03:01 | That's not what I wanted.
| | 03:03 | I want the text to stay full strength,
but just the background to be ghosted back.
| | 03:07 | So, undo that with Command+Z or Ctrl+Z
on Windows, and instead take one extra
| | 03:12 | step in the Effects panel.
| | 03:14 | Instead of choosing the Object in this
list, I'm going to choose the fill, and
| | 03:19 | now any changes I make in the Effects
panel will affect just the fill of this
| | 03:23 | frame not the stroke.
| | 03:25 | So let's go ahead and change the
Opacity of this down to 50% and you can see
| | 03:29 | that the fill got
ghosted back, but not the text.
| | 03:33 | It's actually too low for opacity, let's
set this down to maybe 70%. There we go.
| | 03:37 | That's looking a little bit better.
| | 03:39 | Now, if I had a stroke of that image, I
could do the same thing by clicking on stroke.
| | 03:43 | So this would affect transparency effects
on the stroke, but not the fill or the text.
| | 03:49 | Another good example of when you need to
pay attention to what's selected inside
| | 03:52 | the Effects panel and what's selected on
the page is when you want to change the
| | 03:56 | transparency of an image,
separate from its frame.
| | 03:59 | So, for example, let's grab this group
of images, and I'm going to select just
| | 04:03 | one of these images in
here by double-clicking on it.
| | 04:06 | That selects that frame and then
double-clicking again to select the
| | 04:10 | image inside the frame.
| | 04:12 | Now you can see the Effects panel
changes so that I'm changing the transparency
| | 04:17 | of this graphic, not the frame itself.
| | 04:20 | If I change this to something like
50% opacity, you see that just that
| | 04:24 | image changes, and if it had a frame
or a fill or a stroke, it would not
| | 04:28 | have been affected.
| | 04:30 | Changing the opacity or blending mode
of an object is cool, but it's just the
| | 04:34 | beginning when it comes to
InDesign's Transparency features.
| | Collapse this transcript |
| Adding drop shadows| 00:00 | If you look carefully, in your
InDesign User License it says somewhere around
| | 00:05 | paragraph 28(c) that every InDesign, no
matter how large or small, must contain
| | 00:11 | at least one Drop Shadow.
| | 00:13 | No, I am just kidding of course.
| | 00:14 | But sometimes the way people use Drop
Shadows, it does seem like it's in the contract.
| | 00:19 | Everyone loves Drop Shadows because
they give a sense of depth to a page.
| | 00:22 | They make things pop.
| | 00:24 | So let's see how you can
add a Drop Shadow in InDesign.
| | 00:27 | I am going to apply a Drop
Shadow to this text right here.
| | 00:30 | There are several ways you can do that,
but the easiest way is to simply click
| | 00:34 | on the Drop Shadow button in the Control panel.
| | 00:36 | The problem with doing that is the Drop Shadow
almost always looks terrible. It's too strong.
| | 00:41 | It's too far away.
| | 00:42 | I don't like that at all.
| | 00:43 | So I am going to unclick that and
instead you can Option+Click on it, or let me
| | 00:48 | show you the other trick.
| | 00:49 | Go to the Effects panel, choose what
you want to apply the Drop Shadow to,
| | 00:53 | either the whole object or some
aspect of the object, and then click on the
| | 00:58 | Effects icon here, which gives you a
number of different options for which you
| | 01:02 | can change your Transparency.
| | 01:03 | In this case I am going to choose a Drop Shadow.
| | 01:06 | That opens the Effects panel.
| | 01:08 | This Effects panel lets
me control the Drop Shadow.
| | 01:12 | I am going to turn the Preview checkbox on so
I can see what I am doing while I am working.
| | 01:16 | I have a Drop Shadow applied to the
object and I can set all kinds of options
| | 01:21 | for this Drop Shadow.
| | 01:22 | Its color, its opacity.
| | 01:24 | I have got to make this a little not
quite as strong, and change it down to 60%.
| | 01:27 | That sort of brings it back
a little bit, more realistic.
| | 01:30 | I can change its Position.
| | 01:31 | For example, its distance from the thing
that's supposed to be casting the shadow.
| | 01:35 | That's going to be a little bit too big,
maybe I will change this down to like 3
| | 01:38 | points, something like that.
| | 01:40 | And I can also change the Angle.
| | 01:42 | Watch what happens as I drag or
click on this little Angle icon here.
| | 01:47 | I could type a number in here or just
click over here and now it looks that
| | 01:51 | the light is coming from the lower left
corner and casting the shadow up into the right.
| | 01:56 | This lets me change the
Size of that Drop Shadow.
| | 02:00 | In other words, how blurry it's going to be.
| | 02:02 | If I make a very small number, like 2
points, then it becomes a very strong shadow.
| | 02:07 | If I make it really large, like a 9
point size, it makes it very blurry.
| | 02:12 | That's how you control sort of the focus of it.
| | 02:14 | I am going to make this
smaller, again, maybe 3 points.
| | 02:17 | Spread lets me control how strong
the Drop Shadow is in a different way.
| | 02:22 | Technically, Spread controls how far
from the object out should the maximum
| | 02:27 | opacity be and then it's going to
fade off gently to nothing, right?
| | 02:32 | Well, Spread lets me control how far out
it should be at that maximum 60% opacity.
| | 02:38 | So if I change this to something like
100% and I hit Tab, then it's at the
| | 02:43 | maximum opacity, 60%, all
the way out to the very edge.
| | 02:47 | The entire size of the Drop Shadow.
| | 02:50 | If I change it to 50% opacity, then
it's going to be at 60%, all the way out to
| | 02:56 | about halfway, and then
it's going to drop off to 0.
| | 02:58 | So that's how you can control the
strength of your Drop Shadow in another way.
| | 03:03 | And I almost always set it to 0, unless I
am creating some kind of special effect.
| | 03:07 | The last option I am
going to choose here is Noise.
| | 03:10 | Noise is a very, very important
feature in Drop Shadows. Highly underrated.
| | 03:14 | Almost everyone leaves it
set to 0, and that's a mistake.
| | 03:18 | Because 0% Noise means a very
artificial looking Drop Shadow.
| | 03:22 | You want to add a little bit of Noise,
also called dithering, to your Drop Shadows.
| | 03:28 | Just maybe 3 or 4%.
| | 03:30 | That's all you need to break it up a
little bit and make it more natural looking.
| | 03:35 | If you are going to have a lot of
different objects on your page that have the
| | 03:38 | same Drop Shadow, it's a good idea to
turn on the Use Global Light feature.
| | 03:43 | That way you can synchronize all your
Drop Shadows, so that if the Angle changes
| | 03:48 | in one, it will change in
all the other ones as well.
| | 03:51 | I am going to drag this back down
to where I had it, more or less.
| | 03:54 | And it tells me that changing this value
will reset it throughout the entire document.
| | 03:58 | Be sure you want to have it set that way,
and in this case we do, I will click
| | 04:02 | OK, and click OK, and you can see
that I have got the Drop Shadow here.
| | 04:05 | Let's go ahead and apply Drop
Shadows to some other objects on my page.
| | 04:10 | Perhaps this object up here
and this there and this there.
| | 04:13 | Let's go ahead and apply the Drop
Shadow to some other objects on the page,
| | 04:16 | these three frames up here.
| | 04:18 | Now, do I need to go through that
same dialog box over and over again?
| | 04:22 | No, if I want to copy an effect, like a
Drop Shadow, from this object onto one
| | 04:27 | of these, I simply select the object.
| | 04:29 | In this case the text frame that I
just made the Drop Shadow, go over to the
| | 04:32 | Effects panel and see that little fx icon there.
| | 04:36 | It's not just an icon that says hey,
there's an effect applied here.
| | 04:40 | It also lets me drag that icon around.
| | 04:42 | For example, I can drag that icon on
top of another object here and you can see
| | 04:46 | that it applies a Drop Shadow.
| | 04:48 | I will go ahead and apply it to this
one as well, and this one over here,
| | 04:51 | and this one over here. There we go.
| | 04:53 | So I have applied that same Drop Shadow
to multiple frames very quickly, just by
| | 04:58 | dragging the Effects icon around.
| | 05:00 | Now I want to change the
Drop Shadow to something else.
| | 05:03 | How do I edit a Drop Shadow?
| | 05:04 | Just double click on the Effects icon,
up comes the Effects panel and I can
| | 05:08 | change it to -- in this case why
don't I change the Global Angle for this.
| | 05:12 | It's warning me that, yes, it's going to
effect the entire document. That's fine.
| | 05:16 | So I click OK, click OK, and you can
see that the Drop Shadows change, not just
| | 05:21 | here, but throughout the whole document.
| | 05:23 | All these images change as well.
| | 05:26 | The last thing I want to point out
about Drop Shadows is that you have to be
| | 05:29 | careful what you are applying them to.
| | 05:30 | I will select this text frame
here and apply a Drop Shadow.
| | 05:34 | I will just go ahead and leave this set
to the default values, and you can see
| | 05:39 | that the Drop Shadow was
applied to all the text inside.
| | 05:42 | That's not what I wanted.
| | 05:43 | That looks really ugly.
| | 05:45 | So instead I wanted to apply
it to the frame, not the text.
| | 05:50 | The reason it's applying it to the text and
not the frame is that I have no fill here.
| | 05:56 | I look up in the Control panel and
I can see the fill is set to None.
| | 05:59 | But as soon as I choose any sort of
opaque fill, like a Paper color, now it's
| | 06:04 | going to apply the Drop Shadow to
the whole object, to the fill and the
| | 06:09 | stroke, not the text.
| | 06:11 | The problem here is that I actually have
some Transparency on the fill, so I can
| | 06:16 | see the Drop Shadow through it.
| | 06:18 | Well, I am going to have to fix that.
| | 06:19 | I will go select the fill in the Effects
panel and change the opacity back up to 100%.
| | 06:24 | There we go.
| | 06:25 | That's looking much better now.
| | 06:26 | We have a fully opaque white
frame and the Drop Shadow behind it.
| | 06:31 | So Drop Shadows are cool, but there
is no doubt that they can be overused
| | 06:35 | and end up making your document look,
well, a little hackneyed, so proceed
| | 06:39 | with caution.
| | Collapse this transcript |
| Applying feathering| 00:01 | One of the side effects of creating
layouts on a computer is that everything is
| | 00:05 | clean and the edges are sharp.
| | 00:07 | Now, if that's the look you
are going for, then great.
| | 00:09 | But if you are trying to create a
soft gentle look, then you might consider
| | 00:12 | using the feathering transparency
effects, which blur the edges of objects.
| | 00:17 | InDesign has several different
ways to Feather objects on a page.
| | 00:21 | In this case, I want to feather
the edge of this flower image.
| | 00:25 | So I am going to zoom in a little
bit with Command+Plus or Ctrl+Plus on
| | 00:28 | Windows, and I am going to turn on the
High Quality Display Mode from the View
| | 00:33 | menu, because all the Transparency
Effects look much better when High Quality
| | 00:37 | Display Mode is on.
| | 00:39 | I can find all my different
transparency effects inside the Effects panel, so
| | 00:43 | that's what I am going to do.
| | 00:43 | I will go to the Effects panel and
choose one of my Feathering Effects.
| | 00:48 | You can see that I have three different options.
| | 00:50 | Basic, Directional and Gradient Feather.
| | 00:52 | I am going to start with Basic Feather.
| | 00:54 | That opens up the Effects panel, which lets
me change the Feathering for the entire object.
| | 01:00 | In this case, I am going to set it much
larger so you can really see the effect.
| | 01:03 | I will change it to like 50 points here.
| | 01:05 | And you can see that on all four sides of my
image that was selected, have been Feathered.
| | 01:10 | They sort of fade off to nothing on the sides.
| | 01:13 | No matter which Feather Effect you use,
it's a good idea to add a little bit of
| | 01:17 | Noise, so it doesn't look so artificial.
| | 01:19 | Maybe just 3 or 4% Noise.
| | 01:21 | Actually, if you make this really big
percentage, like way up in the 90% range,
| | 01:26 | everything gets kind of grungy and pixelated.
| | 01:28 | And some people like that effect.
| | 01:29 | That's kind of a cool special effect,
but for most people, they want just a
| | 01:33 | little bit of Noise to break it up and
make it look a little bit more natural.
| | 01:37 | So that's what we are going to do here.
| | 01:38 | So Basic Feather always
Feathers all sides of an object.
| | 01:42 | Let's look at a different kind
Feather, Directional Feather.
| | 01:45 | I will turn off the Basic Feather checkbox and
turn on Directional Feather by clicking on it.
| | 01:51 | Directional Feather lets me change the
Feather, the fading out nature of this
| | 01:55 | object on each of the four sides.
| | 01:58 | For example, here I only want it to
Feather off the top, so I will just change
| | 02:02 | the Top field to, in this case, 50 points.
| | 02:05 | Can you see how that works?
| | 02:07 | It's fading off just on the top, but not
on the left, right, or bottom of the image.
| | 02:12 | But sometimes I need more control
about how it fades off, exactly where
| | 02:17 | it breaks, and so on.
| | 02:18 | So in those instances I don't use
Directional Feather, I use Gradient Feather.
| | 02:23 | Gradient Feather is like the manual
transmission of Feathering, because you can
| | 02:27 | have lots of control over
exactly where everything fades.
| | 02:31 | You can see that to start with my
Gradient Feather is going from fully opaque to
| | 02:36 | fully Transparent left to right.
| | 02:38 | That's because the Angle is set to 0.
| | 02:40 | If I change this to 90 degrees instead,
it's going to be Opaque at the bottom
| | 02:44 | and Transparent at the top. Okay.
| | 02:46 | That's great.
| | 02:47 | Now let's change the Gradient Stops.
| | 02:49 | We can see that the Black means fully
Opaque and white means fully Transparent.
| | 02:55 | And I can drag these sliders around to
control exactly how much of the image is
| | 02:59 | going to be Opaque before it starts fading out.
| | 03:02 | I can also control how much of
the image should be Transparent.
| | 03:06 | So I can move this around a little bit
to get just the effect I am looking for,
| | 03:09 | and then I can also
control the center point slider.
| | 03:12 | The center point slider lets me
change where the 50% mark is, where is it
| | 03:17 | halfway Opaque, halfway Transparent.
| | 03:19 | And so you can see you can really dial
in just the effect you are looking for.
