IntroductionWelcome| 00:04 |
Hi I'm Nigel French, welcome to designing
a book.
| | 00:07 |
In this course we're going to design a
novel.
| | 00:11 |
Not just any novel, Alice in Wonderland.
I've chosen this work partly because the
| | 00:15 |
text and images are in the public domain
but also because Alice in Wonderland
| | 00:19 |
provides an excellent case study in book
design.
| | 00:24 |
Along with some unusual and challenging
type treatments, it contains all the
| | 00:28 |
major ingredients of a book length
project.
| | 00:32 |
In designing our book, we'll be examining
the aesthetics of book design, such as
| | 00:37 |
determining the size of margins, line
length, type selection, sizing and time
| | 00:41 |
honoured conventions for how to treat the
different parts of a book.
| | 00:48 |
As well as these interior of the book
would also be creating the cover, back
| | 00:51 |
cover and spine.
And optionally uploading the finished
| | 00:56 |
files to blurb.com so we can recieve a
real printed copy of our beautifully
| | 01:01 |
designed book.
So, let's get started with designing a book
| | 01:06 |
| | 59:59 |
(MUSIC).
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| Using the exercise files| 00:00 |
If you are a premium subscriber to
Lynda.com, you can download the exercise
| | 00:04 |
files used in this course.
They are in a folder called Exercise
| | 00:09 |
Files, which you can place on your
Desktop.
| | 00:14 |
My approach is to increment the file name
by 1 as we move through each step of
| | 00:20 |
designing the book.
If you are using InDesign CS4 or CS5, you
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will need to use the files in the CS4 and
CS5 folder, the IDML files.
| | 00:34 |
When you open any of these files, they
will look identical to their CS6 equivalents.
| | 00:42 |
However, they will always open to an
untitled document.
| | 00:47 |
If you don't have access to the Exercise
Files, feel free to work along with files
| | 00:50 |
of your own.
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1. Getting StartedLooking at the parts of a book| 00:00 |
Before we start designing our book, let's
have a definition of terms.
| | 00:04 |
Books are divided into commonly
recognized parts.
| | 00:08 |
At the beginning, we have the Front
Matter, which may comprise the Half Title
| | 00:13 |
page, the Full Title page, Copyright
page.
| | 00:17 |
Colophon, which is information pertaining
to the typefaces used or the printing
| | 00:21 |
techniques used.
Dedication, Table of Contents, Foreword,
| | 00:26 |
which is usually written by somebody
other than the author.
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The Preface usually written by the
author, Acknowledgements and Introduction.
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The main part of the book is the body
matter.
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And this may be divided into parts,
sections, and chapters.
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Following that, we have the end matter,
all of which is optional.
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A glossary of terms, a bibliography of
sources, and an index.
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As I mentioned, not every book will have
all of these parts, and those that are
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indicated in color, are the parts that
are relevant to our book project.
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| Getting to know your text| 00:00 |
In a perfect world, every time we took on
a book project, we would have time to
| | 00:04 |
familiarize ourselves thoroughly with the
text.
| | 00:07 |
So, we could read the text, we could know
exactly what the book is about.
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In practice, rarely do we have the time
for this.
| | 00:14 |
But we still want to get familiar with
how the text looks in its raw form.
| | 00:20 |
So, here I have the raw text.
It's one continuous text file, and I'm
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viewing this in Text Edit.
You can view it in Word or any similar
| | 00:30 |
text editing program.
And I just want to be aware of any things
| | 00:34 |
that may come back to bite me when I put
this text into InDesign, is there any
| | 00:38 |
weird formatting?
Are there any in-line graphics?
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Are there text boxes?
Lisa thinks that InDesign doesn't cope
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with too well, but if you anticipate the
problem, then the solution is a lot easier.
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In this particular example, our text is
very clean.
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Usually, you want you text to be as
vanilla as possible with only local
| | 01:02 |
formatting to indicate emphasis.
For example, phrases that are being
| | 01:08 |
called out or ultimately end up being
called out in Italic.
| | 01:13 |
Now, when I scroll through this long text
document, we see some Italic texts and
| | 01:18 |
that's going to be very useful for us.
Because we can leverage InDesign's fine
| | 01:25 |
change to change these locally formatted
areas of text into paragraph styles and
| | 01:30 |
character styles.
So, we want to retain that.
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We see there are areas that will
ultimately become verbs that are in Bold.
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Now, we don't want them to end up in
Bold, but the important part here is that
| | 01:45 |
they are differentiated.
So, that's all good.
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We're not going to have to change
anything here, but we're just getting
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familiar with how the text looks.
Given the book that we are designing,
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Alice in Wonderland, there is much
precedent for the design of this book.
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Go in to any bookstore and you will find
several versions of Alice in Wonderland,
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so it's a good idea to take a look at
those.
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How has this probably already been solved
by designers that came before us?
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So, that's the point I want to make here.
While we could do some find and change
| | 02:18 |
routines in our text editor, usually I
prefer to do this in InDesign.
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Where I find the Find Change function to
be a lot more user friendly and powerful
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than its equivalent in Word.
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| Understanding the use of Alice in Wonderland| 00:00 |
Just a few words on why I've chosen Alice
in Wonderland, or to give it its full
| | 00:03 |
title, Alice's Adventures in Wonderland,
as our book design case study.
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First of all, the text by Lewis Carroll
and the images by John Tenniel are in the
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public domain.
So, practically speaking, that makes
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things alot easier.
Secondly, its complexity is just about
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right for us.
It's not too long, but it has all the
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various different parts, or all the major
necessary parts of a book design project.
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And thirdly, even if we haven't read the
book, we're probably familiar with the
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story and the kind of imagery in the
story.
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And if you're not, or if you just want a
refresher, perhaps a good place to start
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would be to take a look at the Wikipedia
page for the book.
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You might also just want to check out the
Amazon page to get a flavor of the
| | 00:48 |
different types of book covers.
That have been designed for the various
| | 00:52 |
different editions.
And also maybe perhaps even rent a DVD,
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because there have been many film
adaptations of the story.
| | 01:01 |
So those are the reasons that I'm going
with Alice in Wonderland as our book
| | 01:04 |
design case study.
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2. Document Setup and StrategySetting up the page size and format| 00:00 |
A fundamental part of our book design is
its size.
| | 00:03 |
Paperbacks come in a variety of sizes.
Here to scale are some standard sizes
| | 00:08 |
which give you an idea of their aspect
ratios.
| | 00:12 |
The size of your book will typically be
determined by your publisher.
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In my case because I plan to print the
book using Blurb.com, I have to conform
| | 00:20 |
to one of their standard sizes.
Blurbs trade books come in two sizes.
| | 00:27 |
Five by eight and six by nine.
Because I favor a larger size, and a two
| | 00:33 |
to three aspect ratio, I'm using the six
by nine size.
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I can set up my document traditionally
using the new document dialog box,
| | 00:44 |
changing the width and height to six
inches by nine inches.
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Orientation will be tall, number of
columns will be one.
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The margins are an important
consideration.
| | 00:58 |
But they are one that I'm going to
address separately in the next movie.
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For now, I'm going to set the margins to
zero.
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But that will change.
I'm going to turn on my primary text
| | 01:09 |
frame, so that when I place my text file
in the document, it will create extra
| | 01:12 |
pages for me.
And that means I don't have to know right
| | 01:17 |
now how many pages I need.
So, I'm going to leave number of pages at one.
| | 01:22 |
And the start page will also be left at
one.
| | 01:25 |
For this project, I do not need a bleed,
the bleed being the area outside of the
| | 01:29 |
page to which you continue any artwork
that you want printed to the edge.
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Nor do I need a slug.
The slug being an area out side of your
| | 01:38 |
page in which you can put any information
relevant to the project.
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Useful if you're in a work group type
situation, but we don't need a slug in
| | 01:47 |
this case.
So there is my document setup.
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I'll click OK.
And we now have one empty page with no margins.
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And the next stage is to establish the
size of those margins.
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And alternative setup approach, if you
are printing your book through Blurb.com,
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as I plan to do, then you can use the
Blurb book creator.
| | 02:11 |
Now the Blurb book creator is a free
plugin that you can download from the
| | 02:15 |
Blurb website.
You will need to have an account with Blurb.com.
| | 02:21 |
It's free to have an account, and once
you do, you can download this, and you
| | 02:26 |
can install it, and it will appear under
your File menu.
| | 02:33 |
Now the advantage of using the Blurb book
creator is that you make sure that you
| | 02:36 |
are giving Blurb exactly what they want.
When you upload your book to an online
| | 02:41 |
service like Blurb it has to go through a
rigorous pre-flighting process to make
| | 02:45 |
sure that the book is going to print the
way that you expect it to.
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Using the blurb book creator plugin is
going to make that process somewhat more streamlined.
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So, if I start my book and I can give it
a title and I can put in other
| | 03:02 |
information here if I know it at the
time.
| | 03:07 |
The author in this case, obviously I am
not the author of Alice in Wonderland,
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but the author refers to more the
designer so that would be me but I'm
| | 03:13 |
going to leave that blank.
Here I can choose the size of book.
| | 03:20 |
I can change my paper type, and these
things can all be changed once the work
| | 03:23 |
is in progress, but I'm going to go with
the black and white, cream, un-coated,
| | 03:27 |
sixty pound text.
And the cover is going to be a soft cover
| | 03:34 |
perfect bound.
Number of pages, now I'm going to start
| | 03:38 |
with 20 but we will end up with a lot
more than 20.
| | 03:41 |
So I'm not too worried about this for the
moment.
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But for the Blurb book creator we have to
have a minimum of 20 book pages.
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It gives you an estimated price based
upon your chosen paper type and the
| | 03:52 |
number of pages etcetera and we're now
ready to create our pages template.
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And the document name will automatically
be whatever name you put in as the title
| | 04:05 |
with the word Pages appended to it and
I'm going to save it in the Exercise
| | 04:08 |
Files folder.
I'll now click OK and I'm ready to start
| | 04:19 |
working with my document.
Let's just take a quick look at this
| | 04:23 |
document because we have all this
information on the page which may be a
| | 04:26 |
bit confusing if you've never seen it
before.
| | 04:31 |
So there's a bleed set up.
Although I said that we do not intend to
| | 04:34 |
use the bleed but other people creating
books at this size might.
| | 04:38 |
But for the particular design I have in
mind, it's not going to be relevant.
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That's the red line, and then the gray
area is our type area or safe area.
| | 04:49 |
Blurb do not want you to get any closer
to the edges than indicated by this gray area.
| | 04:57 |
If we look at the Layer's panel we can
see that all of this information exists
| | 05:01 |
on its own layer.
it's a non printing layer.
| | 05:05 |
We know it's non printing because the
name of the layer is italicized, and if I
| | 05:09 |
we're to press W to preview, all of that
information goes away.
| | 05:14 |
But, obviously, once we've read these
instructions this is going to be
| | 05:18 |
distracting to us, so we can turn off
that layer.
| | 05:22 |
Or we can throw that layer away.
Now margins have already been established
| | 05:26 |
on here but we don't necessarily need to
use these margins.
| | 05:31 |
But we do need to make sure that our
margins are at least as big as these and
| | 05:35 |
I'm actually going to make them bigger
than this but this is the minimum size.
| | 05:42 |
As recommended by Blurb for your margins.
And then we have this layer your design
| | 05:47 |
goes here pretty self explanatory.
So, you can chose the traditional
| | 05:52 |
approach to document setup or you can use
the Blurb book creator but if you use the
| | 05:56 |
traditional approach make sure, and we
will be doing this in the next movie,
| | 06:00 |
that the margins are at least this big
| | 06:05 |
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| Setting margins| 00:00 |
Going forth, I'm going to be developing
the document that I created using the New
| | 00:04 |
Document dialogue box.
And I'm going to be doing this to make it
| | 00:08 |
more universal, because perhaps you don't
have the Blurb Book Creator plug-in.
| | 00:12 |
And perhaps you don't intend to upload
your finished product to Blurb.
| | 00:17 |
I am on the master pages of the document
that is called alice1.
| | 00:22 |
Now, when I created this document, I
asked for a primary text frame.
| | 00:27 |
And that's why I have these two
pre-defined text frames on my master page.
| | 00:32 |
This is just one approach to creating
margins.
| | 00:36 |
It is one that I have found useful Its
not one I've always used nor necessarily
| | 00:40 |
one I always will use.
But its one that I favor right now and it
| | 00:45 |
starts with working backwards from the
type and the size of type that you are
| | 00:50 |
going to be working with.
Now we're typesetting a novel that was
| | 00:56 |
written in the mid-nineteenth century.
Very popular at that time was the
| | 01:01 |
typeface Caslon.
So I'm going to be using a very popular
| | 01:06 |
revival of the Caslon typeface, Adobe
Caslon Pro.
| | 01:11 |
It's a typeface that if you have
Indesign, you will already have, because
| | 01:15 |
it comes installed with Indesign.
And I'm going to start out with some
| | 01:20 |
dummy text on one of my master pages.
In fact, it's going to go into both 'cuz
| | 01:26 |
the primary text frames are linked.
I'll just click into my left primary Text
| | 01:31 |
frame, and fill that with place for the
text.
| | 01:36 |
I will select all and then coming to my
character formats, I will change my font
| | 01:42 |
to Adobe Caslon Pro Regular.
Okay, I'm using Caslon because firstly,
| | 01:48 |
it seems historically appropriate.
Secondly, and most importantly, I really
| | 01:53 |
like it.
It's a beautiful typeface It's very
| | 01:55 |
elegant, it's very readable and thirdly,
we have it, it's available.
| | 02:01 |
Now, there may be other reasons but those
are three good reasons right there.
| | 02:05 |
I've used Caslon before.
I've always been happy with it and I
| | 02:08 |
think many times typeface choices do just
reflect what we are comfortable working with.
| | 02:15 |
The size and the lettings the space
between the lines.
| | 02:18 |
I'm going to use a size of 12 points and
a letting value of 15.
| | 02:25 |
Now I'm actually going to in some ways
what I've just done by making that 15
| | 02:29 |
will become slightly irrelevant by what I
do next.
| | 02:34 |
And that is establish a base line grid.
I'm going to turn on the visibility of my
| | 02:40 |
baseline grid.
So, we now have the default value for the
| | 02:44 |
baseline grid, which is 12 points.
My next thing is I want to change the
| | 02:49 |
value of the grid increment.
So, I will come to my preferences and
| | 02:54 |
grids and change a few things about the
baseline grid firstly.
| | 02:59 |
And this is entirely cosmetic and just
entirely my own preference.
| | 03:03 |
I'm going to make it light grey so it's
not too obtrusive.
| | 03:06 |
It's start value will be 0 relative to
the top margin and Its increment will be
| | 03:14 |
15 points.
I'm now going to select all of that type
| | 03:19 |
come to my paragraph formats and lock
that to the grid.
| | 03:26 |
So, that now is how many maximum lines we
have on a nine inch high page.
| | 03:31 |
Which if you are in (UNKNOWN) as I
currently am translates to 54 (UNKNOWN).
| | 03:37 |
I'm actually going to change my unit of
measurement to points.
| | 03:43 |
Let's see how many maximum lines I have.
648, I'm just going to divide that by 15,
| | 03:50 |
so I have 43 and a bit lines.
I'll now undo that.
| | 03:56 |
Obviously, we don't want that text
starting all the way at the top and going
| | 03:59 |
all the way to the bottom.
But now that I've established this
| | 04:03 |
baseline grid increment, I can select
this text frame and pull it down.
| | 04:09 |
And I'm going to pull it down a specified
number of lines.
| | 04:13 |
I'm going to come down six lines.
Another factor to keep in mind here is
| | 04:18 |
that I have to accomodate my folio
information.
| | 04:22 |
My page numbers my chapter headers.
I've made a decision that, that
| | 04:25 |
information is going to go at the top of
the page.
| | 04:28 |
Its going to function as a header as
opposed to a footer.
| | 04:32 |
For that reason I will end up with a top
margin slightly bigger than my bottom margin.
| | 04:38 |
I see my folio information as going a
line above, let me just draw that in
| | 04:43 |
there, as going a line above my current
text frame.
| | 04:48 |
So if I've pulled down by 1, 2, 3, 4, 5,
6 lines at the top, I'm going to pull up.
| | 04:58 |
By four lines and the small extra piece
at the bottom margin.
| | 05:05 |
Now I would like my inside margin to be
at least as big as my bottom margin.
| | 05:11 |
Now, my bottom margin, 15 points for each
line increment, 15 times four is 60.
| | 05:19 |
So, I want this now to come in 60 points
from the right.
| | 05:25 |
I'll come and select my reference point.