| | 03:24 | I can even add additional Gradient
Stops on here by just clicking in the bottom
| | 03:28 | part of that Gradient Stop.
| | 03:30 | And when I do that, I can
change the opacity of each of these.
| | 03:34 | Maybe I want it really Transparent here, and
then to become really opaque again over here.
| | 03:38 | So you get the idea, you can make bands
of Transparency in anything on your page.
| | 03:43 | Now I am going to click OK here, and I
want to point out one more Feathering
| | 03:47 | feature and that is the Gradient
Feather tool in the tool panel.
| | 03:51 | This lets me fine-tune my gradients even
more, by clicking and dragging on my object.
| | 03:57 | You can see that wherever I click, it
becomes fully opaque and wherever I let it
| | 04:01 | go, it becomes fully transparent.
| | 04:03 | I will click on the upper right and
drag down and you see that the whole
| | 04:06 | thing flips around.
| | 04:07 | Click in the bottom and move to the top
and you can see that it flips around as well.
| | 04:11 | So you can see, you can really make
some amazing effects here, and remember,
| | 04:15 | this works for anything on your InDesign page.
| | 04:18 | We did this to an image frame, but you
could do this to a text frame, a line,
| | 04:22 | vector images, really anything.
| | Collapse this transcript |
| Copying formatting with the Eyedropper tool| 00:01 | When you're laying out a document,
you'll often find yourself needing to copy
| | 00:04 | formatting from one place
in a document to another.
| | 00:07 | Paragraph styles and object
styles are one way to copy formatting.
| | 00:11 | I'll be talking about those in a later
chapter, but sometimes, it's just faster
| | 00:15 | to use the Eyedropper tool.
| | 00:16 | Let me show you how it works.
| | 00:18 | I'm going to zoom in on this part of
this page and I want to copy the formatting
| | 00:22 | from this heading to this heading over here.
| | 00:26 | To do this with the Eyedropper tool,
I'll first select it in the tool panel and
| | 00:29 | then come over and click on
the formatting I want to copy.
| | 00:32 | Now, notice that before I click, I
have a little white Eyedropper tool, and
| | 00:37 | after I click, it changes
to a black Eyedropper tool.
| | 00:41 | That's to indicate that it's sucked up a little
bit of a formatting, whatever I had clicked on.
| | 00:45 | Now I'm going to come over here to what
I want to apply the formatting to and I
| | 00:50 | can either click or drag.
| | 00:51 | In this case, I'm going to click,
because I want to take all the paragraph
| | 00:55 | formatting and apply it to
this paragraph over here.
| | 00:58 | Now how does the Eyedropper know what
to copy, which formatting to copy and
| | 01:02 | which to leave behind?
| | 01:03 | I can control that by double-
clicking on the Eyedropper tool.
| | 01:07 | Then up comes the Eyedropper Options.
| | 01:10 | Here you can see that I can choose
from a lot of different kinds of options,
| | 01:13 | object formatting and text formatting.
| | 01:16 | For example, if I don't want to take
the paragraph formatting but I do want to
| | 01:20 | take the character formatting,
I'll just turn that checkbox off.
| | 01:24 | Click OK, and I'll try again.
| | 01:26 | I'm going to select what I want to copy
and then paste it on top of something.
| | 01:31 | In this case, I'm just applying
character formatting, not paragraph formatting.
| | 01:35 | So I'm going to click-and-drag over an area.
| | 01:39 | When I let go off the mouse button,
you'll see that it's applied the character
| | 01:43 | formatting to just the part of
the text that I dragged over.
| | 01:47 | This works on objects as well as text.
| | 01:49 | So I'm going to zoom back Fit
Spread in Window with Command+Option+0 or
| | 01:53 | Ctrl+Alt+0 and I'm going to copy the
formatting from this whole object over here
| | 01:58 | to this object on the right side.
| | 02:00 | I want those to have the same formatting.
| | 02:02 | So I'll double click on the Eyedropper
tool, make sure that I have everything
| | 02:06 | selected, because I want to grab all of that.
| | 02:08 | Although in this case I'm really only
copying object formatting to start with.
| | 02:11 | I'll click OK and pull in the formatting by
just clicking on the background of this frame.
| | 02:18 | Now that I've changed to the black
Eyedropper tool, I'll come over here and
| | 02:22 | click on the background here.
| | 02:24 | Now, I do need to be a
little bit careful when I do this.
| | 02:26 | The cursor changes very
subtly, depending where it is.
| | 02:30 | If I move the cursor near the text, I get
a little cursor that has an I-beam in it.
| | 02:34 | That means I'm going to be
applying my formatting to the text.
| | 02:38 | But if I come over here to the right,
here I'm just going to be applying it to
| | 02:42 | the frame, not just the text inside the frame.
| | 02:45 | I'll click and you can see that it
grabbed that whole formatting, the gradient,
| | 02:50 | the color and so on, and applied it over here.
| | 02:53 | So that's very handy.
| | 02:54 | Now, I'm going to do the same thing to the text.
| | 02:56 | I'm going to reload my cursor, not
with the formatting from the background
| | 03:01 | frame, but with the
formatting from that text in there.
| | 03:05 | So to do that, to reload the Eyedropper,
I'm going to hold on the Option or Alt
| | 03:09 | key, and as long as I'm holding that
down, it changes to the White Eyedropper.
| | 03:14 | I'll click on that heading, come over
here and click on the FactFile on this
| | 03:18 | side and you can see that
it copied the formatting.
| | 03:21 | Come over here and Option+Click or
Alt+Click on the formatting of this paragraph.
| | 03:25 | Then I'm just going to click-and-
drag over all of this text, and you can
| | 03:28 | see that it applied it.
| | 03:29 | I didn't quite get all the text,
because some of it had been overset.
| | 03:32 | So I'll just keep doing this until
I get all the text in that story.
| | 03:36 | Now, notice that in these examples,
nothing has been selected on my page.
| | 03:41 | If I do have something selected, the
Eyedropper works slightly differently.
| | 03:45 | For example, I'll use the Black Arrow
Selection tool to select this object on
| | 03:50 | the right side of the page here,
because I want to make that to have the same
| | 03:54 | formatting as this one on the left page.
| | 03:56 | So first I select the object,
then I use the Eyedropper tool.
| | 04:00 | Now, I'm going to be a little
clever here by holding down the I key.
| | 04:04 | As long as I hold that down, I'm
getting the Eyedropper as a little springy
| | 04:08 | shortcut, and I'm going to click
on the frame that I want to copy.
| | 04:12 | As soon as I do that, it copies
the formatting to everything that was
| | 04:16 | selected on my page.
| | 04:17 | Then I let go off the I key and it
switches back to my original tool.
| | 04:22 | The Eyedropper tool is great for the
quick formatting pickup from here to there,
| | 04:26 | but honestly, if you need to apply a
lot of formatting throughout a document,
| | 04:29 | styles are a much better way to go.
| | 04:31 | And as I said, I'll
explore those in a later chapter.
| | Collapse this transcript |
| Finding and changing object formatting| 00:01 | When I am working on designing or
laying out a document, I don't want to be
| | 00:04 | bothered by mind numbing tasks.
| | 00:07 | For example, can you imagine working on
a big document and then your client or
| | 00:10 | your art director says something like, Hey,
can you make all of these gray lines green?
| | 00:16 | This kind of thing would make me scream.
| | 00:18 | If I didn't have a Find/
Change feature to do it for me.
| | 00:21 | But I do and it lives just where you'd
expect, in the Find/Change dialog box.
| | 00:26 | I'll go to the Edit menu, choose Find/
Change and here in the Text tab of the
| | 00:30 | Find/Change dialog box, I can find
and change text and text formatting.
| | 00:35 | I don't want that, I want Object Formatting.
| | 00:38 | So I am going to click on the Object
tab and now I can dial in exactly what I
| | 00:43 | want to find and exactly
what I want to change it to.
| | 00:46 | To change those values I can click
anywhere inside this little blank area.
| | 00:51 | I could also click on that little tiny
button if you want to, but basically I
| | 00:54 | just click anywhere in this blank
area and up comes the Find Object
| | 00:58 | Formatting Options dialog box.
| | 01:00 | Now I can choose just about any kind of
object formatting that you could imagine in here.
| | 01:04 | But in this case, I simply want to start
with, I am going to look for a gray stroke.
| | 01:09 | So I am going to choose Gray out of my
list of color swatches here and it loads
| | 01:13 | it in as my swatch here and then click OK.
| | 01:17 | To change it to something different, I
click anywhere in the blank area down
| | 01:21 | here, up comes the Change Object
Format Options dialog box and I can tell it
| | 01:25 | what I wanted to change to.
| | 01:27 | it's finding anything with a gray
stroke and it's going to replace it with, in
| | 01:32 | this case something with a dark green stroke.
| | 01:35 | Now I can also specify other
formatting other than stroke here.
| | 01:38 | For example, I could say make it 50%
Tint or perhaps come over here and apply a
| | 01:44 | different Fill to all of these objects as well.
| | 01:47 | But in this case, I don't wanted to do
those things, I just wanted to change the
| | 01:50 | color of the stroke.
| | 01:51 | So I'm going to deselect those things
by here choosing Any Swatch and that sets
| | 01:57 | it back this Question Mark icon and
I'll go back to Stroke and I'll remove 50%
| | 02:02 | simply by deleting it.
| | 02:04 | Now it's blank, so it means don't change it.
| | 02:07 | I click OK and you can see that the
Find/Change dialog box now lists exactly
| | 02:12 | what's going to happen.
| | 02:13 | Find everything that has stroke color of gray
and Change it to a stroke color of dark green.
| | 02:18 | Of course, InDesign gives me
even more controls than that.
| | 02:22 | I could tell it what to search.
| | 02:23 | For example, here it's going
to search just this Document.
| | 02:26 | If I change it to All Documents, it'll
search and replace in all open documents.
| | 02:31 | In this case, I just wanted
to change this one document.
| | 02:33 | I can also determine which kind of
objects should it search for, All Frames or
| | 02:39 | just Text Frames, Graphic
Frames or Unassigned Frames.
| | 02:42 | I am going to tell it to search for everything.
| | 02:44 | And then finally, I want to pay attention
to these little buttons along the bottom.
| | 02:48 | I always have to place my cursor over
them so I can get that little tool-tip to
| | 02:51 | figure out what those things mean.
| | 02:53 | This one here means Include Master
Pages, and that is something I want to
| | 02:58 | do because I happen to know that on my
master page I have some of those gray objects.
| | 03:03 | So I am going to have that one on.
| | 03:05 | Let's go try it out.
| | 03:06 | I'll click Change All and it goes
through and it says it found 14 objects and it
| | 03:10 | made 14 replacements. Sounds great.
| | 03:13 | When I click OK, you can see that
all of those gray lines are now green.
| | 03:18 | Now if I also want to go back and
change the object that have gray fills to
| | 03:21 | green, I would have to do that
as a second Find/Change operation.
| | 03:25 | So I'll click up here.
| | 03:26 | I'll say, I don't care what kind of stroke
it is, but I do care about what kind of Fill.
| | 03:32 | I want it to be a gray fill, click OK, come
down here and change the Object Formatting.
| | 03:38 | I don't care about the Stroke, so I
am going to set that to Any Swatch.
| | 03:42 | I am just clicking in this little
icon up here, and you can see that that
| | 03:45 | changes the pane that I'm looking
at, just a little shortcut there.
| | 03:48 | I am going to make this be dark green
as well, so I'm filling with dark green.
| | 03:53 | Click OK, and you can see that it is
filling, it's finding Object Format with a
| | 03:58 | fill color of gray and
change Object Format with -- Oh!
| | 04:02 | My Goodness, I changed all kinds of
stuff in here, something must have
| | 04:04 | gone terribly wrong.
| | 04:05 | Well, I can clear all of this out by
clicking on the little Trashcan icon here,
| | 04:11 | that I want to start over from scratch.
| | 04:13 | So I cleared that out and I'll try
one more time, Fill with dark green.
| | 04:19 | Now it's going to find gray, replace with dark
green, only fills, All Frames on Master Pages.
| | 04:24 | Try it out.
| | 04:25 | 78 objects found and
replaced, I love that feature.
| | 04:30 | I happened to know a bunch of the
people on the InDesign engineering team and
| | 04:34 | they all say the same thing.
| | 04:35 | Their aim is take these mind numbing
painful tasks and make them easy and
| | 04:40 | automated, so you can focus on what
you do best, making great looking pages.
| | 04:45 | This Find/Change feature is a great
example of how they are succeeding.
| | Collapse this transcript |
| Making polygons and starbursts| 00:01 | I'd like to put a starburst on this cover,
kind of spice things up a little bit.
| | 00:05 | But there's no Starburst tool in InDesign.
| | 00:08 | There is, however, the Polygon tools.
| | 00:11 | Now the Polygon tools are a little bit
weird because typically when you start
| | 00:15 | dragging them out, all you get is
a hexagon and who needs a hexagon?
| | 00:19 | I don't know why they put that in there.
| | 00:21 | I want a starburst and I can turn my
hexagon into one if I know a few tricks.
| | 00:27 | I'll press Delete key to make that go away and
I am going to double-click on the Polygon tool.
| | 00:32 | That opens the Polygon Settings
and here is where the magic happens.
| | 00:36 | I can choose the Number of Sides, for
example, maybe a 20-sided polygon and
| | 00:41 | click OK, and start dragging and all of a
sudden you see I have got something with it.
| | 00:45 | It looks almost like a circle but
there is 20 sides around that thing.
| | 00:49 | Let me delete that and do it
again, double-click opens it up.
| | 00:52 | It remembers that I wanted 20 sides, but
this time I'm going to change the Star Inset.
| | 00:58 | If this is set to anything other than
zero, for example 20%, click OK, then
| | 01:04 | InDesign doubles the number of points.
| | 01:06 | So I actually have 40 points on this
object and every other point is inset slightly.
| | 01:11 | In this case 20% in from the
outside to the center point.
| | 01:16 | So I start to get my
starburst, looks pretty good.
| | 01:19 | Now once I make a starburst
I might want to change it.
| | 01:22 | Maybe I want to change the Inset slightly.
| | 01:25 | The trick to doing that is to have it
selected on my page and then double-click
| | 01:29 | on the Polygon tool.
| | 01:31 | Up comes the Polygon Settings, but this
not only changes all the polygons I am
| | 01:35 | going to be creating from here on out,
but it also changes any polygons that I
| | 01:39 | have selected on my page right now.
| | 01:41 | So let's change this to maybe 18
sides, but a larger Inset. There we go.
| | 01:45 | Okay, here's one more trick that you
should know about when making polygons.
| | 01:51 | Now I am going to create another
starburst, but this time I want to show you
| | 01:54 | what happens when you hold
down different Modifier keys.
| | 01:57 | For example, if I hold down the
Shift key it constrains it to a square.
| | 02:02 | That is the height and width are the same.
| | 02:04 | So it could fit into a square or fit into
a circle, however, you want to say that.
| | 02:08 | Instead of the Shift key I am going to show
you what happens if I press the Arrow keys.
| | 02:12 | If press the Up arrow key, it
starts to turn into a grid of starburst.
| | 02:17 | I'll press that a couple of times and
then I'll press the right arrow a couple
| | 02:20 | of times and you can see that now I am
making nine starbursts at the same time.
| | 02:24 | I'll hold down the Shift key and so
they are now all made in a perfect grid,
| | 02:29 | perfectly square size as it were.
| | 02:32 | So that's kind of interesting, although,
I'm not sure why you'd want do it but
| | 02:35 | it's kind of interesting that you can.
| | 02:36 | But let me show you another modifier trick,
which is going to be a little bit more useful.
| | 02:41 | Press the Delete key and I'm going to
start dragging out again and this time
| | 02:45 | instead of pressing the arrow keys
first, I am going to press the Spacebar.
| | 02:50 | Now this is a strange, very
obscure trick but its good one to know.
| | 02:54 | I'll press the Spacebar once and when I
do that the arrow keys now mean add points.
| | 03:01 | Up arrow key means add points, the
Down arrow key means reduce the number of
| | 03:05 | points and the Left and Right arrow
keys mean change the amount of the inset.
| | 03:10 | So I am pressing the Right arrow to
increase the Inset the left arrow to
| | 03:14 | decrease the inset, but those arrow keys
will only work after I press the Spacebar once.
| | 03:20 | That's pretty strange.
| | 03:21 | But that's how it works.
| | 03:23 | Dragging things out, press the Spacebar
and then if I want to change the number
| | 03:27 | of points or inset on the
fly, use the Arrow keys.
| | 03:30 | Let go and now it's created.
| | 03:33 | Granted a fancy starburst might be out
of place if you're laying out a scholarly
| | 03:37 | scientific journal, but a cool 20
sided icosagon or one of these amazing
| | 03:42 | starbursts like this might be
perfect if you want to make a big splash.
| | Collapse this transcript |
|
|
8. Interactive DocumentsMaking interactive documents| 00:00 | InDesign is a layout application but
notice that I didn't say what kind of layout.
| | 00:05 | Most people use it to layout print
documents but you can use it for interactive
| | 00:09 | on-screen documents just as easily
because it offers a wide range of
| | 00:13 | interactive features.
| | 00:14 | For example, this document has buttons,
animations, sound, movies, and more.
| | 00:19 | Now these days it's not about
print or on-screen documents.
| | 00:23 | It's all about print and on-screen.
| | 00:26 | You simply have to know at least
a little bit about both worlds.
| | 00:29 | That said, creating
interactive documents is a vast topic.
| | 00:34 | In this chapter, I'm going to touch on
the essentials and then after you get
| | 00:38 | these under your belt, consider
watching Michael Ninness' Interactive Documents
| | 00:42 | title in the Online Training Library.
| | 00:44 | You'll be glad you did.
| | 00:45 | But before I go any further, I want to
point out that when I talk about building
| | 00:49 | interactive documents, I mean
interactive PDF or SWF documents.
| | 00:55 | Things like movies and buttons don't
really do that much on your document
| | 00:58 | page itself, but fortunately, you can view
your interactivity inside the Preview panel.
| | 01:04 | Let me show you.
| | 01:05 | InDesign has a workspace called Interactive.
| | 01:08 | So I'm going to choose that out of my
application bar and open the Preview panel.
| | 01:12 | Now I'm going to tell InDesign to
preview this document by clicking on the Play
| | 01:16 | button in the lower-left corner.
| | 01:18 | InDesign literally exports my spread
as a SWF file and then loads that Flash
| | 01:23 | SWF into this panel.
| | 01:24 | Did you see that little animation there?
| | 01:26 | That is one thing that's animated on my page.
| | 01:29 | But this document has
all kinds of interactivity.
| | 01:31 | It has buttons with rollovers. It has a movie.
| | 01:42 | It even has hyperlinks.
| | 01:44 | Once you get your file working the way
you want it and it previews correctly,
| | 01:47 | you can export it out as a PDF and open
in Acrobat or export a SWF and open it
| | 01:53 | in Flash Player or your web browser.
| | 01:55 | I'll show you how to do those
things in the chapter on exporting.
| | 01:59 | Okay, first, let's look at how to
build the most basic interactive element
| | 02:03 | of all, a hyperlink.
| | Collapse this transcript |
| Adding hyperlinks| 00:01 | Hyperlinks are essentially buttons.
| | 00:03 | They're hot areas that you can
click that take you somewhere.
| | 00:06 | Maybe they take you to a web address or
maybe they send an email or take you to
| | 00:10 | a different place in your document.
| | 00:12 | Now, you can apply a hyperlink to
either text or an object in InDesign.
| | 00:16 | Let me show you how.
| | 00:18 | First I'm going to zoom-in on this
orange frame and I'm going to add a
| | 00:21 | hyperlink to this word, Moo!
| | 00:23 | It seems like an easy one to add one to.
| | 00:27 | To make a hyperlink, I need the
Hyperlinks panel and I can find the
| | 00:30 | Hyperlinks panel by choosing the
Interactive workspace from either the
| | 00:35 | application bar or Window > Workspace.
| | 00:39 | When I have the Interactive workspace open,
it's easy to find the Hyperlink panel.
| | 00:43 | It's right here.
| | 00:44 | It looks like a little abc
with a finger pointing at it.
| | 00:47 | Now to make this into a hyperlink,
I choose New Hyperlink from the
| | 00:51 | Hyperlink panel menu.
| | 00:54 | There are various kinds of hyperlinks
I can make here, including a URL, file,
| | 00:58 | email, a page link and so on but in
this case, I'm just going to stick with the
| | 01:03 | URL because I'm going to
make this go to moo.com.
| | 01:07 | Now InDesign gives me this cryptic
checkbox, Shared Hyperlink Destination.
| | 01:12 | You want that turned on if you're going to be
using this link a lot of times in your document.
| | 01:18 | But in this case, the link only shows up
once in my document so I'm going to turn it off.
| | 01:23 | I want to encourage you to leave this
checkbox off most of the time unless
| | 01:27 | you're making a hyperlink that's going
to be used over and over again in your
| | 01:30 | document. Leave it turned off or else
you're going to find yourself working with
| | 01:34 | a bloated document and
it's going to slow you down.
| | 01:36 | Now InDesign gives me a couple of
other options here including the option to
| | 01:40 | apply a character style to
whatever text is being selected here.
| | 01:44 | I like that so I've turned it on and I
chose a character style out of this pop-up menu.
| | 01:49 | I cover character styles in a
later chapter but I'll tell you now that
| | 01:53 | this character style that I've made is making
the text italic and making a blue underline.
| | 01:59 | That way it pops off the page to my viewer as
a hyperlink, as something that I can click on.
| | 02:04 | The last item here is Appearance and
this is kind of a silly one in my opinion
| | 02:08 | because there's really two options.
| | 02:10 | There's Invisible and Visible
Rectangle and if you choose Visible Rectangle,
| | 02:14 | you'll get a really, really ugly
visible rectangle around your hyperlinks and
| | 02:19 | everyone will scratch their head and
wonder why you chose this incredibly
| | 02:22 | dorky looking rectangle.
| | 02:23 | So I do not recommend doing that.
| | 02:25 | I always use Invisible Rectangle and
that's what I recommend you do too.
| | 02:30 | Okay, I'm going to click OK and you can
see that I have applied a hyperlink here.
| | 02:35 | It looks like a hyperlink because I've
applied that character style but I can
| | 02:38 | also see it's a hyperlink because down
at the bottom of the Hyperlinks panel,
| | 02:42 | I can see it says Moo!
| | 02:45 | That's the text that was selected
so that's what it calls it here in
| | 02:48 | the Hyperlinks panel.
| | 02:49 | If I hover my cursor over it, I get a
little tooltip that shows me what it's
| | 02:54 | actually pointing to, that moo.com address.
| | 02:57 | You also will notice that there's a URL
item here, there's a little field here
| | 03:01 | that you can use to type in your own URL.
| | 03:03 | For example, I can select the word
California, come over here and type in,
| | 03:08 | so I'll make sure that the http://
is there and then I'll just type
| | 03:13 | http://california.gov.
| | 03:15 | The problem with doing it this way, and
I'll hit Return or Enter to make it turn
| | 03:19 | into a hyperlink, but the problem with
doing it this way is that I don't get the
| | 03:24 | option to set a character style and I
don't get the option to make it a shared
| | 03:28 | hyperlink destination or not.
| | 03:29 | It always turns into a
shared hyperlink destination.
| | 03:33 | So because I don't like using that very
much, I tend not to use this Hyperlink
| | 03:37 | panel very much, but again, that's up to you.
| | 03:40 | Now what should I do when I see a
hyperlink like this where the URL is actually
| | 03:44 | typed out in the document.
| | 03:46 | Well, it turns out that those
links are actually even easier to make.
| | 03:51 | I'll deselect that and show you how.
| | 03:53 | I'll go to the Hyperlinks panel and choose
from the panel menu, Convert URLs to Hyperlinks.
| | 04:00 | Up comes this dialog box, which is kind
of like a Find/Change dialog box actually.
| | 04:04 | It lets me search my document or this
one story, if I have a story selected.
| | 04:10 | It lets me apply a
hyperlink to all the URLs it finds.
| | 04:13 | I'm going to tell it to apply the
hyperlink style and then I can either choose
| | 04:17 | Find and then convert one at a time
or in this case I'm feeling kind of
| | 04:22 | trusting so I'm just going to click Convert All.
| | 04:25 | It found 7 instances of URLs in my
document so I click OK and then Done and you
| | 04:30 | can see that it made the hyperlinks for me.
| | 04:33 | Now, let's go ahead and make
one more kind of hyperlink.
| | 04:36 | I'll zoom back to fit the page in
the window with Command+0 or Ctrl+0 on
| | 04:40 | Windows, hit Escape to switch to the
Selection tool, and I'm going to select this
| | 04:45 | image, this graphic frame
here with a lemon in it.
| | 04:49 | As I said, I can apply hyperlinks
both to text and also objects on my page.
| | 04:54 | To do this, I apply a hyperlink to
this object just the way I did it to text.
| | 04:58 | I'll go to the Hyperlinks panel, choose
New Hyperlink and then type in the URL,
| | 05:03 | if I were going to go into a URL, right here.
| | 05:05 | In this case, I'm going to go to a page instead.
| | 05:08 | I'm going to tell it to go
to Page 8 of this document.
| | 05:11 | If I had more than one document
open here, it would give me a choice of
| | 05:14 | which document I wanted to link to but
in this case, I'm just going to Page 8 of
| | 05:18 | this particular document.
| | 05:19 | I'll click OK and it makes the link for me.
| | 05:23 | Of course, if I later decide that I
don't want that hyperlink anymore,
| | 05:27 | I simply choose it in the Hyperlinks
panel and click on the little trashcan in
| | 05:31 | the lower right corner.
| | 05:32 | It ask me if I want to remove the
selected hyperlinks and yes, of course, I do.
| | 05:36 | If there's any chance your documents
will be read on screen, you owe it to
| | 05:40 | yourself and your readers to create
hyperlinks that help them navigate your
| | 05:44 | document or jump to other resources.
| | 05:47 | In the next movie, we'll take a look at
a second form of navigation, bookmarks.
| | Collapse this transcript |
| Building bookmarks| 00:01 | Any PDF document longer than a few pages
that's meant to be read on-screen needs bookmarks.
| | 00:06 | These let your readers jump directly
to the section of the document that they
| | 00:09 | want to read, and pretty much all PDF
readers can show bookmarks, including
| | 00:14 | Adobe Acrobat, of course.
| | 00:16 | Note that bookmarks are a PDF feature.
| | 00:18 | This is not applicable for SWF files.
| | 00:21 | We don't have any bookmarks in this
document yet, so let's go create them.
| | 00:24 | To make a bookmark, I need the Bookmarks panel.
| | 00:27 | So I'll go to the Window menu, choose
Interactive and then Bookmarks. There it is.
| | 00:33 | It was docked over on this side of the screen.
| | 00:35 | This is empty right now, so I'm going to
create a new bookmark and I'll start at
| | 00:39 | the beginning of my document by
clicking on the first page button way over in
| | 00:43 | the lower-left corner of my document screen.
| | 00:46 | Now I'm going to create a new bookmark
by clicking on the New Bookmark button at
| | 00:51 | the bottom of the Bookmarks panel.
| | 00:53 | It makes a bookmark that's immediately
tied to whatever page I'm looking at,
| | 00:57 | iIn this case, Page 1, and it also
highlights it in the Bookmarks panel ready
| | 01:02 | for me to type a name.
| | 01:04 | I'll just type the name Cover.
| | 01:05 | Let's make that a capital C, there we go.
| | 01:08 | Cover. Then you can type Enter or I'll
click down here in the blank area of the
| | 01:12 | Bookmarks panel to make it take effect.
| | 01:15 | Now, I'll go to the next page with a Shift+
Page Down and I'll make another bookmark.
| | 01:20 | Click New Bookmark and then I'll say
this is Explore California, there we go.
| | 01:28 | Click over here and it made another bookmark.
| | 01:30 | Now if you have a large document, this
is obviously going to take a long time.
| | 01:35 | Fortunately, InDesign can make a whole
bunch of bookmarks for you when you make
| | 01:40 | a table of contents.
| | 01:41 | I've covered the details of making
the table of contents in another of
| | 01:44 | my lynda.com titles.
| | 01:46 | So I'm not going to go into
all the details too much here.
| | 01:49 | I'll just go ahead and make a table of contents.