I will change the width to minus 60.
| | 05:32 |
Because I favor a bigger outside margin
than inside margin.
| | 05:37 |
Gives you some way to put your thumbs
when you're holding the book and we are
| | 05:41 |
thinking about designing this as a
physical book.
| | 05:46 |
I'm going to make my outside margin five
times my leading increment or 75.
| | 05:52 |
This time I want my Text frame to be
reduced from the left hand side.
| | 05:58 |
So, I'm locking in my right hand
reference point and I will make it's
| | 06:03 |
width minus 75.
Now you might be thinking isn't this an
| | 06:07 |
awful lot of effort to go to just to set
up your margins.
| | 06:11 |
Can't you just put in values here at the
time you start the document?
| | 06:16 |
And yes you can but the margins are a
very important part of our design which
| | 06:20 |
is why I'm taking the time to set them up
like this.
| | 06:24 |
With the intention that if they are all
based upon the letting increment.
| | 06:29 |
Then the overall effect is going to be
much more harmonious then it would be had
| | 06:33 |
we just chosen some random numbers.
Everything is going to fit together with
| | 06:38 |
everything else.
Now what we see on the left, disregard
| | 06:43 |
what I currently have on the right, but
what we see on the left is my intended
| | 06:47 |
type area.
Now before I actually put these values in
| | 06:52 |
for my margins, I just want to verify
that this leaves me with a good character
| | 06:56 |
count for my text.
And I'm going to do that using the info panel.
| | 07:02 |
So, I'll come up to the Window menu and
choose Info, and I'll come and park my
| | 07:06 |
Info panel over there, it's a good thing
to have around.
| | 07:11 |
And then, I will select a line of type
and I'm reading the number of characters,
| | 07:15 |
and what I want to see here.
Is that I have somewhere about 50 and 60
| | 07:22 |
characters per line and indeed, I do.
I'll move slightly over and one slightly over.
| | 07:30 |
I'm actually thinking that I might be
able to afford a slightly bigger inside
| | 07:33 |
and outside margin.
I'm going to increase both of them by 15 points.
| | 07:44 |
So, I'm currently addressing the outside
margin which I will reduce by 15 points more.
| | 07:55 |
And then change my reference point and I
will now reduce the inside margin by 15
| | 07:59 |
points more.
And it's very important with the inside
| | 08:03 |
margin that it's big enough so that we
don't lose any text in the spine area.
| | 08:08 |
I'll just verify my character counts
again.
| | 08:11 |
And even though some of them are coming
in below 50, they are only slightly
| | 08:21 |
below, I'm happy with that.
Okay, now I want to plug these values in
| | 08:32 |
as my margin values.
And if I forgot exactly how many lines I
| | 08:36 |
came down, I can always just use this
Frame tool as a measuring stick.
| | 08:41 |
I can draw that right there and we see
that that's 90 for the outside, 75 for
| | 08:51 |
the inside.
75 for the top and for the bottom, I'll
| | 09:00 |
zoom in with the Zoom tool, sixty-three.
So I'm now going to come to margins and
| | 09:11 |
columns, and the top.
I need to make sure that my chain here is
| | 09:18 |
broken, 75, 63, 75 for the inside, 90 for
the outside.
| | 09:28 |
Now I can click, okay.
And that is, I just need to adjust the
| | 09:31 |
position of the text frame in there.
I didn't quite like that, I can now
| | 09:36 |
delete that empty frame.
My primary text frame on my right hand
| | 09:42 |
master page can now be adjusted to those
marigins.
| | 09:48 |
All of this text in there can be deleted,
that has now served its purpose.
| | 09:54 |
So, we have established our margins and
we have also established our base line
| | 09:57 |
grid increment.
Our margins are very generous and that's
| | 10:02 |
going to make our text more readable,
having a nice white frame around our type area.
| | 10:10 |
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| Adding page numbers and running heads| 00:00 |
Still on my master pages, I'm now going
to step up my running heads and page numbers.
| | 00:06 |
First of all, I will draw some guides to
the outside and inside margins.
| | 00:16 |
Then I'm going to tap the T here to go to
my type tool and draw myself and text
| | 00:19 |
above the top margin of the left hand
page.
| | 00:23 |
In here I'm going to put my book title.
And even though I'm pretty sure I want it
| | 00:27 |
all in upper case, I'm not going to type
it all in uppercase just in case I should
| | 00:30 |
change my mind.
I'll select that, I will center it and
| | 00:40 |
then I'm going to make sure that it is in
Adobe Caslon Pro.
| | 00:46 |
And I am going to make it small caps.
Now, since Adobe Caslon Pro is an open
| | 00:51 |
type font, I'm going to come over to my
Opentype options and choose All Small
| | 00:56 |
Caps, and then I'm also going to add some
tracking, some space between the characters.
| | 01:05 |
I'm going to add 100 units of tracking to
that.
| | 01:09 |
And I want this to be smaller, nine
point.
| | 01:14 |
I'm going to press Cmd + B to go to my
Text Frame options and align this text to
| | 01:17 |
the bottom of that text frame.
Now our grid only starts at the top
| | 01:23 |
margin so we are without grid above this.
But I want this positioned an exact 15
| | 01:30 |
point distance from the top margin.
So I'm going to drag that down so that it
| | 01:35 |
sits on the top margin.
And then I'm going to change its y value
| | 01:40 |
to minus 15.
15 being the line increment, or leading
| | 01:44 |
value, that I am using.
Now, in this particular case, what I want
| | 01:49 |
to do is have my page number actually in
a separate text frame.
| | 01:54 |
And that is going to be aligned towards
the spine, so that on the left-hand pages
| | 01:59 |
it will be right aligned, and on the
right-hand pages it will left aligned.
| | 02:05 |
To aid me in that, I'm going to draw
myself a horizontal guide that I want to
| | 02:10 |
cross over my spread.
So I'm going to hold down the Cmd key
| | 02:14 |
when I pull that down.
And I'm going to pull that down to the
| | 02:17 |
baseline of my header.
Tap my T key again, making sure that I'm
| | 02:22 |
not actually inside any of the options on
my Control Panel.
| | 02:27 |
Which I am.
So I'm just going to get out of there.
| | 02:29 |
Tap my T key.
And then I will click and drag to make
| | 02:34 |
myself a text frame.
Into which I'm now going insert my page
| | 02:39 |
number marker.
I'll right click, insert Special
| | 02:43 |
Character>Markers>Current Page Number.
For this, I'm going to use a typeface
| | 02:49 |
called Clarinden, a 19th Century slab
serif typeface, which I feel is in
| | 02:54 |
keeping with the subject matter and which
I also feel contrasts nicely with Caslom Pro.
| | 03:03 |
However, Clarendon does not come
installed as standard with InDesign.
| | 03:07 |
So if you don't have it, you might
consider just staying within the Adobe
| | 03:10 |
Casalon Pro family, perhaps making the
page number bold.
| | 03:15 |
I'm going to reduce the size of that down
to nine points.
| | 03:19 |
I am going to change its alignment.
As I said, this is going to be the line
| | 03:24 |
towards the spine.
And I'm also going to change its
| | 03:27 |
alignment within that text frame, Cmd or
Ctrl + B to take me to my text frame
| | 03:31 |
options and align that to the bottom of
the text frame so it sits on that same
| | 03:35 |
baseline as the header itself.
Now I have those two, I'm going to to
| | 03:42 |
zoom out, select them both, and then copy
them over to the right-hand page and I'll
| | 03:48 |
need to change their order about.
And here what I intend to do is swap this
| | 03:59 |
information for a running header.
Before I do that, and I should have
| | 04:05 |
really done this before I copied those
elements, I am going to create a couple
| | 04:08 |
of paragraph styles.
So I'll come over to my paragraph styles
| | 04:13 |
and click into the header.
And I'm going to call it header, apply
| | 04:19 |
style to selection, OK.
And then I'll also click into the page number.
| | 04:24 |
It's unlikely that I'll need to change
these, but just in case I do, having a
| | 04:28 |
paragraph styles set up is going to mean
one change as opposed to change.
| | 04:35 |
And then I will make sure that those
styles are applied to their equivalents
| | 04:39 |
on the right hand page.
Now up here, this information is going to
| | 04:43 |
be replaced with a running header.
So I'm going to delete that for now, and
| | 04:49 |
I won't be able to set this up
completely.
| | 04:53 |
Because the running header is going to
use a paragraph style that we have yet to create.
| | 04:59 |
But I will come to Text Variables and to
Define, and I'll choose Running Header
| | 05:04 |
and then click Edit.
Running header paragraph style, what
| | 05:10 |
style am I going to use?
Well, actually, we can at least create it
| | 05:14 |
now, even if we don't define it.
New paragraph style.
| | 05:18 |
I'm going to say it's going to use my
paragraph style that will not be placed
| | 05:22 |
on anything to start with, and it's
going to be called Chapter Title.
| | 05:28 |
I want my headers to reflect the chapter
that the reader is in.
| | 05:32 |
Click OK, and it's going to use the first
of those on the page.
| | 05:38 |
There will only be one.
Everything else is the way we want it.
| | 05:42 |
I'll click OK, then I will click Insert.
Now that may not look yet how we want it
| | 05:48 |
to look.
We can always just change the definition
| | 05:51 |
of that style that it is using.
| | 05:53 |
| | Collapse this transcript |
| Adding line numbers| 00:00 |
This next stage is optional, but I highly
recommend it.
| | 00:04 |
It's to put some Line Numbers on our
master pages so that we can easily
| | 00:07 |
identify problems by referring to a
specific line number.
| | 00:12 |
Most useful if you're communicating with
a client, say, by telephone.
| | 00:16 |
Rather than, them saying to you over the
phone up a bit, down a bit, left a bit,
| | 00:20 |
right a bit, and wasting time that way.
They can say the problem is on line 18.
| | 00:25 |
And you can jump right to it.
Obviously these line numbers are going to
| | 00:29 |
be non printing.
So before we do anything, I'm going to
| | 00:32 |
make a non printing layer for them to go
on to.
| | 00:35 |
Which I'll call line numbers.
And I'll make sure that Print Layer is
| | 00:39 |
not checked.
And that's going to Italicize the name of
| | 00:43 |
that layer.
So then I'm going to draw myself a Text
| | 00:47 |
Frame that is the height of my type area.
I'll then just move it over outside of
| | 00:53 |
the text area, giving a little gap
between it and the text area itself, tap
| | 00:58 |
T to go to my Type tool.
I'll make sure that I have my hidden
| | 01:06 |
characters shown, and then, I'm going to
just insert into that text frame a whole
| | 01:12 |
series of returns.
I will then select all of those.
| | 01:19 |
And coming to my Paragraph formats, align
them to the baseline grid.
| | 01:24 |
And we'll also change the font, although
this doesn't really matter too much,
| | 01:27 |
because as I said, they are not going to
end up being printed.
| | 01:31 |
But just so that they're more comfortable
to look at.
| | 01:34 |
And I will also change the Color.
Now, to add numbers to those apparently
| | 01:40 |
blank paragraphs automatically, I'm going
to come to my Numbered List.
| | 01:45 |
And since I want to change the options of
the Numbered List, I will hold down the
| | 01:48 |
Option or Alt key.
When I click on that button, List type
| | 01:52 |
will be numbers.
And the Number Style, I do not need a
| | 01:55 |
period or a tab after the number, all I
am concerned with is the number itself.
| | 02:02 |
Click OK, and you can now see we have a
series of numbers.
| | 02:07 |
One through 34 so we know that we have 34
lines in total in our type area.
| | 02:13 |
I also want to adjust the alignment, so
that they are aligned towards the spine,
| | 02:19 |
like so.
I will come and zoom in down there and I
| | 02:23 |
see that we have some overset text.
There is a overset text marker there.
| | 02:30 |
I'm just going to make sure that there is
no overset text.
| | 02:36 |
(SOUND).
Even though it keeps indicating that
| | 02:38 |
there is, I'm pretty sure that there
isn't.
| | 02:41 |
There we go, we want to make sure that
this says No Errors.
| | 02:45 |
I can now Zoom Out.
And I'm going to Copy these over to the
| | 02:49 |
right-hand page.
And since I want to constrain the
| | 02:52 |
movement of that copy, as well as holding
down the Option or Alt key, I'm also
| | 02:56 |
going to hold down the Shift key.
And we there have some line numbers.
| | 03:04 |
Now, when I press W to preview, they're
going to go away, because they're on a
| | 03:08 |
non-printing layer.
But so as long as we are in the normal
| | 03:12 |
view mode we will see the line numbers.
Which will make it easier for us to
| | 03:16 |
identify where problems are occuring on
our page.
| | 03:20 |
| | Collapse this transcript |
| Understanding the Book feature| 00:00 |
I just want to say a few words about our
document strategy.
| | 00:04 |
Specifically, whether or not we should
make this into a booked project.
| | 00:08 |
Now by booked project I mean, are we
going to use this InDesign feature, New > Book.
| | 00:16 |
A Book in InDesign terms, is a collection
of documents.
| | 00:20 |
So, for any long document, you do have
the option of breaking it down into
| | 00:24 |
segments, chapters, specifically.
Personally, I prefer not to do this.
| | 00:31 |
I think the yardstick is always, if you
are the only person working on the
| | 00:35 |
project, it makes it simpler to keep it
all as one document.
| | 00:40 |
The great benefit of the book feature is
that it allows you to work collaboratively.
| | 00:44 |
So that you can be working on one chapter
while somebody else is working on another
| | 00:48 |
but in this case even though we have a
long document.
| | 00:52 |
It's a relatively simple document, and
it's one where we are the sole designer.
| | 00:57 |
So for that reason we are not going to
use the Book feature.
| | 01:01 |
If you want information about the Book
feature, I suggest you check out this
| | 01:05 |
course by Mike Rankin, Creating Long
Documents.
| | 01:09 |
And he has a whole chapter talking about
the Book feature.
| | 01:13 |
Which is right here, but I think for us
in this particular scenario.
| | 01:18 |
To get into making it into a book is
going to be unnecessarily complicating
| | 01:22 |
the issue and for that reason I'm keeping
it as a single document.
| | 01:28 |
| | Collapse this transcript |
|
|
3. Placing TextPlacing the text and looking at flow options| 00:00 |
It's time to place our text.
And I'm on page one of our document.
| | 00:05 |
So if you are anywhere other than page
one, make sure you go there now.
| | 00:08 |
As I mentioned in an earlier movie, I set
this document up with a primary text frame.
| | 00:13 |
Now if you have InDesign CS4 or 5 you did
not have the option of choosing Primary
| | 00:17 |
text frame.
You had what was called a Master text
| | 00:21 |
frame, but that behaved somewhat
differently.
| | 00:24 |
So I'm going to also show you how we can
do an auto flow place that does not use a
| | 00:28 |
primary text frame.
Either way we're going to end up with all
| | 00:33 |
of our text on as many pages as we need
to accommodate that text.
| | 00:39 |
Of course that page count is going to
change, but we want to see all of our
| | 00:42 |
text to begin with.
So first of all, working with the primary
| | 00:46 |
text frame, I'm going to press Cmd, or
Ctrl+D, and then come to my text file,
| | 00:50 |
Alice text.
Now I have my Show Import Options turned off.
| | 00:55 |
I've already familiarized myself with
this text, so there are going to be no
| | 00:59 |
big surprises.
But we'll see In a later movie how you
| | 01:03 |
might, in certain circumstances, want to
have Show Import Options turn on.
| | 01:11 |
Now, if I see this missing fonts message,
I don't really care, because all of the
| | 01:14 |
fonts I've got in this text file are
going to change.
| | 01:18 |
All we're concerned with is getting the
text in here to begin with.
| | 01:23 |
There's my loaded type cursor.
When I move that over my primary text
| | 01:26 |
frame, the shape of that cursor changes.