| | 01:51 | I'll go to the Layout menu, choose
Table of Contents and I can see that I'm
| | 01:56 | going to make one based on a heading,
the head1 paragraph style in my document,
| | 02:00 | and here's the key. Here's
the trick. Create PDF Bookmarks.
| | 02:04 | That's what I want.
| | 02:04 | I'm going to turn that on.
| | 02:06 | Now when I click OK, it goes through
and updates my table of contents that I
| | 02:10 | had in this document.
| | 02:12 | So I'll click OK and now
look at all my bookmarks.
| | 02:15 | It did all of that for me.
| | 02:17 | Of course, it also duplicated one of
the bookmarks that I already made.
| | 02:20 | So I'm going to go ahead and
select that and then delete it.
| | 02:23 | So now I don't need that bookmark, there we go.
| | 02:26 | I have my cover, plus all the
different bookmarks that it made for me.
| | 02:31 | Sometimes depending on the document,
you might find that some of you
| | 02:34 | bookmarks are out of order.
| | 02:35 | Well, you can rearrange these any way you
want simply by dragging them up or down.
| | 02:41 | Now the cool thing about bookmarks
in InDesign is that they work in your
| | 02:44 | InDesign document as well
as in your exported PDF.
| | 02:48 | Here's what I mean. All I have to do
is double-click on the words Nature Watch
| | 02:52 | and it takes me right to that page.
| | 02:55 | That means bookmarks are great for
navigating your files, especially really long ones.
| | 03:00 | Now, when I export this as a PDF,
my bookmarks will appear in that file as well.
| | 03:05 | This document is big, so it
takes a while to export as a PDF.
| | 03:09 | So I've gone ahead and done that
already and I'll show it to you in Acrobat.
| | 03:13 | Here's the PDF file that was exported
and we can see in the Bookmarks tab of the PDF,
| | 03:18 | all of the bookmarks that I've made.
| | 03:21 | Simply click on one of them and
it takes you right to that page.
| | 03:24 | And you might notice this white frame
that's sitting down in the lower-left
| | 03:28 | corner of each of these spreads.
| | 03:29 | That's there because in the next movie,
we are going to be converting that into
| | 03:33 | a button and showing how you can put an
interactive table of contents in there.
| | Collapse this transcript |
| Creating buttons| 00:01 | If I asked you what kind of frames InDesign had,
| | 00:03 | you'd probably answer text frames and
graphic frames, maybe unassigned frames
| | 00:08 | that don't have anything in them.
| | 00:09 | But InDesign has another kind of frame
too that most folks don't know about.
| | 00:14 | Button frames, usually just called buttons.
| | 00:16 | And buttons are only useful when
you're making interactive PDF files or SWF files,
| | 00:21 | but they can do all kinds of
things like jump to another page, play a
| | 00:25 | movie, or even hide or show
other objects on the page.
| | 00:28 | I have my interactive catalog open here,
and I'm going to show you how to make
| | 00:31 | two different kinds of buttons.
| | 00:33 | The first one is going to
be down here on this video.
| | 00:37 | Now that image of a
flower is not a static image.
| | 00:39 | It's actually a Flash movie and I've
imported it just the way I'd import any
| | 00:43 | other kind of image.
| | 00:44 | I just went to the File menu, chose
Place, grabbed it, positioned it, and so on.
| | 00:48 | It's as easy as that.
| | 00:50 | But I want to have a button start to play
the movie, and this is going to be that button.
| | 00:55 | So I select it on my page, and to turn it
into a button, I need the Buttons panel.
| | 01:00 | Because I'm in the Interactive workspace
right now, the Buttons panel is showing
| | 01:04 | up here in the dock.
| | 01:05 | So I'll simply click on its tile to open it.
| | 01:08 | Now, here is how hard it is to make a button.
| | 01:10 | You just select your object and click on
this button at the bottom of the Buttons panel.
| | 01:15 | That's it. Now it's a button.
| | 01:17 | That button doesn't do anything yet,
but it at least is now a button.
| | 01:20 | I want to give it a name up here in
the Name field, something descriptive
| | 01:24 | like play video button.
| | 01:26 | That's what I'll call it, and
I'm going to give it an action.
| | 01:29 | First, I need to specify what
is going to trigger the action.
| | 01:33 | In this case, the event
is going to be On Release.
| | 01:36 | On Release means when the user lets go
of the mouse button. You click down and
| | 01:41 | then you click up, and
click up means On Release.
| | 01:43 | The action is going to be something
from the Actions pop-up menu, and there are
| | 01:47 | all kinds of things buttons can do.
| | 01:50 | In this case, I'm going
to do something with video.
| | 01:52 | So I'll choose Video out of here, and
you'll see that the Buttons panel expands
| | 01:56 | to give me more options.
| | 01:58 | First, I need to choose which video in
my document I want to do something to.
| | 02:02 | There's only one movie.
| | 02:03 | So this is really easy.
| | 02:04 | I'll just select that.
| | 02:05 | And then I need to say, what
do I want to do to that movie?
| | 02:08 | Do I want to play it, stop it, pause and so on?
| | 02:11 | I'm going to play it. That's it.
| | 02:13 | I'm done.
| | 02:14 | I have a button that's going to play that movie.
| | 02:18 | It's as simple as that.
| | 02:19 | Let's go ahead and look at another button.
| | 02:21 | I'm going to zoom back to Fit Page in
Window with Command+Option+0, Ctrl+Alt+0.
| | 02:26 | Actually that will fit the whole spread
in the window, and I would like to make
| | 02:30 | my interactive table of contents
appear and disappear with some buttons.
| | 02:34 | Now, these objects are on a master page.
| | 02:37 | I can tell that because there is
a dotted line around everything.
| | 02:40 | So I'm going to jump to my master
page by pressing Command+J or Ctrl+J on
| | 02:44 | Windows and then hit A and then Enter
or Return to press the OK button. Okay.
| | 02:50 | Here's my master page.
| | 02:52 | Let's go ahead and zoom in
here so we can see this better.
| | 02:54 | Now, I've gone ahead and made
most of these objects buttons already.
| | 02:58 | You can see that just by selecting them.
| | 03:00 | I clicked on Golden Gate and you can see
that it's a button in the Buttons panel.
| | 03:04 | The reason these are buttons is
because they actually take you somewhere.
| | 03:08 | Each of these is going to go to a destination.
| | 03:11 | I've also made a button
out of this object up here.
| | 03:14 | This one is going to close my
interactive table of contents.
| | 03:18 | But I haven't yet made
this object into a button.
| | 03:20 | This is the semi-transparent white
background, which makes my table of
| | 03:24 | contents look better.
| | 03:26 | In order to show or hide any object
on the page, you must make it a button.
| | 03:30 | So I'm going to select that, click on
Make a Button, and then I'm going to say
| | 03:34 | this is the white frame behind toc.
| | 03:38 | You can call it anything you want.
| | 03:40 | And it's not going to actually do anything.
| | 03:42 | It's just going to sit
there behind everything else.
| | 03:45 | But in order to control something in an
interactive document, you must make it a button.
| | 03:50 | So once you make it a button, I can
tell InDesign to show it or hide it.
| | 03:54 | Now, there is one more thing
I need to do to this button.
| | 03:57 | And that is turn on the
Hidden Until Triggered checkbox.
| | 04:01 | When you turn that on you are
telling InDesign to hide this at first.
| | 04:05 | Make it hidden so nobody can see it
until it's specifically turned on.
| | 04:09 | So I'm going to now do that.
| | 04:11 | I'm going to make a button to make that visible.
| | 04:14 | I'll do that on this object
down here, the Contents object.
| | 04:18 | I'll turn this into a button.
| | 04:19 | I'll give it a name.
| | 04:21 | I'll call it show TOC, and I'm
going to make it do something.
| | 04:26 | And the thing it's going
to do is Show/Hide Buttons.
| | 04:31 | Now, which buttons should it show?
| | 04:32 | It should show all of these
buttons here, even the Close button.
| | 04:36 | So I need to tell it to do that.
| | 04:38 | I'm going to click on the Close button
and then click on that little X next to it,
| | 04:43 | and that turns on the eyeball.
| | 04:46 | That means make it visible.
| | 04:48 | I'll scroll down this list a little bit,
and I see a whole bunch of buttons, all
| | 04:52 | of these buttons in here that I've made already.
| | 04:54 | I'm going to grab all of those by
clicking on the first one and then
| | 04:58 | Shift+Clicking on the last one.
| | 05:00 | That just selects all of them at once.
| | 05:02 | And I can turn all of those on.
| | 05:03 | In other words, make them all visible by
clicking on the eyeball button. There we go.
| | 05:07 | Now they're all visible.
| | 05:10 | I've got one more I need to
turn on and that's that white frame.
| | 05:13 | Let's go ahead and turn
that one on. There we go.
| | 05:15 | So I now have the white frame, the
Close box, and all of these other buttons
| | 05:19 | made visible as soon as I turn on the contents.
| | 05:22 | Let's go ahead and check out
our Close button, what that does.
| | 05:26 | That does the same action, Show/Hide Buttons.
| | 05:29 | But instead, we'll see that all of
these buttons have a little eyeball with
| | 05:32 | a red slash through them.
| | 05:33 | That means make them invisible.
| | 05:35 | So the Close button, all of these
other ones, and we better choose our white
| | 05:40 | frame and make that invisible as well.
| | 05:43 | So when somebody clicks on this Close button,
it's going to make all of those invisible.
| | 05:47 | Got it? Good!
| | 05:49 | Now, there is one last thing I'd like
to do and that is make this not only hide
| | 05:54 | and show those things but
I want to make it a rollover button.
| | 05:57 | That is, when the user places the
cursor over it, I want it to light up to show
| | 06:02 | them that this is interactive.
| | 06:03 | Can I go that too in InDesign? Absolutely.
| | 06:06 | Look down here in the bottom of the
Buttons panel and you'll see the word Rollover.
| | 06:11 | In order to make a rollover state,
all I have to do is click it.
| | 06:14 | As soon as I click that,
it gives it a Rollover state.
| | 06:18 | Technically, what's going on here is
that InDesign is duplicating all the
| | 06:22 | objects inside this button, and it's
making some of those objects visible when
| | 06:26 | I'm on the Rollover state, and different
objects visible when I'm in the Normal state.
| | 06:31 | So in order to change the appearance of my
rollover, I simply click on the Rollover.
| | 06:36 | That makes the rollover objects
visible and then I change the appearance.
| | 06:40 | In this case, I'm going to go to the
Window menu, choose Effects, and I'll just
| | 06:44 | give it some kind of glow like this
Outer Glow effect. That'll be nice.
| | 06:48 | Move this out of the way so I can seeita better.
| | 06:50 | I'm going to make it a Screen blending
mode. I will click on this little white
| | 06:54 | area, which brings up the effect color.
| | 06:56 | Let me pick something bright
like a yellow. There we go.
| | 07:00 | A nice yellow glow and I'll make it even
brighter by setting the opacity higher. There we go.
| | 07:06 | Looks great! That's a really
strong glow so I'll click OK.
| | 07:10 | So I've now made a
Rollover state for this button.
| | 07:13 | I'll click on Normal and you see that I
see the object that has no effect. Click
| | 07:18 | on Rollover, and I see the object
that has the effect. That's it.
| | 07:22 | We're done. We've made our buttons.
| | 07:24 | Let's test them out.
| | 07:25 | I'll go ahead and close my FX panel,
close my Buttons panel, let's jump back to
| | 07:30 | our spread with Command+J or Ctrl+J on
Windows, and I'm going to page 6 and let's
| | 07:36 | look at the whole spread,
Command+Otion+0 or Ctrl+Alt+0.
| | 07:39 | It's looking pretty good.
| | 07:41 | And let's go ahead and preview it
by clicking on the Preview pane.
| | 07:46 | Now there are three different
options at the bottom of the Preview panel.
| | 07:49 | I can preview the entire document,
which would actually take a little while
| | 07:52 | because this is a pretty complex
document, or I can preview just the object.
| | 07:57 | That's the first button down here, the
selected object down here, or the whole spread.
| | 08:02 | That's what I'm going to do.
| | 08:02 | I'm going to preview that whole
spread by clicking the Play button.
| | 08:06 | InDesign writes this out to disc as
a SWF file and then puts it back in the
| | 08:11 | Preview panel and there we go.
| | 08:12 | Here is our spread with our
buttons. Let's try it out.
| | 08:16 | I'm going to click on the Play Video button
and you can see that the movie is playing!
| | 08:20 | Now, I'm going to click in this
lower left corner of the window.
| | 08:24 | If you squint, you'll see a
little Pause button there.
| | 08:26 | So I'm going to pause the video
there and let's try out our other button,
| | 08:30 | the Contents button.
| | 08:32 | As soon as I roll over it,
it lights up. See that?
| | 08:35 | Roll off, roll on. So it lights up.
| | 08:37 | The rollover works.
| | 08:38 | Then when I click on it, up comes
the table of contents with all of our
| | 08:42 | different buttons that we've made, and
then to close it, click on the Close button.
| | 08:48 | You can see how easy it is to make
interactive buttons in InDesign and any
| | 08:52 | object can become a button
from text to graphics, even lines.
| | Collapse this transcript |
| Animating an object| 00:01 | Some of the most impressive new
features in InDesign CS5 have to do with
| | 00:04 | animation on your pages.
| | 00:06 | Now, I am not talking about making
Disney movies. I mean getting objects to
| | 00:10 | slide in, fade out, and so on.
| | 00:12 | Virtually, all of these effects work
only in exported SWF files, but if you are
| | 00:17 | headed to SWF, you should
definitely check them out.
| | 00:20 | It's incredibly easy to
animate something. Let me show you.
| | 00:23 | I am going to zoom in on this
graphic here. Zoom in even more.
| | 00:26 | It looks a little rough there,
because I need to go to View > Display
| | 00:29 | Performance > High
Quality Display. There we go.
| | 00:31 | That looks much better.
| | 00:33 | Now, I want to animate this.
| | 00:34 | I want to take this object and
do something interesting with it.
| | 00:37 | So I will open the Animation panel.
| | 00:39 | Now, the Animation panel is grayed out
and it has taken me a moment to realize why.
| | 00:44 | It's because I accidentally selected the
image inside the frame, not the frame itself.
| | 00:49 | So I am going to press the Escape
key to select the frame, not the image.
| | 00:54 | Now the Animation panel comes to life.
| | 00:57 | And I can choose a preset.
| | 00:59 | All of InDesign's animations are set up as
presets, so they are really easy to choose.
| | 01:03 | Just pull something out of this pop-up menu.
| | 01:06 | For example, I can choose Fade In, and
you can see inside the Animation pane at
| | 01:11 | the top here that it is fading in.
| | 01:14 | Every time I move my
cursor over it, it fades in.
| | 01:17 | So that's the effect that I would
get if I exported this as a SWF.
| | 01:21 | Let's try a different one. How about Pulse?
| | 01:25 | Pulse is kind of interesting.
| | 01:26 | It kind of gives you a heartbeat look.
| | 01:28 | Every time I scroll over it, there we go.
| | 01:30 | It gives me a little pulse.
| | 01:31 | Well, that looks pretty good.
| | 01:33 | Let's use that one.
| | 01:34 | I am going to have a little pulsing logo there.
| | 01:36 | But I don't want it to play just one time.
| | 01:38 | I want it to keep playing.
| | 01:40 | So I could specify a number of times
that I want it to loop through, or I'm
| | 01:43 | just going to turn on the Loop checkbox.
| | 01:46 | That way it will keep looping
as long as that page is open.
| | 01:49 | There are dozens of other features
inside this Animation panel, but I am
| | 01:53 | going to leave it there.
| | 01:54 | I am going to keep thing simple and I
am going to close my Animation panel and
| | 01:57 | open the Preview panel and let's
see how this thing really works.
| | 02:00 | Let's preview this spread.
| | 02:02 | I will click the Play
button and it writes it to disk.
| | 02:05 | It opens it up in the Preview panel
and you can see there is my pulsing
| | 02:08 | logo right on my page.
| | 02:11 | Can you believe that it's
that easy to make an animation?
| | 02:14 | No ActionScript programming, no
Masters degree from a prestigious university.
| | 02:18 | Just click, click, bang, you are done.
| | 02:21 | Gotta love that!
| | Collapse this transcript |
|
|
9. ColorCreating color swatches| 00:01 | The Swatches panel is central
headquarters for your documents' colors, and as we
| | 00:05 | saw in an earlier movie, you can use it
to apply fill and stroke colors to any
| | 00:10 | object or text on your page.
| | 00:12 | But what if you get tried of the colors
listed here? What if you want something more?
| | 00:16 | Let's look at how you can create
new color swatches for your documents.
| | 00:20 | To create a new color swatch, I will open the
Swatches panel menu and choose New Color Swatch.
| | 00:26 | Up comes the New Color Swatch dialog box
and I can choose any color I want in here.
| | 00:31 | Now, I do need to choose whether this color
is going to be a process color or spot color.
| | 00:36 | A process color when printed to
color separations will always separate to
| | 00:41 | cyan, magenta, yellow, and black. That's CMYK.
| | 00:45 | You should use a spot color if you are
going to be printing with a very specific ink,
| | 00:49 | like a PANTONE ink.
| | 00:50 | Let's start with a process color.
| | 00:53 | I pick my color here or I could type
in numbers if I want to, and then I can
| | 00:57 | name that either with the color value,
in other words, the values that were in
| | 01:01 | these fields here, or I can
deselect that and type my own name.
| | 01:05 | I will call this Dark Green. There we go.
| | 01:08 | Now, I have a choice. I could click OK,
which would add this color swatch to my
| | 01:12 | Swatches panel, or I could choose Add,
which will add it to the Swatches panel
| | 01:18 | but leave the dialog box open.
| | 01:20 | That lets me add more than one swatch
at a time, which is very helpful if you
| | 01:23 | are trying to create a whole bunch of them.
| | 01:25 | Let's go ahead and create a spot color.
| | 01:27 | I choose Spot from the Color Type pop-
up menu and then from the Color Mode
| | 01:31 | pop-up menu, I can choose one of the
many libraries that ships with InDesign.
| | 01:35 | In this case, I am going to
choose PANTONE solid coated.
| | 01:38 | Look inside my PANTONE book and figure
out that I really want to use PANTONE
| | 01:42 | 286, so I will just type 286 and
it selects it for me from this list.
| | 01:48 | Now I will click OK to close the dialog box
and add that swatch to the Swatches panel.
| | 01:53 | There it is down at the bottom.
| | 01:54 | Now, the Swatches panel gives
me a bunch of other information.
| | 01:57 | For example, this little icon next to
the name of the color swatch tells me that
| | 02:01 | this color is a spot color.
| | 02:03 | A little square with a circle in it.
| | 02:05 | So that is going to print on its own
color plate when I print color separations.
| | 02:10 | However, this column on the right
tells me that it is behind the scenes
| | 02:15 | spec-ed as a CMYK color.
| | 02:17 | So even most PANTONE colors
are actually spec-ed as CMYK.
| | 02:22 | The next color up here, this Dark
Green that I created, is also a CMYK color,
| | 02:27 | but it's a process color and I know
that because of this icon next to that.
| | 02:31 | Now, you will notice that when I made my
color swatches, nothing was selected on my page.
| | 02:36 | And I did that on purpose. Why?
| | 02:38 | Well, let's see what happens if
something is selected, like that text frame, when
| | 02:42 | I make a new color swatch.
| | 02:43 | I will choose the frame, choose New
Color Swatch, and then I will just pick some
| | 02:47 | random color here and click OK.
| | 02:50 | The color is added to the Swatches panel.
| | 02:52 | That's great, but what
happened to my text frame?
| | 02:54 | It was filled with the color.
| | 02:56 | So if anything was selected on the
page when you make the color, it gets that
| | 02:59 | color applied to it,
which is rarely what you want.
| | 03:02 | So I am going to undo that with Command+
Z or Ctrl+Z on Windows, and that took it
| | 03:07 | off this and erased it from my Swatches panel.
| | 03:10 | Now, this is also a problem when editing colors.
| | 03:13 | Most people try and edit colors in
InDesign by double-clicking on them.
| | 03:17 | For example, maybe I
want to edit this red color.
| | 03:19 | So I will double click on it.
| | 03:21 | Up comes a Swatch Options dialog
box and it lets me edit the color.
| | 03:24 | I will make it a little darker, for example.
| | 03:27 | That's great, except what
happened when I double clicked on it?
| | 03:30 | It opened the dialog box and it applied it to
this object, which was selected on the page.
| | 03:35 | So that's bad news.
| | 03:37 | If I click Cancel, it cancels the
editing of that color but it still leaves that
| | 03:42 | color applied to that frame.
| | 03:44 | So now I am going to have to undo
that, Command+Z or Ctrl+Z on Windows.
| | 03:48 | So this is why, whenever you are
messing with swatches, making new swatches,
| | 03:52 | editing them, in the Swatches
panel, except for applying colors,
| | 03:55 | I strongly recommend that you deselect
everything, with your Command+Shift+A or
| | 04:00 | Ctrl+Shift+A on Windows, keyboard shortcut.
| | 04:03 | That deselects everything.
| | 04:05 | Or another thing you can do, I will go
ahead and select that text frame again,
| | 04:08 | to edit colors is not double-click on
them but right click on them or Ctrl+Click
| | 04:13 | with a one button mouse.
| | 04:15 | I right-clicked on that green color and I
will choose Swatch Options, and look at this.
| | 04:20 | I can edit it all I want to.
| | 04:21 | I will click OK, and it edited it in
the Swatches panel, but it did not affect
| | 04:27 | the color in this text frame that was selected.
| | 04:30 | So right clicking on a color and
using Swatch Options that way is much more
| | 04:35 | reliable than double clicking.
| | 04:37 | Now, I have already set up some colors
in this document, but I would like to add
| | 04:41 | those to some other document. How do I do that?
| | 04:43 | Well, let's go ahead and create a
new document here. I will click OK.
| | 04:47 | You can see that I only
have a few color swatches here.
| | 04:50 | I would like to add some of the
swatches from the other document.
| | 04:52 | So how do I add those to the Swatches panel?
| | 04:55 | There are two basic ways.
| | 04:56 | First, I can select any object that
has a color assigned to it and copy it to
| | 05:02 | the clipboard, come back to
my new document and paste it.
| | 05:05 | And when I do that, the object comes
in and also that orange swatch that was
| | 05:10 | attached to this color.
| | 05:12 | I can go ahead and delete that
text frame and the color remains.
| | 05:15 | The second way that you can add color
swatches to the Swatches panel from some
| | 05:19 | other document is to choose Load
Swatches from the Swatches panel menu.
| | 05:24 | Now, you can choose any
InDesign document or an ASE file.
| | 05:28 | An ASE file is something you have
exported from Illustrator or Photoshop or some
| | 05:32 | other program like that, that has
swatches in it, and click Open and all of
| | 05:37 | those color swatches come in.
| | 05:39 | As you can see, adding swatches to your
Swatches panel is not that hard at all.
| | 05:44 | But there's one more way you can add
colors to your InDesign document and that's
| | 05:47 | the Colors panel, and we are going
to look at that in the next movie.
| | Collapse this transcript |
| The danger and power of unnamed colors| 00:00 | Some people like specing their colors far
ahead of ever applying them in the document.
| | 00:05 | Others like working more interactively,
playing with colors as they layout a page.
| | 00:09 | You can work either way in InDesign.
| | 00:11 | But if you're in theplay as you go corner,
you'll probably like using the Colors panel.
| | 00:16 | Let's go ahead and open up the Colors
panel. Go to the Window menu, choose Color
| | 00:20 | and then Color again.
| | 00:22 | To change a color with the Color panel or to
apply a new color, first select the object.
| | 00:27 | In this case, I've selected a text
frame but I actually want to change the text
| | 00:31 | inside the text frame.
| | 00:32 | So I'm going to show you a secret
trick and that is look at that little T in
| | 00:37 | the Swatches panel.
| | 00:38 | It shows up here in the Swatches
panel and it shows up even smaller at the
| | 00:42 | bottom of the Tool panel and that T
means formatting affects that text
| | 00:48 | rather than the frame.
| | 00:50 | When you click the left
button there, it affects the frame.
| | 00:52 | If you click the T,
it affects the text inside the frame.
| | 00:56 | So that's a quick way that you can
change the color of some text without
| | 00:59 | actually selecting the text with the Type tool.
| | 01:02 | In this case, it will change the
color of all the text inside this frame.
| | 01:05 | Now the Color panel shows me the
current color of this text and it shows me a
| | 01:09 | bar along the bottom, so I can
change it to a tint of that color.
| | 01:13 | If I want to change it to a completely
different color, I would have to pick
| | 01:16 | that out of the Color panel menu.
| | 01:18 | For example, let's choose CMYK.
| | 01:21 | Now I get a full color bar
where I can pick any CMYK color.
| | 01:25 | How about hot pink?
| | 01:27 | Looks great, but just because it looks
great doesn't mean it's going to be great.
| | 01:31 | You need to be careful when choosing
colors from the screen because unless
| | 01:35 | you've done a lot of work to set up
your color management environment,
| | 01:38 | the colors that you see on screen may
not match what you see in print.
| | 01:42 | Believe me, I've been burned by that one myself.
| | 01:44 | So it's much better to pick your colors
from a printed swatch book, such as the
| | 01:49 | True Match books or the Pantone books
and then dial-in those CMYK colors here.
| | 01:54 | Now unfortunately, there are two other
problems with using the Color panel even
| | 01:58 | if you are typing in colors from a swatch book.
| | 02:00 | First, it's very difficult for
somebody else looking at this document to tell
| | 02:04 | what colors you used. Are they RGB?
| | 02:07 | Are they CMYK?
| | 02:08 | I just don't know unless I actually
select it and look in the Color panel.
| | 02:12 | Second, it's very hard to use these colors
consistently throughout your publication.
| | 02:16 | You might pick one color like this pink
here and then go some place else and try
| | 02:20 | and match it and you won't get
the numbers exactly the same.
| | 02:23 | Fortunately, there's a solution to this
problem and that's every time you make
| | 02:27 | one of these unnamed colors that is
a color that doesn't have a swatch
| | 02:31 | associated with it, go to the Color
panel menu and choose Add to Swatches.
| | 02:36 | When you do that, the color that you made
is added to the bottom of the Swatches panel.
| | 02:40 | If you've made a bunch of these unnamed
colors throughout your document, you can
| | 02:44 | add all of them to your Swatches panel
really quickly by going to the Swatches
| | 02:48 | panel menu and choosing Add Unnamed Colors.
| | 02:52 | This goes through the whole document,
grabs all your unnamed colors and adds
| | 02:55 | them in here at the bottom of
the Swatches panel. That's handy.
| | 02:58 | Okay, if you like the Color panel then
there's one other method for choosing
| | 03:02 | colors that you should know
about, and that's the Color Picker.
| | 03:05 | You'll find the Color Picker by double-
clicking on the fill color inside the Tool panel.
| | 03:12 | Some people like this because it looks
kind of like the Photoshop Color Picker,
| | 03:15 | although it's different in some important ways.
| | 03:18 | You can just click inside the Color
Space View here or click on the slider over
| | 03:22 | here and choose a color from here.
| | 03:25 | But there's one important thing that
you need to keep in mind and that is you
| | 03:29 | need to pay attention to whether
you're adding a CMYK swatch or an RGB
| | 03:33 | swatch or an Lab swatch and the way
you can tell the difference is what this
| | 03:37 | button says right here.
| | 03:39 | But there is one very important thing
you need to pay attention to when you're
| | 03:42 | choosing colors from the Color Picker
and that is, are you going to get an RGB,
| | 03:46 | an Lab or a CMYK color when you click OK.
| | 03:50 | The clue is what does this button
say right here. Add CMYK Swatch?
| | 03:55 | So you're going to get a CMYK Swatch.
| | 03:57 | But if I accidentally click inside any
of these fields next to RGB, suddenly
| | 04:02 | the button changes.
| | 04:04 | I'll do the same thing over here with
the next to the L. I'll just click and
| | 04:07 | the button changes.
| | 04:09 | So pay attention to that button.
| | 04:11 | That's the clue that tells you
what color you're going to get.
| | 04:14 | If I'm making a document that I'm
planning I'm printing, I probably want a CMYK
| | 04:18 | color, not an RGB or Lab color.
| | 04:21 | So I click next to the C, M, Y, or K.