I can now just click, and after a brief
| | 01:31 |
pause, if I look on my pages panel, we
see that I now have, in this case, 87 pages.
| | 01:38 |
You may have a slightly different number
because maybe you didn't have a missing
| | 01:42 |
font, maybe you had a different default
font.
| | 01:45 |
It doesn't matter at this point, just so
long as it's all in there.
| | 01:48 |
Okay, now I'm going to undo that, press
Cms+Z twice.
| | 01:53 |
And then I'm going to delete that primary
text frame.
| | 01:57 |
So, let's see what would happen if we
didn't have a primary text frame.
| | 02:07 |
If I click I get just one text frame and
then it stops.
| | 02:12 |
And I have over set text.
So what I need to do to flow all of my
| | 02:15 |
text is hold down the Shift key while I
click.
| | 02:19 |
And I need to come to the top margin as
well.
| | 02:21 |
You can see how my cursor changes its
appearance ever so slightly.
| | 02:26 |
There's a black arrow in that cursor and
then when I, and overall when I am
| | 02:30 |
snapping to my top margin, it turns
white.
| | 02:34 |
At that point, I'm going to hold down my
Shift key and click and I arrive at the
| | 02:38 |
same place that I was at before with 87
pages.
| | 02:44 |
Regardless of which approach you are
using, I suggest you turn on this preference.
| | 02:50 |
Preferences, type, and for Windows users
your preferences will be at the bottom of
| | 02:53 |
the Edit menu.
Smart Text Reflow, now in the first
| | 02:57 |
instance, Limit to Primary Text Frames.
So in that case, it's already on.
| | 03:03 |
But in the second instance, Smart Text
Reflow would not have any effect.
| | 03:09 |
All I'm going to do is uncheck Limits to
Primary Text Frames so that Smart Text
| | 03:13 |
Reflow is applicable whether or not we
are using a Primary Text Frame.
| | 03:18 |
That's going to mean that as our text
expands or contracts, extra pages will be
| | 03:23 |
Added or Deleted.
And I just need to do one more thing to
| | 03:27 |
make sure that last thing is true.
Delete Empty Pages.
| | 03:31 |
So, I've unchecked that, and I've checked
that.
| | 03:34 |
And we now have all of our text flowed
into our document, and we're ready to
| | 03:37 |
move on to the next step.
| | 03:39 |
| | Collapse this transcript |
| Leveraging Word import options| 00:00 |
When I placed my text in the previous
movie, I did not avail myself of the word
| | 00:04 |
Import Options.
Not really necessary in this case.
| | 00:09 |
And that's because I was familiar with
the text, I had looked at the text in a
| | 00:12 |
text editor.
I knew what to expect, but, sometimes you
| | 00:16 |
do want to take advantage of those
options.
| | 00:19 |
I just want to point out where they are.
So, once again, I press Cmd or Ctrl D.
| | 00:24 |
This time I will choose Show Import
Options.
| | 00:27 |
Now, there's been much said about this
feature on lynda.com.
| | 00:31 |
Some of it by me but also by David
Blatner and Anne Marie Concepcion and
| | 00:34 |
Mike Rankin, and others.
So I don't want to repeat that, but I
| | 00:39 |
just want to quickly talk about what this
does.
| | 00:42 |
Typically, and the way it was used in the
previous movie, this option was turned
| | 00:45 |
on, Preserve Styles and Formatting from
Text and Tables.
| | 00:50 |
Meaning any formatting that was in that
text file, good, bad, ugly, it's all
| | 00:54 |
going to come in.
Now, we're going to end up stripping most
| | 00:58 |
of it out, there wasn't much anyway, so
that's fine.
| | 01:01 |
But you might sometimes, want to ,just
get rid of everything.
| | 01:06 |
I've chosen not to do that, I've chosen
deliberately, to preserve the styles,
| | 01:10 |
because there is some Italicizing in
there.
| | 01:14 |
That's going to be important to us and we
don't want to have to go in and
| | 01:18 |
re-italicize words that need emphasis.
Sometimes useful is the ability to strip
| | 01:24 |
out Inline graphics.
If the word file has a lot of Inline
| | 01:28 |
Graphics in it, they can cause confusion
in InDesign and one way to get rid of
| | 01:32 |
them is just to uncheck that option right
there.
| | 01:37 |
To take it a step further, you can do a
Custom Style Import with style mapping.
| | 01:43 |
IE if the incoming word document has
styles applied to it, those styles can be
| | 01:48 |
mapped to the styles that you have
already set up in your InDesign document.
| | 01:55 |
Now in our case, there were hardly any
styles in the word document.
| | 01:59 |
And we have no styles in our InDesign
documents.
| | 02:02 |
So not applicable to us at the moment,
but if this is the kind of job that you
| | 02:06 |
are repeating on a regular basis.
And you have good communication with the
| | 02:11 |
person who is creating the word document.
Perhaps you can have them work with a
| | 02:16 |
template, maybe you've supplied them
with, that has all the necessary styles
| | 02:20 |
in it.
And when you place that document into
| | 02:24 |
InDesign, you can have those styles map
to your styles.
| | 02:29 |
So this is potentially a very powerful
feature, one that we've not really had to
| | 02:34 |
utilize in this particular scenario.
But one that you do need to be aware of.
| | 02:39 |
| | Collapse this transcript |
| Cleaning up text| 00:00 |
For this next stage, I'm going to turn
off a couple of visual aids, the line
| | 00:04 |
numbers that we don't need just yet and
we'll turn off the layer that contain those.
| | 00:10 |
And I'm also going to turn off the
baseline grid.
| | 00:13 |
We'll be returning to both of those
later.
| | 00:16 |
Here I want to do some text cleanup now
we're familiar with this text we've
| | 00:19 |
looked at it in the text editor so we
know what we're working with there are
| | 00:22 |
some issues with it.
Very few but they are important now when
| | 00:27 |
we look through it we see that we have
certain local formatting specifically
| | 00:32 |
italicizing applied to particular words.
There is a danger that when we start
| | 00:38 |
applying our paragraph styles that that
local formatting may be lost.
| | 00:44 |
So before we do that, we need to convert
this local formatting to character styles.
| | 00:49 |
This isn't going to change its appearance
at this stage but it is a very important
| | 00:53 |
step that's going to to ensure that that
local formatting, the italicizing will be retained.
| | 01:00 |
Secondly, I have numerous instances of em
dashes that are surrounded by spaces.
| | 01:07 |
I would like my em dashes surrounded by
thin spaces so that there's not so much
| | 01:13 |
air on either side of those long dashes.
For both of these things I'm going to use
| | 01:21 |
find change but before I do that I need
to create myself a character style.
| | 01:28 |
So I'm going to make sure that I have no
text selected.
| | 01:31 |
Come to my Character Styles panel, New
Character Style.
| | 01:35 |
I will call it Italic.
Come to my basic character formats font
| | 01:40 |
style will be Italic.
All of the other formats will be left
| | 01:44 |
blank and these will be inherited from
the paragraph style.
| | 01:50 |
So now I'm going to come to find change,
I'll press Cmd+Ctrl+F.
| | 01:55 |
Find what and change to both can be left
blank because we're concerned with the
| | 01:58 |
formats in this instance.
Basic character formats, what I'm looking
| | 02:04 |
for is local formatting of italic.
And what I want to replace it with is an
| | 02:10 |
Italic character style.
Making sure I'm searching the whole document.
| | 02:16 |
Change or.
266 replacements.
| | 02:20 |
Imagine how tedious it would have been to
have to do those manually.
| | 02:25 |
Now, while I'm here, I can also do the
other change.
| | 02:29 |
And I'm just going to come and select
that range of text mdash copy it.
| | 02:38 |
Come to find what.
Past it in there.
| | 02:40 |
Change to White Space, Thin Space,
followed by an Emdash and then followed
| | 02:48 |
by once again a Thin Space.
I need to make sure that my find and
| | 02:55 |
change formats from the previous routine
are deleted.
| | 03:00 |
Once again searching whole document.
Lets just play this one safe and I'll do
| | 03:04 |
a find and a change and you can see
that's what it will be changed to
| | 03:08 |
significantly smaller space either side
of that dash.
| | 03:13 |
Then I'll go ahead and click the Change
All 258 replacements.
| | 03:20 |
Now moving through the document, I see
that there is also some more local
| | 03:26 |
formatting applied.
And this local formatting which for now
| | 03:32 |
I'm going to leave, is what distinguishes
the areas of the text that need to become verse.
| | 03:38 |
So it's important that they remain
distinct from the rest of the text at
| | 03:41 |
this point.
And we also see because I have my hidden
| | 03:45 |
character turned on, always useful to
work with those turned on that we have
| | 03:50 |
some extra paragraph marks in here.
For now, I'm going to leave them.
| | 03:56 |
They're an important visual cue to me
that certain of these paragraphs need
| | 04:01 |
space applied before them.
Ultimately they will be stripped out.
| | 04:06 |
But I'm going to leave them for now.
| | 04:07 |
| | Collapse this transcript |
|
|
4. Styling the TextCreating and applying paragraph styles| 00:00 |
We're now ready to apply our Paragraph
Styles.
| | 00:03 |
Let's just take a look at what we have
already.
| | 00:05 |
So if we look at the Paragraph Styles
panel, we already have page number and header.
| | 00:10 |
They are applied to the folio information
on the master pages and we already have
| | 00:14 |
Chapter title.
Although we didn't take any time to
| | 00:17 |
actually define what that is, we just
created it so that it could be used by
| | 00:21 |
the running header.
And since we haven't applied it yet, the
| | 00:25 |
running header is currently having no
effect, but that's going to kick in at
| | 00:29 |
some later stage.
But what we want to do next is address
| | 00:34 |
the problem of those paragraphs that need
to be inverse, and they need to be
| | 00:38 |
distinctly different from the rest.
And there isn't already a distinction.
| | 00:45 |
There was a distinction made in the
original text file.
| | 00:49 |
And if we look through our document and
find a given paragraph of what will
| | 00:55 |
become verse, we see that it is in the
Myriad Pro font.
| | 01:00 |
That's making it distinct from everything
else, which is currently in Minion Pro.
| | 01:09 |
So I'm going to do this, without worrying
too much yet about how this paragraph
| | 01:13 |
style looks.
With nothing selected, I'm going to come
| | 01:17 |
to New Paragraph Style and choose Verse.
Now, the verse I know is going to be in Italic.
| | 01:24 |
It's going to be in Adobe Caslon Pro
Italic and the leading will be 15.
| | 01:34 |
The other attributes, we can come back
and determine later on.
| | 01:37 |
I'll now click OK.
Now that that paragraph style has been defined.
| | 01:43 |
I'm once again going to use my find and
change to automatically apply that
| | 01:47 |
paragraph style to all paragraphs that
currently are in Myriad Pro.
| | 01:52 |
Command F.
Find what, I'll clear out my previous
| | 01:57 |
Find What, change To criteria and in Find
Format I'm now going to choose from basic
| | 02:01 |
character formats.
Font Family will be Myriad Pro and I am
| | 02:08 |
going to change to Paragraph Style Verse.
Click OK.
| | 02:17 |
And then Change All.
So that is making sure that these
| | 02:22 |
paragraphs are distinct.
And when we do the next step, which is to
| | 02:26 |
apply the body text, they will remain
distinct.
| | 02:29 |
| | Collapse this transcript |
| Continuing with paragraph styles| 00:00 |
Continuing with our creation and
application of paragraph styles, I'm now
| | 00:04 |
going to create the body style and to do
that I'm just going to come over here and
| | 00:09 |
select a paragraph of text.
Doesn't really matter which one,this one
| | 00:14 |
will do just fine, I'm on page 28, 29 but
doesn't really matter where you are at
| | 00:17 |
this point.
And I'll come to my character formats.
| | 00:22 |
As I mentioned in an earlier movie, I
want to use Adobe Caslon Pro as my body text.
| | 00:29 |
I feel like it's historically in keeping
with this book, which was written in
| | 00:33 |
1866, Caslon was very popular at that
time.
| | 00:37 |
Caslon has a certain Englishness about it
and this is an English novel.
| | 00:42 |
And also Caslon is a very beautiful and a
very readable and very available font so
| | 00:47 |
it takes all the right boxes for us for
this project.
| | 00:53 |
So there's my font there's my font style
twelve point is the size.
| | 00:57 |
I want to use a letting value of 15.
I'm just going to move across my control
| | 01:02 |
panel and change the things that are
relevant to us.
| | 01:06 |
I do not need to make any manual kerning
adjustments nor do I want to make a
| | 01:10 |
tracking adjustments, vertical scale,
horizontal scale can stay as they are.
| | 01:15 |
My baseline shift, my slot, none of those
need to be changed.
| | 01:20 |
The language dictionary.
I'm going to use English UK as the
| | 01:21 |
language dictionary.
The book was written in British English
| | 01:24 |
and the language dictionary is going to
effect how the words hyphenate should we
| | 01:27 |
choose to hypenate them.
And obviouslyy how and misspelling will
| | 01:31 |
be flagged when we come to do a spell
check.
| | 01:40 |
I'll now switch to my paragraph formats
and I would like to justify this text.
| | 01:46 |
When working with justified text which is
obviously going to give me a smooth
| | 01:50 |
margin on the right-hand edge.
We also need to affect our justification
| | 01:55 |
options which I'll come to in a moment.
First line indent so that we can clearly
| | 02:00 |
see where one paragraph begins, we want a
first line indent and I'm going to use
| | 02:05 |
the convention of the first line indent
being one Mspace.
| | 02:11 |
Now Mspace is the size of your type, in
this case, 12 points.
| | 02:16 |
My first line indent is that one.
I do not need a left, a right or a last
| | 02:20 |
indent, do not need any spacing before or
after.
| | 02:25 |
Hyphenate is the next option that's
relevant to me.
| | 02:28 |
I'm going to check that and in addition
to checking that I'm also going to set my
| | 02:32 |
hyphenation options.
Now's the time when we want to turn back
| | 02:38 |
on the baseline grid.
That I turned off in the previous movie
| | 02:42 |
and we see that our text is not actually
on that grid.
| | 02:46 |
So I'm not going to align the text to the
baseline grid.
| | 02:51 |
I will then come to the drop down menu of
the Control panel and first go to
| | 02:55 |
Justification where I'm going to change
the justification settings.
| | 03:01 |
So I'm going to make things a little
stricter.
| | 03:05 |
I want a minimum word spacing of 85%.
The desired will be left at 100 and a
| | 03:11 |
maximum of 115%.
I am going to allow some variation in
| | 03:16 |
letter spacing.
Let me turn on the preview and we can see
| | 03:19 |
how this is going to affect the type that
is selected.
| | 03:22 |
And that variation will be minus 2 at
minimum.
| | 03:25 |
The desired will remain 0 and 2 at
maximum.
| | 03:28 |
And then I'm also going to allow a
variation in the glyph scaling, the
| | 03:32 |
horizontal scaling of the characters.
And this is really going to go a long way
| | 03:38 |
to achieving good looking justified text.
97% for the minimum desired at 101 and
| | 03:45 |
103% at the maximum.
I want the Adobe Paragraph Composer
| | 03:50 |
applied to this text, which it already
is.
| | 03:53 |
So that when the paragraph is being
composed, InDesign is looking both before
| | 03:58 |
and after the cursor with the end result
that we get a better type of color or
| | 04:03 |
type density.
So I'll now click OK to accept those
| | 04:09 |
justification options and I'll return to
that same menu and come to the
| | 04:13 |
Hyphenation options.
Now a lot of people don't like
| | 04:18 |
hyphenation but believe me it really is
the lesser of the evils especially when
| | 04:22 |
working with justified text.
But if you choose to hyphenate then you
| | 04:27 |
need to and by hyphenate, I obviously
mean breaking words that where the whole
| | 04:30 |
word can't fit at the end of the line.
And we see we have two consecutive
| | 04:35 |
hyphens in this paragraph that I have
selected.
| | 04:38 |
That is going to be fixed in just a
moment.
| | 04:40 |
I'm going to say I only want words with
at least seven letters to be candidates
| | 04:44 |
for hyphenation.
And after first hyphen and before the
| | 04:48 |
last hyphen, I'm going to change that to
three to both, so that will be at least
| | 04:53 |
three letters carried down and at least
three letters left behind.
| | 04:59 |
The hyphen limit are set to 1 then if we
turn on the preview we can see that
| | 05:03 |
that's already fixed the hypenation that
was formally occurring at this paragraph.
| | 05:09 |
The hyphenation zone is not relevant to
us since we are working with justified text.
| | 05:14 |
I do not want the last word of a
paragraph to be a candidate for
| | 05:17 |
hyphenation and I do not want hyphenation
to occur across a column.
| | 05:23 |
So, in a nutshell, I am allowing
hyphenation but I'm not allowing much.
| | 05:29 |
I'll then click OK and that is unless
I've forgotten anything all the formats
| | 05:32 |
that we want to apply to the body text
and if I did forget something its very
| | 05:36 |
easy to come and add it later on.
Right now the status of this paragraph is
| | 05:43 |
basic paragraph with a whole bunch of
local overrides.
| | 05:48 |
So I'm now going to capture all of those
settings in a style name and that style
| | 05:52 |
name will be body.
And you can see there a list of all the
| | 05:56 |
changes that I made.
Now to apply that style to all of our
| | 06:01 |
text with the exception of the paragraphs
that are already styled in the verse
| | 06:05 |
paragraph style, I'm going to do this.
Because at the moment everything that is
| | 06:12 |
in basic paragraph needs to become body.
Once again I'm going to use my find
| | 06:18 |
change to automate this process.
So Cmd or Ctrl+F to find change.
| | 06:24 |
I'll clear out my previous values and in
the find what, I'm going to say paragraph
| | 06:30 |
style, basic paragraph.
That's what I'm looking for and what I'm
| | 06:36 |
changing to is body.
And then I'll click change all making
| | 06:42 |
sure that I'm searching the whole
document.
| | 06:45 |
There still remains much to do in
creating more paragraph styles and
| | 06:48 |
applying them, but we now see that our
text is beginning to take shape.
| | 06:54 |
| | Collapse this transcript |
| Finishing with paragraph styles| 00:00 |
I'm starting us out here in the finished
document because I just want you to see
| | 00:03 |
the structure of this book.
It's a very simple structure.
| | 00:07 |
There are 12 chapters.
Each chapter begins with a chapter
| | 00:11 |
number, followed by a chapter title,
followed by a first paragraph, followed
| | 00:17 |
by body text.
And from there on, the majority of the
| | 00:22 |
text in the chapter is in body text.
Then that sequence repeats.
| | 00:27 |
And again, and again, 12 times.
So, what we're going to do is create
| | 00:31 |
those styles for the chapter number,
chapter title, the body first paragraph,
| | 00:36 |
and apply those styles.
Starting out with the chapter number.
| | 00:44 |
I'm going to select that text.
And this is simple.
| | 00:49 |
I just want it to be italicized but
without the first line indent.
| | 00:54 |
Now, there is something else about this
particular paragraph style that I need to
| | 00:58 |
incorporate into the style definition.
I'm deliberately going to overlook it for now.
| | 01:04 |
I want you to see why we need it and how
easy it is to add in later on.
| | 01:09 |
This is not going to visually affect this
paragraph, but while I'm here, I am
| | 01:14 |
going to make it left align and I am
going to take off any hyphenation.
| | 01:20 |
Paragraph styles, new paragraph style,
and we'll call this one Chapter Number.
| | 01:28 |
And if I didn't have Apply Style to
Selection checked, which I didn't, I can
| | 01:33 |
just go and click on that style name in
the paragraph styles panel.
| | 01:40 |
Now moving on to the next style.
This one is going to be Chapter Title.
| | 01:45 |
I already have a style called Chapter
Title created earlier on.
| | 01:49 |
But when I created it, I didn't pay any
attention to the formats that were
| | 01:52 |
incorporated in its style name.
So, it doesn't look anything like how we
| | 01:57 |
want it to look.
I'm just going to come and edit the style definition.
| | 02:02 |
And here I'm using my second font, which
is the Clarendon, and I would like it to
| | 02:07 |
be Clarendon Bold.
And if I turn on my preview we can see
| | 02:11 |
what's happening.
I also see there's another problem that's
| | 02:15 |
made itself evident to me now, and it's
that this style is actually applied to my header.
| | 02:20 |
I'm going to fix that in a moment.
But I want my chapter titles to be 28
| | 02:24 |
points on 30 point leading, 30 point
being twice, leading value of 15.
| | 02:31 |
I do not want any tracking, or if I do
have some tracking I might have some
| | 02:36 |
negative tracking, which I will have
negative tracking of minus 10 units.
| | 02:44 |
I want this to be left aligned as opposed
to centered.
| | 02:47 |
I do not want it to hyphenate and then
just back in indents and spacing.
| | 02:52 |
I'm going to check balanced recognize and
you can see what that does.
| | 02:57 |
If I un-check it and then check it, we
get lines of roughly equal lengths.
| | 03:02 |
And I think that's all I need to adjust
for the Chapter Title Style.
| | 03:07 |
Before I go any further, let's address
this problem.
| | 03:10 |
I will come to my Master pages, click up
there in that paragraph that is my
| | 03:14 |
Running header.
And I must have made a mistake earlier on
| | 03:18 |
and applied this style to that text.
Actually it wants to be in the Header style.
| | 03:25 |
So, now I can return to my document page
one and to my first paragraph.
| | 03:32 |
Now I might be tempted here to use a drop
cap.
| | 03:37 |
First of all though I'm going to remove
the first line indent and I'm going to
| | 03:40 |
add some spacing before it.
15 points of space before a drop cap, if
| | 03:45 |
I wanted one would be this option right
here.
| | 03:49 |
I don't want one I think its unnecessary
there's plenty of differentiation between
| | 03:53 |
this paragraph and this paragraph as it
is.
| | 03:56 |
So, I'm going to keep it simple.
I will now come and create a paragraph
| | 04:02 |
style based upon that which I will call
body first.
| | 04:05 |
This time I will remember to check Apply
Style to Selection.
| | 04:10 |
And those are our basic paragraph styles.
Just to make things a little bit easier,
| | 04:16 |
I'm going to come to my selection tool.
And I'm going to order these styles on my
| | 04:20 |
paragraph styles panel in the sequence
that they appear.
| | 04:25 |
So, that's going to be chapter number at
the top followed by chapter title
| | 04:30 |
followed by body first.
Now, I will move through my document and
| | 04:35 |
on page seven, I find the beginning of
chapter two.
| | 04:39 |
Double-click in there, that's chapter
number, that's the chapter title.
| | 04:45 |
That is a body first, and here, we see
the thing that I forgot.
| | 04:50 |
The formatting attribute that I forgot
was that each chapter number needs to
| | 04:55 |
begin at the top of a page.
So, I'm now going to incorporate that
| | 05:00 |
into this style definition.
Right-click on it.
| | 05:04 |
Edit the chapter number and this is one
of our key options.
| | 05:08 |
Start paragraph not anywhere but rather I
want to start on the next page.
| | 05:15 |
Now if I was being more luxurious about
this, I might say start on the next odd
| | 05:18 |
page or next right page.
But in this case, I'm going to be more
| | 05:23 |
economical, space-wise, and say our next
page.
| | 05:26 |
Which is going to mean that some of my
chapter openers are on a left or even page.
| | 05:33 |
And you can see that that's automatically
kicked that beginning of chapter over to
| | 05:37 |
the next page.
I will apply one more, page 40, Chapter
| | 05:40 |
number automatically moves to the top of
the next page, Chapter title, body first.
| | 05:44 |
Because the order of these styles,
chapter number, chapter title, body
| | 05:48 |
first, is consistent, we could set up a
style sequence.
| | 05:53 |
And that's what I will be doing in the
next movie.
| | 06:04 |
| | Collapse this transcript |
| Applying a style sequence| 00:00 |
In this movie I'm going to finish off the
first pass of applying the paragraph
| | 00:04 |
styles to the text in the document.
And I'm going to introduce two new
| | 00:09 |
concepts here.
One is the idea of finding where you want
| | 00:12 |
to apply the style using Find Change.
And the other is using a Style Sequence.
| | 00:19 |
And our document is a good candidate for
a Style Sequence because the text follows
| | 00:23 |
a consistent sequence and that sequence
is chapter number, chapter title, body first.
| | 00:30 |
So let me modify the paragraph styles
that we have and you can see that I've
| | 00:33 |
arranged them in that order on my
paragraph styles panel.
| | 00:38 |
I'm going to right click, first of all.
On Chapter Number to edit that and change
| | 00:42 |
its next style setting to Chapter Title.
Then click OK.
| | 00:48 |
Then I'm going to right click on Chapter
Title and make its next style body first.
| | 00:56 |
That's as far as we need to go with that.
I will now find the beginning of chapter four.
| | 01:01 |
Cmd or Ctrl+f to take me to my find
change.
| | 01:05 |
For this particular document we're lucky
in that the word chapter is only used in
| | 01:10 |
the context of the chapter number.
So I know that when I type in Chapter in
| | 01:16 |
my Find What field, making sure that I
delete any other parameters, and then
| | 01:20 |
click on Find.
It's going to take me to the beginning of
| | 01:25 |
the next chapter where I can now do this.
Swipe through the first three paragraphs,
| | 01:31 |
chapter number, chapter title, body
first.
| | 01:35 |
Come to the first style in the style
sequence, right click and choose Apply
| | 01:40 |
Chapter Number Then Next Style.
And we get three for the price of one,
| | 01:45 |
essentially it's now a question of
repeating that until we get to the end as
| | 01:50 |
I mentioned before there are 12 chapters.
When I choose Find, it finds the one that
| | 01:57 |
we've already done.
I'll click on Find Next, swipe through
| | 02:01 |
those first three chapters, apply Chapter
Number Then Next Style.
| | 02:07 |
Repeat, repeat, repeat, until you get to
the end of the document.
| | 02:17 |
Now you don't need to see me do that but
that's what I'm going to do.
| | 02:20 |
And I'll meet you in the next movie with
all of our basic paragraph styles applied.
| | 02:26 |
| | Collapse this transcript |
| Formatting the chapter openers| 00:00 |
Now that we've applied our basic
paragraph styles, chapter number, chapter
| | 00:04 |
title, body first, and body to most of
what remains, our document has a structure.
| | 00:09 |
We can see where one chapter ends and the
next one begins.
| | 00:12 |
However, there are many things that we
still need to fix.
| | 00:17 |
And the order in which we fix them, is
significant, we don't want to be
| | 00:19 |
premature about fixing certain problems
because they're just going to recur and
| | 00:23 |
we're going to have to fix them again,
and again, and then we're going to get
| | 00:25 |
very frustrated.
For example, I'm well aware that we do
| | 00:30 |
not want a header at the top of our
Chapter Opening pages, but I'm not fixing
| | 00:35 |
that right now.
And I'm not fixing it right now, because
| | 00:40 |
the pagination is likely to change and
our chapters, the pages that they start
| | 00:44 |
on, is also likely to change.
By the way, let me point out that our
| | 00:49 |
chapter headers, our running headers, are
now functioning.
| | 00:53 |
We set these up in an earlier movie, they
weren't doing anything until we applied
| | 00:57 |
the Chapter Titles style to all of the
chapter titles.
| | 01:01 |
But now they are working.
What I do want to address here, and what
| | 01:05 |
is going to make a big improvement in the
appearance of the document is, I would
| | 01:09 |
like some space at the beginning of each
of my Chapter Opening pages.
| | 01:16 |
To put it another way, I want some space
above the chapter numbers.
| | 01:20 |
Now if I come and add space before,
that's not going to do anything.
| | 01:24 |
If I try and add 90 points of space
before that, no effect, because space
| | 01:28 |
before is ignored.
When that paragraph occurs at the top of
| | 01:32 |
a page.
Obviously, I don't want to attempt this
| | 01:35 |
using paragraph marks because that's just
going to give us a very amateur result
| | 01:39 |
and also it's going to be very
frustrating because it won't really work.
| | 01:45 |
Nor do we want to select the text frame
and bring it starting point down a few lines.
| | 01:50 |
That would sort of work, but it would be
far too labor intensive, and it just
| | 01:54 |
wouldn't respond to changes elsewhere in
the document the way we want it to.
| | 02:01 |
So that's not going to happen.
Instead, I'm going to use this handy work
| | 02:06 |
around and the work around is I'm
going to put a rule above each of the
| | 02:10 |
chapter numbers.
Now you may be thinking, wait a minute I
| | 02:14 |
don't want a rule above, well the good
thing is the rule above does not need to
| | 02:17 |
be visible.
And before I do that, I'm going to return
| | 02:22 |
to page one.
So that if re-pagination occurs which
| | 02:25 |
it's likely to do, we're not get
disoriented.
| | 02:29 |
So I am going to Edit > Chapter Number,
and come to my paragraph rules.
| | 02:37 |
Rule Above, I do want a Rule On.
There, we can see on the baseline of the
| | 02:41 |
type, obviously we need to shift it up.
I'm going to move it up by 90 points.
| | 02:48 |
And what that does is shift it to the
very top of the page.
| | 02:53 |
So we need to make sure that we check
Keep in Frame and we can now see that its
| | 02:57 |
moving that type down but also we see
that we have a one point rule across a
| | 03:01 |
whole column and we fix that just by
changing its color to None.
| | 03:08 |
I'll click OK.
Let's just view that without our guides,
| | 03:12 |
so I'll press W.
And we now see that we have a comfortable
| | 03:18 |
amount of whitespace at the beginning of
each of our chapter openers.
| | 03:22 |
| | Collapse this transcript |
| Adding pauses| 00:00 |
It's now time to systematically work our
way through the document, and apply
| | 00:05 |
exceptions to the text where appropriate.
I'm using, as my reference, a printed
| | 00:10 |
version of Alice in Wonderland, maybe you
have a copy yourself.
| | 00:14 |
And if you don't, you can always use my
finished version as your visual reference.
| | 00:19 |
The first thing that I want to do, is
apply formatting to this and several
| | 00:24 |
other pauses.
As indicated by this asterisk, we want
| | 00:28 |
some space before this and some space
after it.
| | 00:33 |
Currently this occurs at the bottom of
the page.
| | 00:36 |
But there is going to be a graphic added
which is going to cause my pagination to
| | 00:39 |
change, so I'm not worried about that at
the moment.
| | 00:44 |
I'm going to come to my Paragraph Styles
and I'm going to add 15 points of space
| | 00:48 |
above and 15 points of space below.
That's going to cause that to turn over
| | 00:54 |
to the top of the next page.
I'll also Remove its first line indent.
| | 01:00 |
And set it's alignment to Center.
Now I will create paragraph style based
| | 01:04 |
upon that, which I'll call pause.
I had apply Style to selection checked so
| | 01:11 |
that text is now in the pause style.
I'll press Cmd or Ctrl+F to go to my Find/Change.
| | 01:20 |
Come to Text, make sure that I clear out
any previous find and change criteria.
| | 01:26 |
I'm going to add an asterisk in my Find
what field and then click on Find.
| | 01:31 |
It will find me the next instance of the
pause.
| | 01:35 |
I'll apply the Style to that, find next.
I'll do the same thing, and I think that
| | 01:44 |
is it.
There are three in total.
| | 01:49 |
Now that the pauses have been formatted,
we can go on and apply formatting to the
| | 01:52 |
various different examples of verse, and
I will address that in the next movie.
| | 01:57 |
| | Collapse this transcript |
| Styling verse| 00:00 |
Its now time for some heavy lifting or
some medium weight lifting at least.
| | 00:05 |
We need to apply the formats to the
paragraphs of verse and nursery rhymes
| | 00:10 |
and I'm finding the first instance of
that and in my case its on page eight.
| | 00:17 |
Now this in not actually a verse or
nursery rhyme but it requires the same
| | 00:21 |
sort of formatting.
And it is slightly confusing here that we
| | 00:25 |
are actually going to begin with what
will be an exception.
| | 00:29 |
Firstly, I want this paragraph, Alice's
Right Foot to be centered and I want it
| | 00:34 |
to have some space before it.
Now that is a paragraph style that I will
| | 00:40 |
be using again.
So I'm going to capture that as a
| | 00:45 |
paragraph style and I will call it verse
center.
| | 00:50 |
I want lines two three and four to be
indented so that they are flush with the
| | 00:54 |
a of alice in line one but with each line
indented a little more than the line that
| | 00:59 |
preceeds it.
You'll see what I mean in just a moment.
| | 01:06 |
I'm going to put my cursor right there in
front of the A of Alice and I find out
| | 01:10 |
that it's position is 83.665 points.
So I'm going to select those three
| | 01:18 |
paragraphs and make the left indent
83.665, like so.
| | 01:27 |
Now I want them all indented 12 points
beyond that, 12 points being one end
| | 01:32 |
space that being the size of our type.