It says Add CMYK Swatch and I can click OK
| | 04:27 | and it applies that color to
whatever was selected on my page.
| | 04:31 | It also loads it up in my Color panel and
that lets me add it to my Swatches panel.
| | 04:36 | Personally, I rarely use either
the Color Picker or the Color panel.
| | 04:40 | I'm in the camp that believes you
should set it up in the Swatches panel first.
| | 04:44 | But if these tools work for you then go for it.
| | Collapse this transcript |
| Building tint swatches| 00:00 | It's easy to change a solid color fill
or stroke to a tint. All you've to do is
| | 00:05 | select a color, go down to the Color
panel and choose a tint from this color
| | 00:09 | bar, or you could go to the Swatches
panel and change the tint in this field,
| | 00:14 | or with this slider.
| | 00:15 | But if you know that you're going
to be using a 50% tint 100 times in
| | 00:19 | your document, wouldn't it be
easier if you could just create a swatch
| | 00:23 | that was already at 50%?
| | 00:25 | You can,. Just go to the Swatches
panel menu, and choose New Tint Swatch.
| | 00:30 | Because I had already made a tint,
and that was selected on my page, it has
| | 00:34 | filled out the Tint Swatch dialog box
for me by changing this Tint slider to 50%.
| | 00:39 | I'll click OK and show you
how you can make another one.
| | 00:43 | First, I'll deselect everything by
pressing Command+Shift+A or Ctrl+Shift+A.
| | 00:47 | Then I'll choose a color, maybe this dark
blue color, and once again go to New Tint Swatch.
| | 00:54 | Now it's set to 100% so
I'll type in some other number.
| | 00:57 | Let's say 60%, click OK, and you can see
I now have that color swatch, but at 60%.
| | 01:05 | You see the Swatches panel actually shows
you what the percentage is of the color.
| | 01:10 | I do find it kind of annoying that the
new tint swatch isn't near the swatch
| | 01:14 | that I made it from, but that's
okay. I can put it there myself.
| | 01:18 | A lot of InDesign users don't realize
that you can rearrange your Swatches panel
| | 01:22 | just by clicking and dragging.
| | 01:24 | So I'm going to drag that swatch up so
that's near the blue, and I'll drag this
| | 01:27 | one up so it's near that green color.
| | 01:29 | Let's go ahead and apply those color swatches.
| | 01:31 | I'm going to select this background
and make it the tint of that blue.
| | 01:35 | Then I'm going to select this text,
click on the little T, so it affects the
| | 01:39 | text and not the frame itself, and apply
the full force blue there. So I've got
| | 01:45 | blue here and a tint of the blue here.
| | 01:47 | And one of the best things about tint
swatches is if you edit a color, all of
| | 01:52 | its tints update as well.
| | 01:54 | For example, I will right-click on this
color, choose Swatch Options, and I'll
| | 01:58 | change it to something else. Maybe
kind of a brownish color. How about that?
| | 02:02 | It's going to be dark brown. Here we go.
| | 02:05 | Click OK and you can see that when I
change that one color, its tint updated as well.
| | 02:11 | Sure, it does take a little bit of time
to set up your tint swatches at first,
| | 02:15 | but you can save so much time
later, that it's really worth it.
| | Collapse this transcript |
| Creating gradient swatches| 00:00 | Gradients, blends, vignettes.
Whatever you want to call them, they can be
| | 00:04 | beautiful, or they can make
your life a study in frustration.
| | 00:08 | I'm going to show you how to make them
in the Swatches panel first and then in
| | 00:11 | the next movie, I'll talk about
how to apply and customize them.
| | 00:16 | To make a gradient swatch, go to
the Swatches panel menu and choose
| | 00:20 | New Gradient Swatch.
| | 00:22 | By default, we get a gradient
that goes from white to black.
| | 00:25 | That's not very exciting, so
let's go ahead and change that.
| | 00:29 | To choose different colors, click on these
gradient stops at the bottom of the Gradient Ramp.
| | 00:33 | I'll click on the one on the
left and I'll set it to cyan.
| | 00:37 | Now I'm going to click on the
gradient stop on the right, this black one.
| | 00:41 | Notice that it switches to
a list of all my swatches.
| | 00:44 | I don't know why it does that.
| | 00:45 | For some reason it always does, but you
can change it back to CMYK by changing
| | 00:50 | the Stop Color pop-up menu to
CMYK, or any of these other modes.
| | 00:54 | In this case, I'm going to leave it set to
Swatches and simply choose my yellow swatch.
| | 00:59 | So I now have a gradient
that goes from cyan to yellow.
| | 01:02 | If I want to add another
color to this, it's easy to do.
| | 01:05 | I simply click on the bottom of the
Gradient Ramp to add a new color stop.
| | 01:09 | Let's make this one kind of dark and
mysterious, kind of a darker blue color.
| | 01:17 | Now I can change this and
position it exactly where I want it.
| | 01:20 | So I've created a blend that goes
from cyan to dark blue to yellow.
| | 01:24 | And I want to give it a name. It's
good to give it a descriptive name.
| | 01:28 | How about cyan to blue to yellow?
| | 01:30 | That's easy enough, and then click OK.
| | 01:34 | You can see that it adds my gradient
swatch to the bottom of the Swatches panel.
| | 01:38 | Let's go ahead and create
one more gradient swatch.
| | 01:41 | I'll choose New Gradient Swatch and
you can see that the Gradient Ramp is all
| | 01:45 | setup with the last gradient I created.
| | 01:47 | But I don't want it to look like this.
| | 01:48 | I only want two colors, one on either end.
| | 01:51 | So to get rid of this gradient stop
that I added there, all I have to do is
| | 01:55 | click on it and drag it away.
| | 01:57 | Now it goes from cyan to yellow again, but
I'm going to change this to some other color.
| | 02:01 | I'd like to have this
violet color to something else.
| | 02:05 | How about we change this to
CMYK, then how about to green.
| | 02:09 | So we've got sort of a violet to a
green color, and in this case, I want it to
| | 02:14 | be not a linear blend, but a radial
blend, kind of as a circle or an ellipse.
| | 02:19 | I'll give it a name, violet to green.
| | 02:23 | You can call it anything you want, but that's
what I'm going to call mine and I'll click OK.
| | 02:27 | At the very bottom of the Swatches panel
there are series of buttons and those
| | 02:31 | are filters to help you when you
have a lot of swatches listed here.
| | 02:36 | The first means show me all the swatches,
the second one means show me just the
| | 02:40 | solid color swatches, not the gradient
swatches, and the third one means show
| | 02:44 | me only the gradients.
| | 02:46 | So that's kind of handy when you have a
lot of different swatches in there and
| | 02:50 | you need to find just the one that you wanted.
| | 02:51 | Let's go ahead and try and apply these
gradients just to see what they look like.
| | 02:55 | I'm going to select this text frame and
click on the first one we made, and you
| | 02:59 | can see that it's a three-color linear blend.
| | 03:01 | I'll click on the second one, and you
can see that it's a circular violet to
| | 03:06 | green with violet in the center.
| | 03:08 | To edit the gradient swatch, I right-
click on it and choose Swatch Options,
| | 03:12 | and up comes the Gradient Options dialog box
and I can change this to anything else I want.
| | 03:17 | For example, instead of green maybe
I'll make it-- how about red instead?
| | 03:21 | I better change this name so it
reflects the reality of this color swatch, and
| | 03:27 | you may notice in here that there is
no option for changing that opacity.
| | 03:31 | For example, you can't fade a
blend from violet to transparent.
| | 03:36 | If you need that effect, take a look
at the movie in an earlier chapter about
| | 03:40 | the feathering transparency effects.
| | 03:42 | That's how you do that.
| | 03:43 | I'll click OK and you can
see it updates on my page.
| | 03:48 | Now that you know how to make a
gradient swatch, it's time to learn some of
| | 03:51 | the ways that InDesign lets you fine-
tune those swatches, and even apply them to text.
| | Collapse this transcript |
| Applying gradients| 00:00 | In the last movie, I talked about how to
make a gradient swatch in the Swatches panel.
| | 00:04 | Now let's look at applying
gradients to stuff on your page and how to
| | 00:08 | fine-tune those gradients.
| | 00:10 | Because I reverted my file at the end
of the last movie, I'm going to have to
| | 00:14 | create a new gradient swatch now.
| | 00:16 | That's no problem, easy to do. Choose
New Gradient Swatch and why don't we
| | 00:20 | choose these from swatches
that I already have in here.
| | 00:23 | I'll do maybe this orange to a yellow
color that I've got here. Here we go.
| | 00:29 | A linear swatch from orange to yellow,
and I'm going to call this sunrise, click
| | 00:34 | OK, and it adds the sunrise gradient
to the bottom of my Swatches panel.
| | 00:38 | Let's go ahead and apply that to this
object back here. Looks pretty good.
| | 00:43 | However the gradient goes from
orange on the left to yellow on the right.
| | 00:47 | That's not what I want.
| | 00:49 | I actually want it to be orange on the bottom,
and yellow on the top. How do I do that?
| | 00:53 | Well, I need to apply local
gradient formatting to this object.
| | 00:58 | To do that I need the Gradient panel right here.
| | 01:01 | The Gradient panel lets me control all
kinds of local formatting for gradients
| | 01:06 | including the type. I can change
this from Linear to Radial if I want to.
| | 01:10 | Now it's a little bit hard to see here,
but it's orange in the middle and
| | 01:13 | yellow on the outside. I don't need that.
| | 01:15 | I'm going to set it back to Linear.
| | 01:16 | I can also reverse the order by
clicking on the Reverse button.
| | 01:20 | Now it's orange on the right and yellow in
the left, but that again is not what I want.
| | 01:25 | So I'll choose it again to
set it back to the way it was.
| | 01:28 | What I want is to rotate
the angle inside that frame.
| | 01:32 | To do that, I change the Angle value.
Right now it's 0 degrees. I'm going to
| | 01:37 | set it to 90 degrees.
| | 01:39 | That means rotate the right edge of this
up 90 degrees, so that it goes straight up.
| | 01:45 | Let's press Enter or
Return and see if it worked.
| | 01:48 | It did. Orange is now at the
bottom and yellow is now at the top.
| | 01:51 | So I've applied some local
formatting to this object with the gradient.
| | 01:56 | Let's make some more changes here.
| | 01:57 | I'd like that orange to be a little
bit darker at the bottom, so I'm going to
| | 02:01 | click on that gradient stop on the
left side here and change its color.
| | 02:06 | To do that, I need the Color panel.
| | 02:08 | So I'll go to Window > Color > Color,
there is the Color panel, and now I can
| | 02:14 | choose either a tint out of here, but that's
not going to help me because I want it darker.
| | 02:18 | So I'll choose CMYK and I'll just
darken this color up a little bit.
| | 02:22 | This could have a darker color there.
| | 02:23 | You can see that as I make this
change here, it's making it darker at the
| | 02:27 | bottom of my frame.
| | 02:30 | That looks pretty good and now at the
top, I'd like it to be kind of a lighter
| | 02:34 | yellow, so I'm going to click on this
end of the Gradient Ramp, change this to
| | 02:37 | CMYK, and let's make it a little
bit more pure yellow. There we go.
| | 02:42 | That's a nice almost pure yellow. How
about if we go all the way pure yellow at
| | 02:45 | the top and sort of dirty orange at the bottom?
| | 02:49 | So I've set up my own custom gradient here.
| | 02:52 | I could even add additional color
stops if I want to, or change the mid-point
| | 02:56 | slider if I want to. How about if we do that?
| | 02:59 | That looks pretty good, but once I have
done all of this work, it would be nice if
| | 03:03 | I could save this as a new gradient swatch,
after all I might want to use that later.
| | 03:09 | To do that I need to show both the Gradient
panel and the Swatches panel at the same time.
| | 03:13 | So I'm going to drag the
Gradient panel out to float it.
| | 03:16 | Now I can see the Gradient panel and
the Swatches and to add this gradient to
| | 03:21 | the Swatches panel, it's
as simple as drag-and-drop.
| | 03:24 | I'm simply going to drag this little icon
here to the bottom of the Swatches panel.
| | 03:29 | As soon as I see that dark black
line, l let go and there it is.
| | 03:33 | Now, it gave it a dumb name, New
Gradient Swatch, so that's not helpful.
| | 03:37 | I'll right-click on that or Ctrl+
Click with a one-button mouse, and that
| | 03:41 | opens the Gradient Options dialog box, and
I'll give this another name. I'll say sunrise 2.
| | 03:46 | It's not a very descriptive name, but
you got the idea. Click OK. I now have a
| | 03:51 | second gradient swatch in here.
| | 03:53 | But when I did that,
what happened to my gradient?
| | 03:57 | It reverted back to Linear
left or right. How about that?
| | 04:01 | Gradient swatches are always left to right.
| | 04:04 | It's a frustrating thing about
InDesign's gradients in my opinion.
| | 04:07 | I wish that it would remember the
angle inside my swatch, but it can't.
| | 04:12 | So I'm going to close the Swatches panel,
move this out of the way so I can see
| | 04:15 | it better, and once again change
this to 90 degrees. There we go.
| | 04:20 | Now I've got my 90-degree angle again.
| | 04:23 | So the angle is always a local format.
| | 04:25 | That is, it is always
applied to a single object.
| | 04:28 | It cannot be saved in a gradient swatch.
| | 04:30 | Now there is another feature you can
use to fine-tune gradients, and that's the
| | 04:34 | Gradient tool here in the
middle of the Tool panel.
| | 04:38 | If I choose the Gradient tool, I can
really fine-tune exactly the way I want my
| | 04:42 | gradient to be inside this frame.
| | 04:44 | For example, I could say start at this
point here. I'm going to click there and
| | 04:49 | hold-down the mouse button,
and drag up to end it here.
| | 04:53 | And when I let go, it re-does
my gradient from here to here.
| | 04:58 | Let's try it again in a different angle.
How about from here to here? You get the idea.
| | 05:03 | You can very quickly make all
kinds of interesting effects just by
| | 05:06 | clicking-and-dragging with your Gradient tool.
| | 05:10 | The Gradient tool is also very
useful when applying gradients to text.
| | 05:14 | Let me show you what I mean.
| | 05:16 | I could apply my gradient, my sunrise
gradient, to this text here by selecting
| | 05:21 | the text, and then going to my
Swatches panel, and clicking on sunrise.
| | 05:26 | I'll deselect this so you can see
that it's now orange on the left and
| | 05:30 | yellow on the right.
| | 05:31 | Now the way gradients work in text
frames is kind of a little obscure, so I
| | 05:36 | better explain it to you.
| | 05:37 | It is always based on the width of the
frame, not the text that you've selected.
| | 05:43 | For example, if I make this text frame wider,
I'm going to get a very different effect.
| | 05:47 | The blend inside the text has changed,
so that I'm mostly seeing the yellow,
| | 05:52 | not so much the orange.
| | 05:53 | The orange is going to be on this side of
the text frame, which we don't even see.
| | 05:57 | Let's go ahead and make that smaller again.
| | 06:00 | If you want to fine-tune the gradient
inside of text, first select the text
| | 06:04 | that you want to apply it to.
For example, I'll just choose these two words up here.
| | 06:08 | Then grab your Gradient tool,
and then drag over your selection.
| | 06:12 | For example, I'm going to go
from the bottom to the top here.
| | 06:16 | I held down the Shift key to make
sure that it was perfectly vertical.
| | 06:19 | When I deselect, you can now see that
the gradient inside this text is vertical,
| | 06:23 | and this is horizontal.
| | 06:25 | These kind of blends are certainly the
trickiest color feature in InDesign to
| | 06:29 | get right, but practice fine-tuning
them using the Gradient tool and the
| | 06:32 | Gradient panel and you'll
soon become a blend master.
| | Collapse this transcript |
|
|
10. Managing ObjectsPositioning objects with the Page Gap tool| 00:00 | Anyone who's ever taken an art class
has heard the teacher say pay attention
| | 00:04 | to the negative space.
| | 00:06 | That is the places where there's
nothing on the page is sometimes even more
| | 00:09 | important than the text and graphics.
| | 00:12 | In fact, this white space is so
important that Adobe gave it its own tool,
| | 00:16 | the Page Gap tool. You can
get to that in the Tool panel.
| | 00:20 | It's fourth down, that little tool right there,
or you can press the letter U to jump to it.
| | 00:25 | When I take that Page Gap tool and
place it on my page in between objects or
| | 00:29 | between objects and the side of the page,
it highlights it with kind of a little
| | 00:33 | bit darker gray area.
| | 00:35 | That means the Page Gap
tool is ready to do its work.
| | 00:37 | I'm going to place this in between
this text frame and the image frame to the
| | 00:41 | right of it and you'll notice that the
Page Gap highlighting extends all the way
| | 00:45 | down the page because all of
these objects have been aligned.
| | 00:48 | Now when I click and drag,
something magical happens.
| | 00:52 | InDesign actually grabs all the objects,
all the frames on either side of that gap,
| | 00:57 | everything that the gap
is touching, and resizes them.
| | 01:00 | You'll also notice that a couple of
these images are actually changing
| | 01:03 | their size as well.
| | 01:05 | That's because I've
turned on the Auto Fit feature.
| | 01:07 | That's a feature I've talked
about in an earlier chapter.
| | 01:10 | But the main thing I want you to notice
is how the frames change their size on
| | 01:14 | both sides of the gap.
| | 01:15 | That looks pretty good.
| | 01:16 | Now I want to try changing the gap
between these images at the bottom of the page,
| | 01:20 | but I only want to change those.
I don't want to change the frames above them.
| | 01:24 | When I place the cursor between them, the
whole column highlights all the way up the page.
| | 01:29 | In order to restrict that column down to just
these two objects, I hold down the Shift key.
| | 01:35 | Now when I Shift+drag,
only those two objects change.
| | 01:40 | I'll move this a little bit to the left.
| | 01:41 | That looks pretty good.
| | 01:42 | Of course, I'll also need to do the
same thing between the two captions.
| | 01:46 | Shift+drag over and now
that's looking really nice.
| | 01:50 | There is a couple of other modifier
keys that you should pay attention to when
| | 01:53 | working with the Page Gap tool.
| | 01:55 | The Command key or Ctrl on Windows
resizes the gap instead of moving it.
| | 01:59 | For example, I'll move between these
two images over here in the middle of the
| | 02:04 | page and hold down the Command or
Ctrl key and drag and you'll see that I'm
| | 02:08 | actually changing the size of the gap
to make it larger or smaller just by
| | 02:12 | dragging to the left or to the right.
| | 02:14 | So the Command key changes the size of the gap.
| | 02:18 | One more modifier, the Option or Alt key.
| | 02:21 | That tells InDesign to move the
objects, not resize any of them.
| | 02:24 | So I'm going to place my cursor in the
left column here in between the spine of
| | 02:28 | the page and the text frame and I'll
hold down Option or Alt and drag and you'll
| | 02:33 | see that I'm actually
moving all of those objects.
| | 02:36 | It's like I'm telling InDesign grab
objects on all sides of this gap and move
| | 02:40 | them at the same time.
| | 02:42 | In those famous words at the
London Underground, mind the gap.
| | 02:46 | Now you can mind all the gaps in your
document with this really great Page Gap tool.
| | Collapse this transcript |
| Stacking objects| 00:00 | Every object on your page is in a stack.
| | 00:03 | Now for the more technically minded among
you, this is also called the object's Z-order.
| | 00:08 | For example every object has an X and
a Y-coordinate on the page and also a
| | 00:12 | Z-order, which describes
which object is on top of which.
| | 00:16 | For example, you can see this easily if
we zoom in on the top part of this page.
| | 00:20 | You can see that the word hansel & petal
are both on top of this green ampersand.
| | 00:25 | I'm going to press W to go into Preview
Mode and that'll hide all those frame edges.
| | 00:30 | That's a lot easier to see.
| | 00:31 | You can really see the order
of these different objects now.
| | 00:34 | InDesign offers a number of
options for changing that stacking order.
| | 00:38 | For example, I'll select that green
ampersand there and I'll go to the Object
| | 00:42 | menu and choose from the Arrange submenu.
| | 00:44 | There are four options here, Bring to Front,
Bring Forward, Send Backward and Send to Back.
| | 00:50 | Let's start with the first, Bring to Front.
| | 00:52 | You can see that it came all the way
to the front of the stacking order.
| | 00:56 | Now this object does have a little bit
of transparency applied to it, so you can
| | 00:59 | sort of see through it to that text
underneath, but it is obviously sitting on
| | 01:03 | top of all those other objects.
| | 01:05 | Now what if we want to put
it behind the word hansel?
| | 01:08 | Well, I'll go to the Object menu and
choose Arrange and then choose Send
| | 01:12 | Backward. Nothing happened, right?
| | 01:15 | Well, it doesn't look like
something happened but it really did.
| | 01:18 | This is a very important thing to
understand about stacking order.
| | 01:21 | The stack of objects is spread wide.
So when I moved it back a layer, it did
| | 01:27 | move behind something but not
necessarily what I wanted it to move behind.
| | 01:32 | It may have moved it behind these
objects over here, or maybe this text frame
| | 01:35 | down here. I really don't know.
| | 01:38 | So in this case if it's important to
me that the word hansel be on top of the
| | 01:41 | ampersand. It's going to be more
reliable to select that text frame, go up to
| | 01:46 | the Object menu and choose Bring to Front.
| | 01:49 | Now that's on top of the ampersand,
the ampersand is on top of petal and I
| | 01:53 | don't know the rest of the
stacking order on this spread.
| | 01:56 | So what would be really cool is if we
could get a list of all the objects on the
| | 02:00 | page in order so we could
quickly see what's in front of what.
| | 02:03 | Illustrator has actually had that
feature for years as part of its Layers panel,
| | 02:08 | and you know what? It's a brand-
new feature in InDesign CS5 too.
| | Collapse this transcript |
| Creating and controlling layers| 00:00 | I know people who never work with more
than one layer in their InDesign document
| | 00:04 | and they manage all their objects
using Send to Back and Bring to Front.
| | 00:08 | There's nothing really wrong with that
other than it will eventually drive you
| | 00:12 | insane, especially in a complicated layout.
| | 00:14 | No, it's much better to create multiple
layers in your document and use them to
| | 00:19 | organize your objects.
| | 00:20 | Let's look at our Layers
panel out here in the dock.
| | 00:23 | This has a Layer 1.
| | 00:24 | In fact every InDesign
document has a Layer 1 in it.
| | 00:28 | But you can add your own layers,
rename them, hide them, lock them, and more.
| | 00:32 | Let's see how it's done.
| | 00:34 | I'm going to add a new layer to my
document by clicking the New Layer button.
| | 00:38 | I can rename that layer by clicking
on it and then moving my cursor away.
| | 00:42 | Now I'll call this Text,. You can call
it anything you want, but I'm going to
| | 00:46 | call this my Text layer and I'll
press the Enter or Return key to tell it
| | 00:50 | that I'm done typing.
| | 00:51 | Now I want to put all my text frames on
that layer. So I'll click on the first
| | 00:56 | one with my Selection tool and then
Shift+Click on each other text frame on my
| | 01:00 | page here, and I want to move all of
those to my Text layer. How do I do that?
| | 01:05 | Well, you see this little blue box on
the right column of the Layers panel?
| | 01:09 | That's called the item proxy.
| | 01:12 | That's a stand-in for all the objects
on my page that are currently selected.
| | 01:16 | So to move those objects to a new layer,
all I have to do is drag that little
| | 01:20 | blue box up to the Text layer. There you go.
| | 01:23 | Now all those objects are on the Text layer.
| | 01:26 | Now you probably noticed that when I
did that the frame edges changed color.
| | 01:31 | That's because frame edges
always reflect the layer color.
| | 01:34 | In this case there are two colors, blue
and red, and you see those right to the
| | 01:38 | left of the layer name.
| | 01:40 | Let's go ahead and rename Layer 1.
I'll click on it, pause, and then click
| | 01:44 | again to rename it.
| | 01:46 | I'll change this to something
like Background, there we go.
| | 01:49 | Okay, I need one more layer here for
my graphic elements. I'll just click New
| | 01:54 | Layer and it always adds it above the
one that was currently selected. And this
| | 01:58 | one is going to be called
Graphic Elements, there we go.
| | 02:02 | So I'm going to select my ampersand
there and this flower object and drag that
| | 02:07 | up onto Graphic Elements.
Good, looking very nice.
| | 02:10 | I'll press Cmd+Shift+A or Ctrl+Shift+A
to deselect everything and I'm going to
| | 02:15 | press the W key to go into Preview
Mode so we can really see how changing the
| | 02:20 | layers affects what I do on my page.
| | 02:22 | One of the best reasons to use layers
is that you can reorder them easily.
| | 02:26 | For example, I can grab all of the
graphic elements and move them above the Text
| | 02:30 | layer simply by dragging this layer up
until I see this black bar above Text.
| | 02:35 | Let go and you can see that those
elements moved above the Text layer.
| | 02:40 | Another good reason to use layers
is that you can hide and show them.
| | 02:43 | For example, if I don't want to be
distracted by that background image, I can
| | 02:47 | simply click on this little eyeball
icon in the left column of the Layers
| | 02:50 | panel and it disappears.
| | 02:52 | Click on it again and it comes back.
| | 02:55 | The next column over is a Lock column.
| | 02:57 | If I click on that, that
whole layer becomes locked.
| | 03:01 | There's no way to select
anything on a locked layer.
| | 03:04 | This is very helpful.
| | 03:05 | For example, I might want to select all
the objects in this area and I can lock
| | 03:09 | that background and then drag out a
marquee with the Selection tool without
| | 03:13 | worrying about accidentally
selecting that background image.
| | 03:16 | What if I want to select just the items
on one layer, perhaps just the Text layer?
| | 03:21 | Can I do that?
| | 03:22 | Sure, all you need to do is right-click
or Ctrl+Click with a one-button mouse on
| | 03:26 | the layer that you want to select.
| | 03:28 | In this case the Text layer and then
choose Select Items on this layer. This one
| | 03:32 | is called Text, so it's actually listed here.
| | 03:34 | Select that and now just the items
that were on the Text layer are selected.
| | 03:39 | As you can see building and using
layers isn't required but it really helps you
| | 03:44 | organize your documents, and if you
want to get the most out of the Layers panel,
| | 03:47 | check out the techniques for
managing your objects that I'm going to
| | 03:51 | show in the next movie.
| | Collapse this transcript |
| Managing objects in the Layers panel| 00:01 | When you first look at the Layers panel,
you just see layers, but there is a
| | 00:05 | whole world living just under the surface here.
| | 00:07 | To see it you have to click on the
little triangle expander thing to the left
| | 00:11 | of the layer name.
| | 00:13 | When I click on this one next to
Graphic Elements, you can see two different
| | 00:16 | things, <group> and <compound path>.
| | 00:19 | What are those things?
| | 00:21 | Well, each object on your
spread shows up on its own layer.
| | 00:25 | So for example, <compound path> here is
this ampersand character. If I click on
| | 00:30 | the ampersand you'll see that it's
highlighted here in the Layer panel.
| | 00:35 | This turns out to be
useful in all kinds of ways.
| | 00:37 | For example, sometimes it's hard to
select a particular object within the
| | 00:41 | stacking order of your spread.
| | 00:43 | So, what you can do is click on the
little square to the right of that object name,
| | 00:47 | like this <group>, you click
on that and it selects it on the page.
| | 00:52 | Now the word group or compound
path is not very helpful, not very
| | 00:56 | descriptive at all.
| | 00:58 | Fortunately, you can change it to
anything you want. Click, pause and then click
| | 01:03 | again and that tells
InDesign that you want to rename it.
| | 01:06 | I'm going to call this the flower.