So I'll type in plus 12 and now select
| | 01:41 |
lines three and four, plus 12 and just
line four also plus 12.
| | 01:52 |
After each section of verse I want a
space above the body text so I will click
| | 01:56 |
into this paragraph of body text.
15 points of space before and then I will
| | 02:03 |
create a new style based upon that.
Now I just need to find the next instance
| | 02:11 |
of verse.
I'm going to use my Find/Change to do this.
| | 02:15 |
I'll clear out anything that's in the
find watt field and come to Find Format.
| | 02:22 |
And what I'm looking for is anything that
has the verse paragraph style applied to it.
| | 02:33 |
Zooming in on that.
As I have mentioned before.
| | 02:36 |
We have still some extra paragraph marks.
And these extra paragraph marks are
| | 02:41 |
indicating where the next paragraph needs
space above it.
| | 02:46 |
These will ultimately be stripped out but
right now they are useful to us because
| | 02:50 |
they indicate where we need some space.
I need some space above this since it is
| | 02:57 |
preceded by body text.
And that space, of course, is going to be
| | 03:02 |
15 points.
And I'm then going to create a paragraph
| | 03:07 |
style called first space which I'll also
apply right there.
| | 03:14 |
Now the style I'm using here is that
every other line is indented 12 points.
| | 03:23 |
So I'm going to come down to line two and
that will have a left indent of 12 points
| | 03:28 |
and I'm going to create a new style based
upon that.
| | 03:32 |
Which I will call Verse Indent and since
there are going to be quite a few of these.
| | 03:38 |
I'm also going to give this a shortcut
and that shortcut will be Cmd+Num 1.
| | 03:47 |
And then I could quickly apply that where
necessary.
| | 03:55 |
And apply Body Space to the text which
follows that.
| | 03:59 |
Back to my Finds/Change.
And it seems to have skipped one, I'm not
| | 04:07 |
quite sure why.
But I'm going to now move back to page 31
| | 04:12 |
where we have a long section that needs
to be formatted.
| | 04:19 |
And, I think I also want to give a
shortcut to the first space style since
| | 04:23 |
that one is used frequently as well.
We'll have this one be Cmd 2.
| | 04:30 |
So, I'll quickly move through these and
apply that Verse Space style.
| | 04:40 |
And every other line needs to have that
verse indent style applied to it.
| | 04:50 |
So the rest here is repetition.
I'm using Find/Change to find the next
| | 04:54 |
section of verse, I'm applying the Verse
Space and the Verse Indent styles where appropriate.
| | 05:00 |
And then when the verse ends and the body
text begins again, I'm applying the Body
| | 05:04 |
Space style.
So, join me in the next movie and I'll go
| | 05:07 |
over one more step that we need to take
in order to just finish off this whole process.
| | 05:13 |
| | Collapse this transcript |
| Evaluating progress and cleaning up text| 00:00 |
At this point we're going to just
evaluate what we have and we're also
| | 00:03 |
going to strip out those extra paragraph
marks and fix a few other small problems
| | 00:07 |
that we may have overlooked until now.
Firstly, let's get rid of paragraph marks.
| | 00:14 |
If I go to page 32.
We can see that we have these extra
| | 00:17 |
paragraph marks, formerly they were
indicating where space needed to be applied.
| | 00:23 |
We've built that space into our paragraph
styles so these extra returns are now redundant.
| | 00:30 |
We want to strip them out in one go and
to do that I'm going to use this
| | 00:34 |
predefined query.
And I'm also going to, just to make sure
| | 00:40 |
that we didn't introduce any extra spaces
along the way, run that one as well.
| | 00:51 |
Another problem I see is that the verse
paragraphs are not currently aligned to
| | 00:55 |
the baseline grid.
We have four different verse paragraph styles.
| | 01:01 |
I'm going to make sure that I edit the
parent of those.
| | 01:04 |
So that I only need to make this change
once, because the others are all based
| | 01:09 |
upon this.
I'll come to the Indents and Spacing, and
| | 01:14 |
align to grid all lines.
So that will fix that.
| | 01:19 |
And I realize there, that there's another
thing that I missed, that should be a
| | 01:23 |
body space.
And then finally, I'm going to come to
| | 01:28 |
the very end of the document where we
have The End.
| | 01:33 |
We just need to sort that out.
I'm going to make that centered.
| | 01:37 |
It should not have a first line indent.
It should have some space before it.
| | 01:42 |
And I would also like it to be in small
caps with some positive tracking.
| | 01:52 |
And rather than typical small caps, I
would like it to be all small caps so
| | 01:56 |
that each of the letters is the same
height.
| | 02:01 |
| | Collapse this transcript |
| Adding typographic effects| 00:00 |
Our next task is to create the Mouse's
tail, this passage of type that looks
| | 00:04 |
like what it is.
And it's a very tricky thing let's look
| | 00:08 |
at this finished version.
We can see that it's inside a vector shape.
| | 00:13 |
We can see too that the type is smaller
and decreasing in size as it gets to the
| | 00:18 |
tip of the tail.
If we come to our work in progress, I
| | 00:23 |
have a finished version of this on it's
own separate layer.
| | 00:28 |
Now I may end up using, this finished
version.
| | 00:31 |
Depending on how it works out, in the
recreation of it but the reason I have
| | 00:36 |
the finished version, is because an awful
lot of back and forth with this.
| | 00:42 |
One small movement, can effect quite a
big change, sometimes for the better, but
| | 00:47 |
as often, for the worse.
So, you do need to be patient when doing this.
| | 00:53 |
I'm at the top of page 19, and the chunk
of type I want to be working with is this.
| | 00:59 |
And in case your pagination is different
to mine, it begins, fury set to a mouse,
| | 01:02 |
that he met in a house.
Etc and continues to and condemn you to
| | 01:07 |
death, alright.
So, that's the path that we need to cut
| | 01:11 |
from the flow of the text.
And now I'm going to just move over on to
| | 01:16 |
the pace board where I'm will click and
drag and put that into its own separate frame.
| | 01:22 |
Let me turn my guide back home so that we
can see it.
| | 01:29 |
And I'm going to make my life a little
easier by putting this element on its own
| | 01:33 |
separate layer.
And then turning off layer 1 that
| | 01:37 |
contains the rest of my text.
Let's move this over into position.
| | 01:45 |
Before we start shaping the text frame
into something like a mouse's tail, I
| | 01:49 |
need to make some changes to the type.
Let's delete that paragraph marker at the end.
| | 01:57 |
I'm going to change its alignment so that
the last line is aligned centered.
| | 02:02 |
I'm going to remove the first line
indent.
| | 02:06 |
I'm going to turn off Hyphenate and I'm
also going to turn off Align to Grid.
| | 02:09 |
The type is then going to be made
smaller.
| | 02:17 |
It's going to start out at ten point.
I'm going to change the leading to Auto.
| | 02:24 |
Now, if you've seen other courses that
are recorded here on lynda.com.
| | 02:29 |
The typography series, I've stressed
numerous times the auto leading is not
| | 02:33 |
really an appropriate leading choice for
your text.
| | 02:38 |
This is an exception and the exception
here is because I want to incrementally
| | 02:42 |
decrease the size of the type as we get
closer to the tip of the tail.
| | 02:48 |
And I want to proportionally diminish the
leading value at the same time.
| | 02:53 |
The current relative size of auto
leading, 120 percent, is too big.
| | 02:59 |
We need this type to be relatively dense.
So, I need to reduce that value.
| | 03:04 |
I'm coming to the Justification dialogue
box and I'm going to make the Auto
| | 03:09 |
Leading percentage 105 percent.
So, here's how our text begins it's life.
| | 03:17 |
I'll come and turn off the baseline grid.
Now come to my pen tool and I'm going to
| | 03:25 |
add in three anchor points.
On the left I'll draw down a guide to
| | 03:35 |
each of those so that I can match them in
position on the right.
| | 03:44 |
Before I do anything else, I'm going to
narrow the width of the frame.
| | 03:55 |
I see I have an extra space in there
which I'm going to delete.
| | 04:04 |
Now I'm going to select those first two
anchor points that I added and pull them
| | 04:08 |
out to the right.
The next two they can be pulled out to
| | 04:14 |
the left, the next two to the right.
Let's go and grab the bottom of this text
| | 04:24 |
frame and drag it up.
And now let's move this one in, and we'll
| | 04:33 |
move the bottom one in.
So, now I'm just reshaping the text
| | 04:39 |
frame, pulling these anchor points
around.
| | 04:44 |
And at this point I'm going to try
diminishing the size of the type from the
| | 04:48 |
top to the bottom.
I want to do this very incrementally, so
| | 04:53 |
I'm going to need to change My
Preferences.
| | 04:56 |
Cmd or Ctrl + K then come to units and
increments and you can see that here I
| | 05:00 |
have changed the size and leading
increment to one quarter of a point.
| | 05:07 |
And the kenning tracking increment to
1:1000 of an m.
| | 05:14 |
So, I'm going to skip the first line, the
first line we're going to have at 10 point.
| | 05:17 |
Place my cursor in front of the second
line.
| | 05:20 |
Press Cmd+ Shift and the End key.
That will select evereything to the end
| | 05:25 |
of the story and then Cmd + Shift less
than to reduce the size of that type.
| | 05:32 |
I will now exclude from that selection
the second line and do the same thing
| | 05:36 |
again and you can see where I'm going
with this.
| | 05:40 |
Basically I'm just making it a little bit
smaller and a little bit smaller.
| | 05:52 |
So, now I'm going to switch back to my
direct Selection tool.
| | 05:55 |
And just shape that some more.
I think we'll need to start out with it
| | 05:59 |
being not quite so wide.
Let's see that without the guides.
| | 06:12 |
When those guides get in the way, I'm
going to press Cmd+ ; to hide them.
| | 06:21 |
I think I'd now like to reduce the
leading ever so slightly.
| | 06:24 |
I will make sure that it's all selected
and press Option or Alt and the Up arrow.
| | 06:36 |
And I'm quite liking how that's looking.
It needs more finessing, I do have some
| | 06:39 |
bad word spacing going on.
But if I were to continue I might add in
| | 06:44 |
additional anchor points to the shape.
Allowing me more flexibility in creating
| | 06:50 |
the overall shape that I'm after.
So, when I have what I want, I'm now
| | 06:56 |
going to do this.
I'm going to turn back on my original layer.
| | 07:02 |
And I'm going to put that text frame back
onto that layer.
| | 07:09 |
And then, where I want my shaped text to
go in the flow of the text.
| | 07:15 |
I'm going to create a blank line.
Let me just turn my guides back on, so
| | 07:18 |
that we can see where that is.
There I have a blank line.
| | 07:22 |
Now, here I'm going to create another
paragraph style.
| | 07:25 |
And this will be a paragraph style that
will be used, not just for this, but also
| | 07:29 |
for other inline graphics when we come to
place them.
| | 07:34 |
So, here I would like this new style to
have no first line indent, to be centered.
| | 07:42 |
And very importantly for what we want
here, i want it to have Auto Leading.
| | 07:52 |
Now i can select my shape text, let's
just drag it out of the way for a moment.
| | 07:57 |
And that is going to be inserted onto my
now blank line, which before I do
| | 08:00 |
anything else with let me capture that as
a paragraph style.
| | 08:05 |
which I will call Inline.
Select my text frame.
| | 08:08 |
I'm going to hold down the Shift key and
drag from the blue square at the top
| | 08:13 |
right of the text frame, in front of that
paragraph map.
| | 08:19 |
And then that becomes an Inline object.
So, there we have our passage of
| | 08:25 |
expressive type, inserted as an inline
object so that from now on it will follow
| | 08:29 |
the flow of the text.
| | 08:33 |
| | Collapse this transcript |
| Applying Optical Margin Alignment| 00:00 |
One more brief very easy and very
satisfying task before we move onto
| | 00:04 |
placing our images.
By the way if you watch the previous
| | 00:08 |
movie I went back to our original mouses
tail which I felt was better than the one
| | 00:11 |
I actually did on camera.
Proving the point that it is a rather
| | 00:16 |
tricky thing and one that requires some
degree of finessing.
| | 00:21 |
And of course that takes time.
But what we're going to do in this movie
| | 00:24 |
is apply Optical Margin Alignment.
And I have applied Optical Margin
| | 00:29 |
Alignment to this one piece of text
which, since I cut it out, is technically
| | 00:33 |
a separate story.
I'm now going to apply it to the rest of
| | 00:38 |
my text.
And lets go to the beginning to see this.
| | 00:43 |
It doesn't really matter where we place
our cursor just so long as we are
| | 00:47 |
somewhere inside our continuous flow of
text.
| | 00:51 |
We can then come to the Type menu and
before I do this I'm just going to turn
| | 00:54 |
my guides On.
Type menu > Story.
| | 00:58 |
It doesn't matter whether you have the
story selected with your Type tool or
| | 01:01 |
with your Selection tool.
The result will be the same.
| | 01:05 |
And, it couldn't be any easier.
I just need to check this box, Optical
| | 01:09 |
Margin Alignment.
Now, why am I doing this?
| | 01:12 |
Let me find a place in the text where we
will be able to discern the difference.
| | 01:18 |
Down here, I see I have a hyphen break.
I'm going to zoom in on that.
| | 01:23 |
And when I check Optical Margin
Alignment, that hyphen is going to stick
| | 01:27 |
out beyond the edge of my text frame, as
does this quote mark as will any other punctuation.
| | 01:35 |
So the idea here is that we are stressing
the straightness of that right hand edge
| | 01:41 |
by moving any punctuation beyond it.
And in that case we have a stronger
| | 01:48 |
vertical stress of the letters
themselves.
| | 01:52 |
Because these punctuation marks that were
formerly flush with the right hand edge
| | 01:56 |
were creating, now I will just turn that
off, were creating some sort of visual
| | 02:00 |
hole right theer and right there.
Where as the stress will become stronger
| | 02:08 |
with the Optical Marigin Alignment
couldn't be any easier than that.
| | 02:12 |
The only option that we have to consider
is this one, the point size.
| | 02:17 |
It doesn't really make much difference in
practice but the idea is that you make
| | 02:20 |
the point size of the type you're working
with.
| | 02:24 |
We happen to be working with 12 point
type, so we need go no futher.
| | 02:28 |
| | Collapse this transcript |
|
|
5. Working with ImagesAn overview of working with images| 00:00 |
So, it's now time to place our images and
I just want to take this movie to have a
| | 00:05 |
general overview.
And orientation to the images.
| | 00:11 |
In terms of their placement, you can
refer to the final version that is in the
| | 00:15 |
Exercise files.
Now the final version that we have here
| | 00:19 |
on screen, may look slightly different
from the final version that I ultimately
| | 00:23 |
end up with.
From our work in progress.
| | 00:27 |
Just bear that in mind, don't expect
things to match exactly, but the
| | 00:31 |
placement of the images remains the same
in terms of where they go in the text.
| | 00:38 |
So you can refer to this for the
placement of the images.
| | 00:42 |
I have also labeled these images.
The first part of the file name indicates
| | 00:48 |
the chapter that they go with.
And then, they are numbered sequentially
| | 00:54 |
within that chapter.
Here I am in Bridge where we can, just
| | 00:58 |
get a sense of the kind of imagery that
we are working with.
| | 01:06 |
And you might wish to switch to filmstrip
in Bridge.
| | 01:10 |
And then you can use your left arrow,
right arrow to move through these images.
| | 01:17 |
These are the original illustrations
drawn by John Tenniel.
| | 01:23 |
And if you want some information about
John Tenniel, or Sir John Tenniel, as he
| | 01:26 |
later became.
You can find that on Wikipedia.
| | 01:31 |
Some of these images will have the text
wrapped around them, as is the case with
| | 01:36 |
the white rabbit here on the opening
page, and some.
| | 01:41 |
Will be in-line objects, so it's going to
be a mixture of the two that we're going
| | 01:46 |
to be creating object styles for those
different types.
| | 01:52 |
Keeping in mind that we are going to be
making an ePub version of Alice in
| | 01:55 |
Wonderland, the in-line graphics are
going to work far better, there going to
| | 01:59 |
translate far more easily.
To the ePub format than those that have
| | 02:05 |
text wraps around them.
But we're not going to let that inhibit
| | 02:10 |
us, I mean, we're basically we're
going to do whatever the image requires,
| | 02:13 |
whatever looks best.