Click Enter or Return to make it take effect
| | 01:11 | and I'm going to choose this compound
path, click-pause-click, and then I'll call
| | 01:16 | this and. I could call that ampersand
I suppose if I wanted to and hit Enter.
| | 01:20 | Let's look inside some of the
other layers like the Text layer.
| | 01:24 | I'll click that twirly thing and we
can see that we have the URL here,
| | 01:28 | www.hanselpetal.com.
| | 01:31 | Well, that text has to do with the
text in this text frame over here.
| | 01:36 | Text frames are always named with the
little snippet of the text written in here.
| | 01:41 | So they are pretty easy to
find, hansel, petal and so on.
| | 01:45 | The word circle reflects this path over
here that has text on it. We might want
| | 01:50 | to change that name, so I'll click-pause
-click and give it a name like type on
| | 01:55 | a path, there we go.
| | 01:57 | Notice that when I select something in the
Layers panel, it is not selected on the page.
| | 02:02 | Once again to select it on the page
itself, you need to click on that little box
| | 02:06 | in the right column.
| | 02:07 | That selects it on the page, so that I
can then manipulate it like move it around.
| | 02:12 | For example, I now see that I'd like
to move that "and" object down in between
| | 02:18 | hansel & petal, so it's sort
of in between the words there.
| | 02:21 | I can do that by clicking on the word
"and" and dragging it down into this other
| | 02:27 | layer in between those two other objects.
| | 02:30 | Now let's look inside the Background
layer and we can see that there is a
| | 02:33 | group and the image.
| | 02:35 | Images are always named by the name
of the image itself, the file that's on disk,
[00:02:340.13]
so that can be very handy
for identifying things on layers.
| | 02:43 | In this case I want to move this
group out of the Background layer but it
| | 02:47 | won't let me until I unlock the layer.
So I'll click on the Lock icon and now
| | 02:53 | I can move that group out and this actually
belongs up on the Graphic Elements layer up here.
| | 02:59 | One of the coolest things that you
can do in the Layers panel is view or
| | 03:03 | hide individual objects.
| | 03:05 | For example, I can hide or show that
flower just by clicking on the little
| | 03:10 | eyeball icon in the left column.
| | 03:12 | I can also lock those objects
individually by clicking in the second column.
| | 03:16 | I'm going to be talking more about locking
individual objects later on in this chapter.
| | 03:21 | Now this ability to manage your
objects, changing their stacking order,
| | 03:26 | selecting exactly what you need,
this gives you an unprecedented amount of
| | 03:30 | control over every item on your page.
| | 03:33 | When you need precision,
you need the Layers panel.
| | Collapse this transcript |
| Nesting objects| 00:01 | Okay, here's a wacky concept that you
have to get into your head before you
| | 00:04 | really become an InDesign expert.
| | 00:06 | You know that text and graphics
both go inside frames, right?
| | 00:10 | But did you know that you can
put any object instead of a frame?
| | 00:13 | In fact, you can put a whole
frame inside of another frame.
| | 00:16 | This concept is called nesting and it
turns out to be crucially important.
| | 00:21 | For example, I'm going to make a new
frame down on the left side of this page here.
| | 00:25 | Just draw out a frame here and I want
to put this picture in the upper right
| | 00:29 | corner, down into that frame.
| | 00:32 | Okay, to grab that picture, I know I
need the Selection tool, so I'll press V
| | 00:36 | for the Selection tool.
| | 00:38 | Now, I can either double-click on the image
itself or I can click on the content grabber.
| | 00:43 | Either way, the image is
selected, not the frame.
| | 00:46 | Now, this is important to keep in mind.
There's two different things, the image
| | 00:50 | and the frame. Those are two separate objects.
| | 00:53 | So to cut the picture out, I first
select the image itself, that object, and
| | 00:57 | then I go to the Edit menu and choose Cut.
| | 00:59 | Now, to put it inside this image,
most people would simply go to the Edit
| | 01:03 | menu and choose Paste. Does that work?
| | 01:06 | No, it doesn't.
| | 01:07 | That tells InDesign to
paste the object on the page.
| | 01:11 | So it actually makes a new
frame and puts the picture into it.
| | 01:14 | That's not what we wanted.
| | 01:15 | So I'm going to press
Command+Z or Ctrl+Z on Windows.
| | 01:19 | What I really want is for InDesign
to put the picture into this frame.
| | 01:23 | So that's why there is a
separate feature called Paste Into.
| | 01:28 | When I choose Paste Into, it places that
picture and just that picture inside that frame.
| | 01:34 | Now I could actually cut this frame
with its image and paste it into another
| | 01:38 | frame, and then that frame and
paste it into another frame and so on.
| | 01:42 | You can see that it can get pretty complex.
| | 01:44 | That's why InDesign gives you
features for selecting into a frame,
| | 01:47 | called selecting the content, or
selecting the frame itself called
| | 01:51 | selecting the container.
| | 01:52 | Those buttons are up here in the Control panel.
| | 01:55 | You'll see a little
Martian symbol with a down arrow.
| | 01:58 | That means select whatever is inside this frame.
| | 02:01 | And the Martian symbol with the up
arrow means select the container.
| | 02:05 | Select whatever is containing this object.
| | 02:08 | Most of the time though, I simply double-
click. Double-click and you select down.
| | 02:12 | You select the content.
| | 02:13 | Double-click again and you
select back out to the container.
| | 02:17 | Same thing with the Escape key and Shift+Escape.
| | 02:20 | Shift+Escape goes down into the
content and Escape moves up to the container.
| | 02:26 | I'll be talking about making
object groups later in this chapter.
| | 02:29 | But suffice it to say that if you make a whole
group of objects, it acts like a single object.
| | 02:34 | So you can actually paste that
whole group into another frame too.
| | 02:38 | Nesting objects into other
objects can obviously get out of hand.
| | 02:41 | But it's extremely helpful for
a wide range of layout effects.
| | Collapse this transcript |
| Editing frame and path shapes| 00:01 | InDesign offers a wide variety of
drawing tools, including a fully
| | 00:04 | featured Bezier Pen tool.
| | 00:06 | But none of that really matters
to me, because I can't really draw.
| | 00:10 | However, I can make simple shapes, like frames,
and then edit them to get the look I want.
| | 00:15 | Let me show you how it's done.
| | 00:16 | I'm going to start by drawing an
ellipse and then I'm going to switch to the
| | 00:20 | Direct Selection tool, the white arrow tool.
| | 00:23 | To choose one point on that,
I first have to deselect and then place my
| | 00:27 | cursor over the path.
| | 00:29 | Now I can see the points on that
path and I can click-and-drag.
| | 00:32 | You see how it shows me the
points and the Bezier handles.
| | 00:38 | I can edit these handles by
dragging the path anyway I want.
| | 00:42 | I can also use the Bezier Pen tool to
add points to a path that's already there.
| | 00:48 | If I move my cursor near the path, if I
click, it adds a point on that path or
| | 00:54 | I can click-and-drag to add handles.
| | 00:57 | Here's a helpful modifier key that you
should keep in mind when working with the Pen tool.
| | 01:01 | Hold down the Option or the Alt
key and the Pen tool turns into the
| | 01:05 | Convert Point tool.
| | 01:06 | That means I can convert a curve
point like here into a corner point.
| | 01:12 | See how that's a sharp point now?
| | 01:14 | Or I can hold down the Option or Alt
key and click-and-drag and it turns into
| | 01:20 | a curve point again.
| | 01:21 | Now the cool thing about the Pen tool
is it works not just on these kinds of
| | 01:25 | ellipses, but on any kind of frame.
| | 01:27 | For example, I'll use my Selection
tools to select this text frame over here.
| | 01:33 | Then I'll press P to jump back to the Pen tool.
| | 01:36 | I can place my cursor over the edge of
this frame and I see the little plus sign.
| | 01:41 | So I click and I drag and now you
can see that I've turned what was a
| | 01:45 | rectangular frame into
sort of a bulgy text frame.
| | 01:49 | If I decide that's not the look I want,
I place the cursor over that point and
| | 01:53 | you can see that there is a
little minus sign next to the cursor.
| | 01:57 | That means if I click, I'll remove
that point from the text frame path.
| | 02:02 | I can even use that trick
to remove further points.
| | 02:05 | For example, I'll click in the upper
left corner of this text frame and you'll
| | 02:09 | see that it actually turns
it into a giant triangle.
| | 02:12 | Now there is other ways to
change the shape of objects.
| | 02:15 | For example, I'm going to change the
shape of this text fame here to an oval.
| | 02:19 | Let's zoom into 200% by
pressing Command+2 or Ctrl+2 on Windows.
| | 02:24 | In this case, I wouldn't want to
add a whole bunch of Bezier points.
| | 02:28 | That would be a hassle.
| | 02:29 | I just want to convert it
into an ellipse or an oval.
| | 02:32 | So I'll go to the Object menu,
scroll down to Convert Shape,
| | 02:36 | and you can see that there's all
kind of shapes you can choose from.
| | 02:39 | I'm going to choose Ellipse.
| | 02:42 | Suddenly, I've got an oval and I
can resize it to any shape I want.
| | 02:46 | Now what if I wanted this to be a
crescent shape instead of an oval?
| | 02:49 | It would be very hard for me to
draw that with the Bezier Pen tool.
| | 02:53 | So what I'm going to do is use the Ellipse
tool and draw another ellipse on top of that one.
| | 02:58 | There we go. Now I've got
two ellipses next to each other.
| | 03:01 | I'll use the Selection tool to add
my background ellipse to my selection.
| | 03:06 | I Shift+Clicked on the background here,
so now I've got both of these objects
| | 03:10 | selected at the same time.
| | 03:11 | I'll go to the Object menu and
go to the Pathfinder submenu.
| | 03:16 | If you're an Illustrator user,
you're probably familiar already with
| | 03:19 | the Pathfinder options.
| | 03:21 | You can also find these under the Window menu.
Choose Object & Layout and then Pathfinder.
| | 03:27 | The Pathfinder panel gives you all the same
options that you can find in the Object menu.
| | 03:32 | Here, I can add those paths together or
subtract them, intersect them, and so on.
| | 03:38 | But in this case, I want to subtract.
| | 03:39 | That's the second button in the Pathfinder area.
| | 03:42 | Subtract means use the top object
like a cookie cutter to punch a hole
| | 03:47 | through the back object. Let's try it.
| | 03:50 | There we go.
There is my crescent.
| | 03:52 | Now as I mentioned in an earlier movie,
if I really need heavy-duty illustration tools,
| | 03:56 | I can always copy the object,
paste it into Illustrator, edit it, and
| | 04:01 | then copy and paste it back.
| | 04:02 | But in most cases, InDesign
gives me everything I need.
| | Collapse this transcript |
| Adding rounded corners and other corner options| 00:01 | All of these graphic frames have very sharp
edges, almost as sharp as the cacti inside them.
| | 00:07 | Let's zoom in and see if we
can do something about that.
| | 00:09 | I'd like to have a rounded corner on some
of these graphic frames. How do I do that?
| | 00:14 | Do I have to use the Pen tool and draw
out Bezier curves myself? Absolutely not.
| | 00:20 | I'll show you how you can
add corner effects easily.
| | 00:22 | I am going to select this frame and
come up to the Control panel and I want to
| | 00:27 | point out this little pop-up menu.
| | 00:29 | This is the Corner Options menu.
| | 00:32 | You can see that right now it is
set to None. No corner option.
| | 00:35 | But if I change it to Rounded, look what happens.
| | 00:38 | I suddenly get rounded corners on this frame.
| | 00:41 | I can change the Radius of that curve
by changing this value right above it.
| | 00:46 | I'll make this a little
bit higher like 18 points.
| | 00:49 | That looks pretty good.
| | 00:50 | But what if I wanted one corner to be sharp
and the other ones to be round. Can I do that?
| | 00:56 | Absolutely.
| | 00:57 | To do that, I am going to go to the
Object menu and choose Corner Options.
| | 01:02 | The Corner Options dialog box
lets me change each corner of this
| | 01:05 | frame independently.
| | 01:07 | I want to make sure that the Link icon
is turned off if I want to change one
| | 01:11 | corner. Otherwise it'll change
all the corners at the same time.
| | 01:15 | So, here it's turned off, and I'm
going to come up here and change upper
| | 01:18 | left corner to None.
| | 01:20 | Because the Preview checkbox is turned
on, I can see that it immediately gets
| | 01:24 | turned into a sharp corner.
| | 01:26 | Let's go ahead and click OK here,
and I want to show you another way that
| | 01:30 | InDesign lets you adjust the corners.
| | 01:32 | See this little yellow square that's
in the upper right corner of this frame.
| | 01:37 | You might have been wondering what that's for.
| | 01:39 | Well that the Corner Options button.
| | 01:41 | If I click on it, all of a sudden I get these
little yellow triangles on each of my corners.
| | 01:47 | If I drag one of those around, you
can actually change the corner radius.
| | 01:53 | It did not change the upper left corner
because that one was already overridden
| | 01:57 | in the Corner Options dialog box.
| | 01:59 | But it changes all the other corners.
| | 02:01 | Now, if I want to change one corner and not
affect the others, I hold down the Shift key.
| | 02:06 | Shift+Drag on this lower right corner,
I'll drag it back, and you can see that
| | 02:11 | now I have a sharp corner in the
lower right as well as the upper left.
| | 02:16 | Now, if you don't like all those
little yellow boxes that are attached to all
| | 02:19 | your frames, you don't have to look at them.
| | 02:22 | You can turn them off by going to the
Window menu and choosing from the Extras
| | 02:26 | pop-up menu, the sub-menu, Hide Live Corners.
| | 02:30 | Then they'll disappear.
| | 02:31 | As soon as I deselect off of this frame,
now you'll see that all my other frames
| | 02:36 | no longer have that little
yellow box there anymore.
| | 02:39 | Now, I do want to point out that those
Corner Options are not just for frames.
| | 02:44 | For example, I am going to come
over here and select my Pen tool.
| | 02:48 | I'll come over here where I have a
little bit of white space and I am just
| | 02:51 | going to draw a zigzag out here, all right.
| | 02:53 | So, I have a zigzag with very sharp corners.
| | 02:56 | But now I can go up to my Corner
Options pop-up menu at the Control panel and
| | 03:00 | change that from None, in other
words very sharp corners, to Rounded.
| | 03:06 | It affects my line too, even this open path.
| | 03:09 | I can even change the radius of those.
| | 03:12 | Let's say make it double
the size. I'll make it 24.
| | 03:15 | Now this is great, because I don't
know about you, but I am not the best
| | 03:19 | drawer of Bezier paths.
| | 03:21 | So, in this case it would be very hard
for me to draw a path this smoothly, but
| | 03:26 | it's easy with Corner Options.
| | 03:28 | By the way, it's not just the
Rounded Corner Options that work.
| | 03:31 | There is all kinds of other
wacky patterns in here as well.
| | 03:34 | For example, I could choose Bevel, which
gives me kind of a weird, sharp edge or
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