But bear in mind that, when we do come
| | 02:18 |
to, later on, translate this version to
the ePub version.
| | 02:22 |
We are going to have to change things
around a bit for those images that we
| | 02:25 |
apply text ramps to.
So that's a general orientation to the
| | 02:29 |
images, meet me in the next movie and
we'll actually go about placing them.
| | 02:34 |
| | Collapse this transcript |
| Applying and finessing text wraps| 00:00 |
Placing my graphics.
Here I am in Bridge, I'm in the full mode
| | 00:03 |
of Bridge.
When I'm clicked onto any of these, it
| | 00:07 |
tells me that the bit depth is one and
the color mode is bitmap.
| | 00:12 |
So these are all line arts.
The pixels are 100% black or 100% white.
| | 00:19 |
I'm going to switch now to Compact mode
and on the first page.
| | 00:24 |
I'll just move that over a bit so that,
we've got a little room to maneuver.
| | 00:30 |
And before I drag the image onto my
ndesign document I'm going to create a
| | 00:35 |
layup for images.
The images that ultimately end up being
| | 00:39 |
in line will have to be on the Text layer
but for those that are going to have the
| | 00:43 |
text wrapped around them, I prefer those
to be on separate layer.
| | 00:50 |
And I want that layer to go beneath what
is currently called layer one.
| | 00:55 |
So I'm going to hold down Cmd+Option.
Click on Create New Layer.
| | 01:00 |
I will call this Pictures.
I will make it's color red.
| | 01:06 |
That's just for nothing more than my own
visual identification when I look at the
| | 01:09 |
frame edge color and I just like it to be
red but that's neither here nor there
| | 01:12 |
really in terms of importance.
I'm also going to, while I'm here rename
| | 01:21 |
what's currently Layer 1 Text.
Come back to Pictures, with that layer targeted.
| | 01:27 |
I'll drag out the first of my graphics
onto my page and then click and drag to
| | 01:33 |
place it right there.
I'll come down and dismiss bridge so I'm
| | 01:39 |
going to call up my Text Wrap panel.
Cmd+Option+W.
| | 01:44 |
And then wrap around the object shape,
which is a start but we don't want it to
| | 01:49 |
look like this, we want to create an
interesting wrap around the shape of the
| | 01:53 |
rabbit itself.
So I'm going to choose what I hope will
| | 02:00 |
be the path of least resistance here.
If it works, it's really instantaneous
| | 02:05 |
and if it doesn't, then we might need to
take this image into Photoshop, create a
| | 02:09 |
Photoshop path or alpha channel.
You can see both of those options dimmed
| | 02:14 |
at the moment.
But I'm going to choose Detect Edges and
| | 02:18 |
we now see that we have a text rat around
the shape of the graphic itself and its
| | 02:23 |
working quite well.
I would like to increase the amount of
| | 02:30 |
offsets so I'm going to put this up to,
I'm going to try 7.5 points.
| | 02:38 |
And the reason I'm putting in 7.5 points
is because if we have a letting value of
| | 02:43 |
15, 7.5 is half that whether or not this
visually is beneficial, it's sometimes
| | 02:48 |
hard to tell.
But I feel like things are relating to
| | 02:53 |
other things in term of this spicing
value.
| | 02:57 |
So that's my rational, there.
And, we can see that there are a few
| | 03:01 |
problems with the text wrap but I'm just
going to live with those for now.
| | 03:08 |
We'll come back and fix those in a
minute.
| | 03:10 |
I'm now going to select this and bring it
down somewhat.
| | 03:15 |
Bring it in somewhat.
Essentially I want it to be within the
| | 03:18 |
type area but just slightly poking out so
that we are slightly breaking out of that
| | 03:23 |
very rectilinear grid.
And I'm going to need to scale it down somewhat.
| | 03:30 |
So I'm holding down Cmd+Shift, pulling
from one of its corners.
| | 03:37 |
And of course we can see that obviously
we have a problem right here, where the
| | 03:40 |
text is wrapping on the other side of the
rabbits ear.
| | 03:44 |
And that's definitely not working, so I
need to change the wrap option to Wrap on
| | 03:48 |
the Left Side Only.
Still, no problem right there.
| | 03:54 |
I'm going to to try and fix that by doing
nothing more than giving the graphic a
| | 03:57 |
little bit of a nudge.
I'm also going to turn on my baseline
| | 04:04 |
grid at this point.
So just in terms of its positioning, I
| | 04:13 |
would like the very edge of the rabbit's
tail to be within the frame and then the
| | 04:18 |
flower and the grass detail to be poking
out beyond the edge of the text frame.
| | 04:26 |
Alright, let's see how that's looking now
if I hide my guides and it's not looking
| | 04:31 |
that great.
There are some problems with it down here.
| | 04:36 |
We're creating an awkward space.
So I might need to manually adjust this
| | 04:42 |
text wrap.
But before I resort to that, I'm just
| | 04:47 |
going to see what giving it a little
nudge will do.
| | 04:50 |
Okay, I'm going to leave it there and at
this point I am going to create a new
| | 04:56 |
object style.
And I am going to call this TextRep,
| | 05:02 |
Apply Style to Selection.
So, what's I'm doing here is I'm
| | 05:08 |
capturing those settings, the Amount of
Rap, the Detect Edges, the Wrap to the
| | 05:12 |
Left Side.
In fact I'm going to call this Text Wrap
| | 05:16 |
L because there's a likelihood that I'm
will need to have another object style
| | 05:20 |
that is exactly the same but wrapped to
the right side.
| | 05:27 |
And then I'll click OK.
Having done that, I can now, if necessary
| | 05:33 |
come and make some modifications to just
this particular instance.
| | 05:40 |
So I'm going to get in there with my
Direct Selection tool and where the words
| | 05:45 |
are coming too close to the illustration
and remember we chose Detect Edges, I am
| | 05:51 |
going to just fix that vector path.
So in this case, I think what I want to
| | 05:58 |
do is if I zoom in really close, you can
see what I'm talking about.
| | 06:02 |
This area here, I'm just going to delete
these anchor points.
| | 06:06 |
This can be rather fiddly so we do need
to be a bit patient here.
| | 06:11 |
I've chosen my Pen tool.
And, I'm going to click on those anchor
| | 06:15 |
points to delete them.
And you can see that as I do, the path
| | 06:20 |
reshapes itself and moves the text away.
Click right there to add an anchor point,
| | 06:27 |
hold down my Cmd key and then I can pull.
That text wrap outline out a fraction and
| | 06:37 |
a fraction more.
And I think we will call this one at
| | 06:43 |
least for now, we'll call it done.
So the next time I need a treatment like this.
| | 06:50 |
I can place the image in a frame or I can
just create the frame on the fly at the
| | 06:54 |
time of placing the image and then click
on this object style and it will take on
| | 06:58 |
all of those formats.
You can see that currently its Text Wrap
| | 07:03 |
L plus, the plus indicates those
overrides in terms of the manual
| | 07:07 |
reshaping of the text wrap offset.
| | 07:11 |
| | Collapse this transcript |
| Placing inline graphics| 00:00 |
So we're now going to create an in line
graphic.
| | 00:03 |
Let me just mention that I could anchor
this graphic that the text wraps around I
| | 00:06 |
could anchor this within the flow of the
text.
| | 00:10 |
I'm choosing not to just because I feel
that these images that have text wraps on
| | 00:13 |
them they can be kind of tricky to anchor
within the flow of the text and I just
| | 00:16 |
feel like its more trouble than its
worth.
| | 00:19 |
Frankly, but for the other type of images
that we're going to be working with, this
| | 00:23 |
is definitely going to be quite time
saving for us.
| | 00:26 |
Now I'm going to come to pages four and
five.
| | 00:30 |
And I want my second graphic to go
between this paragraph and this paragraph.
| | 00:36 |
So the first thing I'm going to do is
create an empty line.
| | 00:40 |
And I'm currently in preview, so I'm not
seeing my hidden characters and it might
| | 00:44 |
be an ideal if I did.
An empty line right there and on that
| | 00:49 |
empty line, I'm going to apply the in
line paragraph style.
| | 00:54 |
I made this in an earlier movie and I'll
just recap it.
| | 00:58 |
Inline is centered and it has a letting
value of auto and it's important that it
| | 01:02 |
be auto letting because that means that
the size of the line will grow according
| | 01:07 |
to, the size of the graphic itself.
Okay, now that I have that, I could draw
| | 01:15 |
myself a frame and then drag the picture
into that frame but I'm just going to
| | 01:19 |
come to Bridge, which I have down here in
my dock.
| | 01:24 |
This is the one that I'm after.
I'm going to drag this over.
| | 01:30 |
And I may not be able to afford the space
of having it fill the full column width,
| | 01:34 |
but I'm going to start out with this at
the full column width, like so.
| | 01:40 |
And then I'm going to move to the blue
square in the top right hand corner, hold
| | 01:45 |
down the shift key and drag that in front
of that empty paragraph mark so that it
| | 01:51 |
now becomes part of the text flow.
Now that I've created this style, there
| | 01:59 |
is not as much to be gained by capturing
its formats as an object style but
| | 02:03 |
there's still something to be gained from
it.
| | 02:08 |
So, I'm going to with it selected come
over to my Object Styles panel.
| | 02:12 |
New Object Style and I'm going to call
this Inline Graphic and you can see I
| | 02:16 |
have Apply Style to Selection checked.
So in terms of placing the rest of the
| | 02:24 |
images and there are many of them, that's
just a question of repitition.
| | 02:29 |
There are some that need to have text
wraps and there are the majority that
| | 02:32 |
need to be anchored.
You can figure out which is which by
| | 02:36 |
looking through the finished version,
you'll see here that we have one that has
| | 02:41 |
a text wrap applied to it.
And here's one that is anchored within
| | 02:47 |
the flow of the text.
I'm going to now continue and place all
| | 02:50 |
the rest of the graphics, you don't need
to see me do that and I'll meet you back
| | 02:54 |
in the next movie with all of the
graphics in place and I'm sure some of
| | 02:57 |
them are going to require a certain
amount of finessing.
| | 03:03 |
| | Collapse this transcript |
| Strategies for working with object styles and graphics| 00:00 |
Okay.
I'm now at the point where I have placed
| | 00:02 |
all of my images.
Some of them are anchored, the vast
| | 00:06 |
majority and some have text wraps.
If you went ahead and did this yourself,
| | 00:11 |
I'm sure it took you quite a long time.
It took me, I'd say over an hour to
| | 00:15 |
complete that task.
But all of my images are now in and I
| | 00:19 |
just want to show you some tricks that I
have applied.
| | 00:24 |
I should also mention that in working
with those images I did come across a few
| | 00:29 |
slight tweaks that I wanted to make to
the text and I went ahead and made those.
| | 00:36 |
But lets look at the images themselves.
So I'm just going to point out these
| | 00:40 |
issues as and when they come up.
Firstly, there are a few images that
| | 00:44 |
occur at the top of a page that exhibit
this kind of problem.
| | 00:51 |
The problem being that we have more space
at the top of the page than we want.
| | 00:56 |
If I draw down a guide.
And I'm going to draw down a guide that
| | 01:01 |
marks the cap height of that top line.
I'm holding down my Cmd key as I do this.
| | 01:09 |
You can see the top of that image is
falling some ways short of that top line.
| | 01:14 |
So here's how we can fix this.
Basically, our anchored images are
| | 01:19 |
aligned to the grid.
If the picture frame itself is an
| | 01:24 |
increment of 15 points, a leading value,
they will inhabit that grid a lot more comfortably.
| | 01:31 |
So what I'm going to do here and I can
get away with it in this particular
| | 01:34 |
instance because there is some white
space at the top of this image.
| | 01:38 |
Is I'm going to click on that picture
frame and then drag down its handle from
| | 01:42 |
the top center so that the height of the
picture frame is an exact increment of 15 points.
| | 01:48 |
Now the fact that Alice's head is
slightly poking above that guide I'm not
| | 01:52 |
worried about at all.
In fact I even think that's preferable
| | 01:56 |
and that's not just me justifying myself
there I like things to poke out of the
| | 02:00 |
grid ever so slightly it's going to break
up the boxy nature of our layout and
| | 02:04 |
that's a good thing.
So that's one fix that I've applied,
| | 02:10 |
these anchored images by the way all have
the inline graphic object style that I
| | 02:14 |
created in a previous movie applied to
them.
| | 02:18 |
Then I have another one here and you can
see from the frame edge that this is on a
| | 02:23 |
separate layer, its frame edge is red and
this is on the Pictures layers and now
| | 02:27 |
the reason I've put it on the pictures
layer is that.
| | 02:33 |
For these images with text wraps,
sometimes you need to edit the text wrap.
| | 02:37 |
And that can be easier if the image
exists on its own layer.
| | 02:42 |
Now in fact looking at this, I see a
problem I didn't see before.
| | 02:47 |
And that is that problem caused by the
detect edges is detecting the edge of
| | 02:52 |
John Tenniel's signature right there.
And that's creating a problem between the
| | 02:58 |
words read and several.
So, let's solve it since I've seen it.
| | 03:05 |
I'm going to do this, I'm going to lock
the other layers.
| | 03:08 |
So, the layers panel and then optional
Alt and click in the column of the
| | 03:12 |
Pictures layer I can now come and click
on the Content Selector and I see the
| | 03:16 |
text wrap outline and that's the problem
down there.
| | 03:21 |
So I'm going to need to choose my Pen
tool, zoom in on that area and then just
| | 03:27 |
delete those anchor points.
And this unfortunately often happens.
| | 03:39 |
I managed to click in the wrong place so
I've gone added a new anchor point that
| | 03:43 |
is irrelevant to what we're doing.
I'm going to just delete that, hold down
| | 03:49 |
my Cmd key, click once again and then
continue.
| | 03:58 |
And I would've thought that would be
enough to fix the problem.
| | 04:01 |
It's not.
Neither is that.
| | 04:05 |
That is almost it.
And there the problem is solved.
| | 04:10 |
It is a little bit awkward that the
signature is so far over from the other
| | 04:13 |
edge of the drawing but I don't feel
comfortable about changing that since it
| | 04:17 |
is part of the artwork.
Although on reflection, that I don't
| | 04:21 |
think is going to work.
That signature just floating out there in
| | 04:22 |
the middle of the text.
So we need a d, a different solution for this.
| | 04:23 |
My general rule of thumb has been those
images that are more vertical in nature
| | 04:30 |
and have an interesting shape lend
themselves better to being text wraps.
| | 04:39 |
Now in this case I don't think that's
going to work so let's see how we can
| | 04:46 |
switch this to being an anchored image.
I have to unlock my layers and then come
| | 04:54 |
and add in.
And in line paragraph, then I can choose
| | 05:02 |
my image.
Hold down the Shift key and drag from the
| | 05:07 |
rectangle at top-right onto that blank
line and that is now an anchored image.
| | 05:14 |
And them I'm going to come to the Objects
Style's panel and apply the in line
| | 05:17 |
Graphics Style to it, which is going to
address this problem we've created down
| | 05:21 |
here since the in-line graphic style does
not have a text wrap incorporated with it.
| | 05:30 |
So I was also going to show you and here
I see another problem.
| | 05:34 |
This one should be on the Pictures layer,
so I'm going to address that right now.
| | 05:38 |
I have in addition to creating the Text
Wrap L object style which you saw me do
| | 05:43 |
in a previous movie.
I've create its counterpart Text Wrap R.
| | 05:49 |
The L and the R refer not to the page
that they're on, a left-hand page or a
| | 05:53 |
right-hand page.
But whether the text wrap is on the
| | 05:57 |
right-hand side of the image.
And if we look at the Text Wrap panel we
| | 06:00 |
can see that in this case, it's on the
right or whether it's on the left.
| | 06:05 |
In terms of the positioning of these
graphics, I was using an already printed
| | 06:09 |
version of Alice in Wonderland.
And I'm placing my images in more or less
| | 06:15 |
the same places.
I say more or less because in some
| | 06:19 |
instances I have had to make the
positioning slightly different while
| | 06:23 |
still maintaining the sense.
So the illustration should accompany the
| | 06:28 |
relevant position in the text.
Now there is one other case that I just
| | 06:33 |
wanted to point out to you and that's
towards the end.
| | 06:38 |
So, if I move to the very last spread and
then just start working my way back from
| | 06:42 |
there, here we see there are few
instances of graphics like this that are
| | 06:45 |
clearly designed to have the text wrapped
around them.
| | 06:50 |
And if we look at the Pictures layer in
isolation, we can see the y I have here,
| | 06:56 |
is a group.
And if I break down that group, we can
| | 07:02 |
see that in addition to the graphic
itself, I have placed two simple frames
| | 07:07 |
over it.
And it's those frames that have the Text
| | 07:12 |
Wrap applied to them.
And the reason for that is that, when I
| | 07:16 |
use detect edges on the graphic itself.
It gave me a slightly less than straight
| | 07:22 |
edge on the left-hand side of my text and
I didn't want that.
| | 07:28 |
So in this case I'm ignoring the actual
text wrap applied to the image and
| | 07:32 |
trumping that with the text wrap that is
applied to two simple shapes placed over
| | 07:38 |
it and then ultimately grouped with it.
So that's actually a collection of three
| | 07:45 |
objects right there.
So while my images are in position, I'm
| | 07:50 |
not entirely happy with the scaling of
all of them.
| | 07:54 |
I have a few awkward breaks throughout
the book and there's quite a lot of
| | 07:58 |
finessing still to be done.
| | 08:01 |
| | Collapse this transcript |
| Positioning images| 00:00 |
I've just spent about an hour or so
adjusting the spacing on my images, to
| | 00:03 |
make sure that I have my text flowing the
way I want it to.
| | 00:07 |
And to make sure that the text is
readable, and that the images are in the
| | 00:11 |
right position according to the actual
text itself.
| | 00:15 |
And that the spacing around them is
optically even.
| | 00:18 |
Let me share with you some of the things
that I have done.
| | 00:20 |
So, I have adjusted the spacing around
the text wraps, just to make sure that
| | 00:25 |
they look even.
And here is an image that has a text wrap
| | 00:31 |
on it.
If I turn off my guides, we can see that
| | 00:34 |
that's a nice even text wrap.
There are no collisions between the text
| | 00:38 |
and the image itself.
And this has in certain instances
| | 00:43 |
required the adjustment of the anchor
points on the text wrap offset, deleting
| | 00:47 |
some, moving others, occasionally adding
some.
| | 00:51 |
Secondly, there are numerous images that
occur at the top of a page and I want to
| | 00:56 |
make sure the top of the image, not the
image frame, is aligned with the text on
| | 01:01 |
the corresponding facing page.
And to enable that or to help me in that,
| | 01:08 |
I have drag down a guide to the cap
height of the text, and you can see that
| | 01:13 |
I've adjusted a position of this image so
that it corresponds with this cap height.
| | 01:21 |
And if I turn off my guides, we can see
the image and text on the corresponding
| | 01:25 |
facing page are aligned.
Let me just show you how I made that cap
| | 01:30 |
height guide.
It's on the master page, so I'm just
| | 01:33 |
going to to reverse engineer this and
come, and delete the one that's already there.
| | 01:40 |
Then I will come to one of my document
pages and I have here an I which is a
| | 01:45 |
good candidate because it has a flat top
to it's letter.
| | 01:51 |
I'm going to now drag down to the cap
height, and I want the guide to go across
| | 01:56 |
both left and right hand pages.
So, I'm going to hold down the Command
| | 02:01 |
key when I do so.
It's going to go right there.
| | 02:05 |
I'm now going to cut it from the document
page.
| | 02:07 |
I'm going to come to my master page, and
I'm going to paste it in place.
| | 02:11 |
Cmd+Option+Shift and V, and then
optionally I prefer to just change its
| | 02:16 |
color to distinguish it from my other
guides.
| | 02:21 |
So I'm going to come to Layout>Ruler
Guides, I'll make it gold.
| | 02:28 |
So now, that cap height will appear on
all of my document pages, and I can use
| | 02:31 |
that as my visual reference to align the
top of the images.
| | 02:38 |
For those images that are anchored, which
is the vast majority of them, I've had to
| | 02:42 |
make sure that the spacing above and
below them is optically even.
| | 02:47 |
And here's a case in point.
Now, what's visually misleading to us
| | 02:51 |
when we see the image frame is that at
the moment, it looks like there is more
| | 02:56 |
space above this than there is below it.
But when I turn off the guides that
| | 03:02 |
spacing is optically even.
And this is achieved by adjusting the
| | 03:06 |
position of the picture within the
picture frame.
| | 03:09 |
And here's another example.
Doesn't necessarily look like this, is
| | 03:18 |
the same amount of space above and below
it.
| | 03:20 |
When we have to go to turned on, turn off
the guides and that spacing looks even.
| | 03:25 |
So, we want to make sure that it looks
right without the guides turned on.
| | 03:28 |
So we're moving back and forth a great
deal, between having our guides on and
| | 03:32 |
having our guys turned off.
As I've mentioned earlier, the in line
| | 03:37 |
graphic paragraph style is alligned to
the grid.
| | 03:40 |
So, the size of my picture frames is a
multiple of my letting value, which is 15 points.
| | 03:46 |
But in addition to doing that, I've had
to just move the image slightly up or
| | 03:50 |
slightly down according to how much extra
white space is built into that image, so
| | 03:55 |
that we get an optically even result.
There have been a few instances where
| | 04:04 |
I've needed to adjust the horizontal
positioning of the image.
| | 04:07 |
Now, this is a case in point, and you can
see that I have size the width of the
| | 04:12 |
picture frame beyond the width of the
text area.
| | 04:17 |
And the reason I'm doing that is because
this picture has a frame built into it.
| | 04:22 |
And there is some white space around
that, but it's the frame visually that we
| | 04:26 |
want to align to.
So there's been a bit of additional
| | 04:32 |
scaling on pictures that have this kind
of built-in frame to them.
| | 04:37 |
I have a couple of instances where my
chapter opener is on the right-hand page.
| | 04:43 |
And I have a corresponding image relating
to that chapter on the facing left-hand page.
| | 04:49 |
Here's one right here.
Chapter opener and this image relates to that.
| | 04:54 |
So if we look at this in the story
editor, we can see that there is a line
| | 04:58 |
above the chapter number and that line
has an anchored image attached to it.
| | 05:03 |
And that is the image that is currently
on the left hand page.
| | 05:07 |
Now, without any interference, this image
would occur at the top of the page.
| | 05:12 |
And that doesn't really strengthen the
visual relationship between it and the
| | 05:17 |
chapter opener on the right hand page.
So, what I have done here is select that
| | 05:22 |
paragraph including the inline graphic.
Selecting paragraphs with in line
| | 05:27 |
graphics can sometimes be a little bit
tricky and here's how I've done it.
| | 05:32 |
I've placed my cursor in front of the C
of chapter and then just select it back
| | 05:36 |
from there.
And I now have the preceding paragraph
| | 05:41 |
selected, and we can see that I've
achieved this moving down of the image by
| | 05:45 |
adding some negative base line shift.
Now, this is a little bit cumbersome.
| | 05:53 |
It is a little bit fragile, I wouldn't
want to do this early on and I wouldn't
| | 05:57 |
want to do it to often, but I'm doing it
here and it works.
| | 06:02 |
I'm using minus 90, remember we have a
letting value of 15, 15 multiple that by
| | 06:07 |
6 is 90.
It's moving it down by six line spaces.
| | 06:13 |
More importantly though, visually, it is
lining up with the text on the
| | 06:18 |
corresponding right hand page.
Something that has been tricky to achieve
| | 06:23 |
is making sure that the last page of each
chapter is at least ten lines long.
| | 06:28 |
If I turn on my guides, we can see by my
line numbers that each chapter begins,
| | 06:32 |
well, the chapter title itself is on line
nine.
| | 06:36 |
And I want the preceding page of a
chapter that ends on a left hand page to
| | 06:41 |
be at least that long.
Otherwise we end up with an uncomfortable
| | 06:46 |
amount of white space, just looks like
unconsidered or ill considered white
| | 06:50 |
space beneath the ending of the preceding
chapter.
| | 06:56 |
So in order to achieve that, I have just
adjusted the scaling of my images
| | 06:59 |
throughout the chapter.
And here's another case in point.
| | 07:05 |
And then finally, I just made sure that
all of the images that have text wraps on
| | 07:10 |
them, ie, those that are not anchored
within the text flow, are on their own
| | 07:15 |
separate layer, especially for tricky
ones like this.
| | 07:22 |
Perhaps the most famous one in the book
that of the Cheshire cat, which is a
| | 07:26 |
shape clearly designed to have text
wrapped around it, but it's quite a
| | 07:30 |
tricky shape to work with.
And in order to achieve in this case, I
| | 07:36 |
have actually added in two rectangles,
and it's those rectangles that the text
| | 07:40 |
is wrapping around, rather than the image
itself.
| | 07:45 |
All three elements are grouped together,
and then just for ease of selection and
| | 07:50 |
modification thereafter, they are placed
on their own separate layer.
| | 07:58 |
So those are the approaches I have taken
to adjusting the position and the
| | 08:03 |
scaling, and the text wraps on my images.
And that leaves me now with a document
| | 08:10 |
that is currently 114 pages long.
If you're following along with me and you
| | 08:16 |
have a different number of pages, that is
totally fine because we're all doing this
| | 08:19 |
in a slightly different way.
But we're using a similar approach.
| | 08:24 |
This is not the first time I've done
this, and doing it this time around, it's
| | 08:28 |
ending up different from the time I did
it before, no better or worse but just
| | 08:31 |
slightly different.
We do still have a number of spacing
| | 08:38 |
problems that exist.
I'm aware of them, but we haven't got to
| | 08:42 |
addressing them yet.
For example, at the top of page 92 in my
| | 08:46 |
case, I have a very nasty orphaned word
there, carried over from the previous paragraph.
| | 08:53 |
Obviously, that needs to be fixed.
And also on page 81, another problem that
| | 09:00 |
I see is, I have what's referred to as a
runt line.
| | 09:06 |
Where the last line of a paragraph is
shorter than the value of the indent of
| | 09:10 |
the paragraph which follows it.
So that also needs to be fixed.
| | 09:15 |
And there are numerous problems like
that, and we're going to fix those in the
| | 09:19 |
next chapter.
| | 09:21 |
| | Collapse this transcript |
|
|
6. Finessing TextCreating and applying a master page for the chapter openers| 00:00 |
Now that our images are in place we can
turn our attention to adjusting the
| | 00:03 |
chapter openers.
Specifically, for each of the chapter
| | 00:07 |
openers, we do not want to see the header
nor do we want the page number at the top
| | 00:11 |
of the page.
I want to reposition the page number for
| | 00:16 |
the chapter opening pages to be below the
text block, and to be centered.
| | 00:22 |
So as we know, we have 12 chapter
openers.
| | 00:25 |
We are going to create a new master page
and apply it to those 12 pages.
| | 00:32 |
I'm going to right-click on my existing
master page and choose New Master.
| | 00:36 |
And we'll leave the prefixes being B, we
can give it a name.
| | 00:41 |
I'm going to call it Chapter Opener, I'm
going to base it on A Master.
| | 00:47 |
And we want 2 as the number of pages.
The page size and the orientation will
| | 00:51 |
stay the same.
We're now viewing the B Master Page.
| | 00:56 |
I'll turn on my guides, and we can see
that the B Master Page is currently
| | 01:00 |
exactly the same as the A Master Page.
So, we need to unlock these elements that
| | 01:06 |
we need to re-position, and that we need
to delete.
| | 01:11 |
If I try and just select them without
first unlocking them, nothing is going to happen.
| | 01:16 |
So, I need to hold down Cmd and Shift,
and click on the header, and then delete that.
| | 01:22 |
And delete the corresponding header on
the left-hand page.
| | 01:26 |
And then, I will delete that page number.
With the one page number that remains,
| | 01:30 |
I'm going to unlock it.
Drag it down to beneath, my text block.
| | 01:38 |
Span it across the width of the text
frame and then centre the text within
| | 01:42 |
that text frame, Cmd+Shift+c.
Currently the text is aligned to the
| | 01:48 |
bottom of the text frame.
And now to aid me in positioning this
| | 01:53 |
exactly where I want it I'm going to go
to my text frame options, Cmd or Ctrl+b.
| | 02:00 |
And align that to the top of the text
frame.
| | 02:03 |
Then I want to move it 15 points down.
15 points being a letting increment so
| | 02:10 |
I'm going to come to existing y value and
type in plus 15.
| | 02:17 |
I will now zoom out.
And then hold down my Option and my Shift
| | 02:21 |
key, and drag a copy over onto the
cooresponding lefthand master page.
| | 02:28 |
That's step 1, we have now created the B
Master page.
| | 02:32 |
Step 2 is to apply it.
So starting out on document page 1, I'm
| | 02:37 |
going to drag the right-hand master page
onto that document page.
| | 02:42 |
And we see that we no longer have the
header.
| | 02:45 |
We do now have the page number centered
beneath the type area.
| | 02:49 |
I'll now move through my document, and
I'm doing this by pressing Option and the
| | 02:54 |
page down key or Opt + Page down until we
get to the beginning of chapter 2.
| | 03:00 |
That begins on page 9.
I get the right hand master page, drag it
| | 03:04 |
down on document page 9.
And one more, page 17.
| | 03:13 |
So, I'm now going to go and complete this
step, applying the master page to all of
| | 03:16 |
my chapter openers.
A nd I'll see you in the next movie
| | 03:20 |
| | Collapse this transcript |
| Using a GREP style to fix runt lines| 00:00 |
As I pointed out at the end of the last
chapter, we have quite a few spacing
| | 00:04 |
problems relating to our text.
We're going to fix a lot of them in this
| | 00:09 |
next step, which is to us a grip style,
which will ensure that there're always at
| | 00:13 |
least two words at the end of every
paragraph.
| | 00:18 |
Let me point now a couple of the problems
that we currently have.
| | 00:22 |
I spotted one on line 16 of page 81.
Right there, a single word to end a paragraph.
| | 00:32 |
Now, because this is a lot of dialogue in
this text, that problem might occur quite
| | 00:36 |
frequently and sometimes the solution to
the problem might be worse than the
| | 00:40 |
problem itself.
If that last word is a long word, then
| | 00:45 |
it's not a problem at all.
But if in this case it's a very short
| | 00:49 |
word, then it is a problem.
Another issue that I spotted is at the
| | 00:54 |
top of page 92, where we have a single
word isolated from its paragraph, a
| | 00:58 |
single orphaned word.
So, obviously we want to fix that as well.
| | 01:04 |
Now, this is not the only thing that
we're going to be doing to fix these kind
| | 01:08 |
of problems, but it is the more macro
solution.
| | 01:11 |
So, it's the one that we want to apply
first.
| | 01:14 |
Let me just point out this very useful
course on lynda.com.
| | 01:18 |
Learning GREP with InDesign by Michael
Murphy.
| | 01:22 |
Now, Michael Murphy is my go-to guy
whenever I need to brush up on my GREP,
| | 01:25 |
which I have to admit is not my strongest
suit in InDesign.
| | 01:30 |
But whenever I forget something or need a
refresher, this is the course that I come
| | 01:34 |
to, specifically for what we're doing
here.
| | 01:38 |
This movie, dynamically fixing orphaned
words with GREP, and I'm going to be
| | 01:43 |
adapting these techniques that he
outlines in that movie.
| | 01:47 |
I'm going to come to my Body style and
edit that, and then come to GREP styles.
| | 01:58 |
Now, what I want to do is apply a GREP
style to a specific text string.
| | 02:03 |
So firstly, I need to define the
character style that is being applied.
| | 02:11 |
And I'm going to call this no break for
obvious reasons because, the main
| | 02:15 |
attribute that we want to apply to this
character style is no break.
| | 02:21 |
But in addition to that, I'm also going
to give it a highlight.
| | 02:26 |
And this highlight is only going to be
temporary, just so that we can see the
| | 02:29 |
change very visually.
And then once we verified it, we will
| | 02:32 |
turn this off.
But I'm going to come to my Underline
| | 02:36 |
Options, turn the Underline on.
And then I'm going to make the weight of
| | 02:41 |
the underline ten points, and its offset
I am going to make minus 10 points.
| | 02:48 |
Now, that may not look very good, but
it's just going to be good enough for our
| | 02:50 |
purposes to see where this has been
applied.
| | 02:53 |
And I'm going to change it's color to
yellow.
| | 02:58 |
Alright, so now I say what is the text
that this character style will be applied to.
| | 03:04 |
What we're looking for is the last two
words of a paragraph.
| | 03:09 |
And then we want to apply a no break to
them so that there are always at least
| | 03:13 |
two words on the last line.
So, firstly I'm going to come down to my
| | 03:18 |
Wildcards and choose any word character,
and I need to extend that to be any word
| | 03:22 |
character one or more times and the
symbol for that is Plus.
| | 03:28 |
And then this is going to be followed by
a space, and the symbol for that is \s.
| | 03:33 |
And then, the space will be followed by
any word character, which I can just type
| | 03:37 |
in again, \w, one or more times.
That will only take us so far.
| | 03:42 |
We now need to specify that word space
word can be followed by any type of punctuation.
| | 03:49 |
And the punctuation is in this section,
this Posix Flyout menu.
| | 03:54 |
I have no idea what Posix means, but this
is where it is.
| | 03:57 |
And because some of these paragraphs end
not just with a single punctuation point,
| | 04:02 |
but in some cases with two full stop
followed by a closing quote for example,
| | 04:07 |
then that also needs to be followed by a
plus.
| | 04:13 |
And then, to finish this off, I need to
say, where in the paragraph this occurs,
| | 04:18 |
and that is going to be Location > End of
Paragraph.
| | 04:23 |
And now we can see after a pause, where
the no-break style is automatically being applied.
| | 04:29 |
And that hasn't entirely solved that
problem, because we still have the
| | 04:34 |
orphan, but at least we do have two words
at the end of that paragraph.
| | 04:40 |
But now, let's go to page 81, where we
saw the other problem.
| | 04:46 |
And that problem is solved.
Now whenever you apply a change like
| | 04:50 |
this, something has to give.
And in the case of this particular
| | 04:54 |
instance, that something is that the word
spacing on the preceeding line has now
| | 04:59 |
been increased.
And it's been increased to a somewhat
| | 05:03 |
undesirable extent.
But the cure is still preferable to what
| | 05:07 |
we had before.
So everything from now on is going to be
| | 05:12 |
a compromise of some sort.
I'm now going to go back to my first page
| | 05:18 |
and then just take a page through the
document to see where this change has
| | 05:22 |
been applied.
And for example, if I were to come to
| | 05:26 |
page eight, I'm going to now undo that
change, Cmd+Z and then we'll revisit page eight.
| | 05:33 |
We can see that there is a problem that
has been fixed to make one respectable person.
| | 05:39 |
And then if I press Cmd+ShiftZ to redo
that change.
| | 05:44 |
Go back to page eight, we can see problem
solved.
| | 05:48 |
Now that we've verified the effect of
applying that GREP style, I am going to
| | 05:52 |
come to my Character Styles panel.
I'm going to edit the no break character
| | 05:59 |
style and I'm going to turn off that
underline
| | 06:04 |
| | Collapse this transcript |
| Fixing widows and orphans| 00:00 |
The next ad spacing problems is to
address the widows and orphans.
| | 00:04 |
These are lines and paragraphs that are
at the beginning or the end of paragraphs
| | 00:08 |
that are disassociated from the rest of
the paragraph.
| | 00:11 |
And either end at the bottom of the page
or start at the top of a page.
| | 00:16 |
A few points relating to our strategy
here.
| | 00:18 |
Point number one.
Start at the beginning and work through
| | 00:21 |
methodically to the end.
Any change you make can have a knock on
| | 00:25 |
effect on the pages that follow.
So, you can't just dot around from one
| | 00:29 |
page to the next, you need to start at
the beginning and slog through all the
| | 00:32 |
way to the end.
I'm just going to be showing you
| | 00:36 |
representative examples, here.
But when I actually did this, I started
| | 00:40 |
on page one and then, went through to the
last page.
| | 00:44 |
Secondly, choose your battles carefully.
And know that sometimes, trying to fix
| | 00:48 |
everything can just result in a bigger
problem than you had originally.
| | 00:52 |
So, you can't fix everything, there are
compromises involved.
| | 00:56 |
And thirdly, before we go on and fix
these problems, let me show you how I'm
| | 00:59 |
not going to fix them.
There is the ability to apply key options
| | 01:04 |
to our text.
Key options say that we want at least two
| | 01:08 |
lines at the start of every paragraph and
at the end of every paragraph.
| | 01:14 |
That might work for certain types of
document but it will not work here and it
| | 01:17 |
won't work here for two reasons.
One is that we want all of our text and
| | 01:21 |
on the same baseline, at the very bottom
of our type area.
| | 01:25 |
And secondly, and this is what makes this
particular document a challenge.
| | 01:30 |
There are many, many paragraphs that are
only two lines long and many others that
| | 01:34 |
are a single line long.
So, this is not an appropriate time to
| | 01:38 |
use the Keep Lines Together option.
Okay, I'm going to jump ahead to my first
| | 01:45 |
known problem, which occurs on page nine.
Now these different techniques I'm
| | 01:51 |
showing you are not in any order of
priority.
| | 01:54 |
They're just the order in which they came
up.
| | 01:57 |
And the problem here is the very last
line of page nine.
| | 02:01 |
It would be preferable if this began on
the next page.
| | 02:05 |
I might try and adjust the tracking in
this large paragraph but and I know
| | 02:09 |
because I tried it.
It doesn't work so what I'm going to do
| | 02:13 |
instead and I'm going to do it
reluctantly but I think it is.
| | 02:18 |
Overall a preferable solution to what we
currently have and that is I'm going to
| | 02:22 |
add some space before the chapter number.
I feel this will be the least noticeable solution.
| | 02:30 |
You will remember that the chapter
numbers, the spacing above them is
| | 02:33 |
achieved using an invisible paragraph
rule.
| | 02:36 |
So, I will revisit my paragraph rules by
pressing Cmd +Option J.
| | 02:41 |
And that spacing is determined by the
offset value.
| | 02:47 |
I'm going to increase that by 15 points,
or 1 line spacing, and that is going to
| | 02:52 |
knock everything down by 1 line.
Anticipating that I will need to use this
| | 02:59 |
same approach again.
I am then going to incorporate this into
| | 03:04 |
a new paragraph style which I will call
Chapter Number Space.
| | 03:11 |
Whenever you do this, be very vigilant
how it has affected the rest of your chapter.
| | 03:17 |
And if I move through the document, I see
that at the bottom of page 15, I have a
| | 03:20 |
problem that I didn't have before.
Moving on by one line has caused this
| | 03:26 |
image to turn over to page 16.
Which in turn has caused Chapter three to
| | 03:31 |
now begin on page 18, whereas previously
it was beginning on page 17.
| | 03:36 |
To fix this, I'm going to come to the
graphic on page 13 and here's another
| | 03:41 |
approach we can take.
We can just size our graphics slightly differently.
| | 03:48 |
I have my Baseline grid turned on.
I'm going to reduce the size of the
| | 03:52 |
graphic by 1 line specs.
Holding down Command and Shift, I will
| | 03:56 |
pull from its bottom right hand corner.
And the problem is solved.
| | 04:05 |
My next problem occurs on page 46, where
I have an orphaned line at the top of the page.
| | 04:11 |
In such a situation, I want to come
upstream of the problem.
| | 04:15 |
And see if applying a change to the
spacing of the text there will have a
| | 04:18 |
positive knock on effect.
And typically I look for paragraphs that
| | 04:25 |
have a short last line and apply negative
tracking.
| | 04:30 |
No such paragraph exists here but I do
have paragraphs with very long last lines
| | 04:34 |
so I'm going to opt somewhat reluctantly
for positive tracking.
| | 04:40 |
I'm going to apply positive tracking to
this particular paragraph.
| | 04:45 |
And that's going to cause line 28 to go
down to line 29, which will in turn or
| | 04:49 |
carry over another line to the top of
page 46.
| | 04:54 |
Before you apply any tracking, just check
your units and increments.
| | 04:58 |
And make sure that you have the smallest
value possible inserted here, because we
| | 05:02 |
want this change to be imperceptible as
possible.
| | 05:06 |
With the paragraph selected, option right
arrow, when I press it once, it goes to 1
| | 05:11 |
and I will keep pressing it until that
line moves down to line 29.
| | 05:18 |
And that has required 7 increments of
tracking.
| | 05:22 |
My personal standard is that anything up
to 10, or minus 10 if you re applying
| | 05:27 |
negative tracking, is okay.
That's going to be unnoticeable.
| | 05:32 |
Anything between 10 to 15 or minus 10 to
minus 15 in a pinch.
| | 05:38 |
Anything more than that and your solution
may be worse than the problem in the
| | 05:42 |
first place.
Once again I have added a line, so I need
| | 05:46 |
to be very careful about how that has
affected the rest of my chapter.
| | 05:54 |
And we see at the top of page 54, we have
problem that we did not have before.
| | 06:00 |
Formally this graphic was at the top of
the page, now we have this isolated line
| | 06:04 |
above the graphic.
My solution here is to come upstream of
| | 06:10 |
the problem and fix the spacing in this
text.
| | 06:14 |
Which upon reflection doesn't look very
good anyway.
| | 06:17 |
And here the approach I will be using is
to take some of this text off the grid.
| | 06:24 |
Currently we have a whole line space
above each of these paragraphs and that
| | 06:28 |
is perhaps too much.
There's also no rational for this text
| | 06:34 |
being left aligned so I'm just going to
set that back to being centered.
| | 06:39 |
And then I will select these three
paragraphs and come to my Paragraphs options.
| | 06:46 |
And change the space before to half of
its current value 7.5 points.
| | 06:53 |
That has no effect, because we are still
locked to the baseline grid.
| | 06:57 |
I'm now going to take that text off the
baseline grid and we see that that does
| | 07:02 |
have a positive effect.
But we now have too much space, we have a
| | 07:07 |
line and a half space above this
paragraph that also needs to have its
| | 07:11 |
spacing reduced by half.
Lets now revisit that problem that we saw
| | 07:18 |
at the top of page 54 and that problem
has solved itself.
| | 07:22 |
We have a lesser problem and that is that
we have two extra blank lines at the
| | 07:26 |
bottom of page 53.
So, its now time to employ a slightly
| | 07:31 |
different solution and this solution and
one that you might find works else ware
| | 07:35 |
in the document.
And that's to change the position of the
| | 07:39 |
graphic within the text flow.
We're fortunate in that this graphic is
| | 07:44 |
followed by a two line paragraph.
So I'm going to select this paragraph and
| | 07:49 |
then I have my Drag and Drop text editing
enabled that we just point that out.
| | 07:56 |
It's a type preference enable in layout
view.
| | 08:00 |
I'm just going to drag that selection in
front of the next paragraph.
| | 08:05 |
So that the paragraph that was formerly
beneath the inline graphic has now moved
| | 08:10 |
above it and can be seen at the bottom of
page 53.
| | 08:15 |
I have another typical problem at the
bottom of page 61, here I have a widowed line.
| | 08:21 |
It's not a terrible problem, it is a long
line but it is a very easy fix.
| | 08:27 |
So, I am going to employ a fix here.
And again, it's going to involve changing
| | 08:32 |
the size of the graphic.
If I increase the size of this graphic by
| | 08:36 |
one line space, that will knock that
paragraph over to the top of page 62.
| | 08:43 |
Again, I will just advance through my
document to see how that might have
| | 08:47 |
affected the text in the remainder of the
chapter.
| | 08:52 |
And there are no negative effects in this
case.
| | 08:55 |
Moving now to pages 66 and 67 we see
another typical problem.
| | 09:01 |
An orphaned line at the top of page 67.
Here the fix is going to be to apply some
| | 09:08 |
tracking to the first paragraph of the
chapter.
| | 09:13 |
I will select this paragraph and use the
keyboard shortcut, Option +Left arrow.
| | 09:19 |
Let me just switch to my character
formats so that we can see how much is
| | 09:22 |
being applied.
Minus 5 is sufficient to fix that
| | 09:27 |
problem, admittedly, it does, perhaps
create another problem, in that we have
| | 09:32 |
some very large word spacing.
On line 22, but I think that problem is
| | 09:39 |
of less significance to the one that we
just fixed.
| | 09:44 |
Let me also point out, a composition
preferrence, at this point.
| | 09:50 |
If I turn on my custom tracking kerning,
those paragraphs to which we have applied
| | 09:55 |
custom tracking will be highlighted in
green.
| | 09:58 |
Ignore the chapter title and the header
paragraphs.
| | 10:02 |
These do have tracking applied to them,
but it's tracking applied for a cosmetic
| | 10:06 |
purpose rather than the purpose of saving
or gaining space.
| | 10:11 |
The spacing problems you have seen me
address are not the only widow and orphan
| | 10:15 |
spacing problems in this document.
They are the ones that are typical, and
| | 10:19 |
you have seen me apply some typical
solutions.
| | 10:22 |
Once we have fixed the widow and orphan
problems, we will still have other
| | 10:26 |
problems to fix.
And we will address those in the upcoming movies.
| | 10:31 |
| | Collapse this transcript |
| Fixing hyphenation and justification issues| 00:00 |
So we have fixed the runt lines.
We have fixed the widows and orphans.
| | 00:04 |
Now we're going to drill down even
further, and we are going to fix the
| | 00:08 |
hyphenation violations.
Hyphenation violations are those lines
| | 00:13 |
where InDesign can't achieve the word
spacing and letter spacing that you have
| | 00:18 |
asked of it.
So, basically they are lines where
| | 00:22 |
there's a bit too much space between the
words.
| | 00:26 |
To make it easy for us to identify where
these are, I'm going to turn on a very
| | 00:30 |
useful composition preference.
We saw this one, Custom Tracking Kerning
| | 00:36 |
in the previous movie, and now I'm going
to turn on this one, H and J violations.
| | 00:41 |
And I didn't want it on until now,
because it just would have been premature
| | 00:45 |
to fix these things until this point.
So the order in which I'm doing these
| | 00:50 |
things is significant, and I should
mention here that you definitely don't
| | 00:54 |
want to be doing these kinds of fixes too
soon.
| | 00:59 |
Your text should definitely be edited
because at the moment in this stage, it's
| | 01:03 |
like a delicate piece of lace, and any
change that we make can affect the whole
| | 01:07 |
of our document.
So, we need to be absolutely sure that
| | 01:12 |
the text has been edited, and that the
context of the text is not going to change.
| | 01:18 |
Now when I look through my document, I
see various levels of yellow highlighting.
| | 01:23 |
And as with fixing the widows and
orphans, I need to choose my battles
| | 01:27 |
carefully here.
Because those areas where there's light
| | 01:31 |
yellow highlighting, that indicates
there's a problem, but it's not too bad.
| | 01:35 |
And for those, I'm just going to live
with them.
| | 01:38 |
But where I have a vivid yellow
highlighting, that indicates that the
| | 01:41 |
problem is a more severe one, and those
are the ones I'm going to try and address.
| | 01:46 |
So, I'm going to use a few different
approaches.
| | 01:49 |
So, on page three, the approach I'm
going to use.
| | 01:52 |
And if course I have the benefit of
having already done this once.
| | 01:56 |
It's not like I know instantly, and
always get it right, which is going to be
| | 02:00 |
the solution I will use.
There's a certain amount of try and error
| | 02:04 |
here, but for this particular paragraph
the approach that works is some negative tracking.
| | 02:10 |
So I'm going to select the whole
paragraph Optional+Alt, and my left arrow.
| | 02:15 |
And I'm just going to tap that a couple
of times until that problem fixes itself.
| | 02:21 |
Or it doesn't entirely fix itself, but we
go from one line with a vivid yellow to
| | 02:25 |
one line with a light yellow, so it's an
improvement.
| | 02:31 |
Moving on to the next page, here's
another approach.
| | 02:35 |
When I look at lines seven or eight, it
occurs to me that these two words are
| | 02:39 |
very short and we can probably get away
with applying a no break character to
| | 02:43 |
them and that should fix the problem.
You will remember that we applied no
| | 02:51 |
break in a previous movie using a GREP
style, but here I'm going to apply a few
| | 02:55 |
instances of no break, as needed to other
strings of text.
| | 03:02 |
Now, in this case, since I might be doing
this a few times, I'm first of all going
| | 03:06 |
to edit the no break style, and I'm
going to give it a shortcut Option and
| | 03:10 |
the number pad one.
So, I can now close my Character Styles
| | 03:16 |
panel, apply that shortcut, problem
solved.
| | 03:20 |
We see the yellow highlighting go away.
Moving onto page seven.
| | 03:27 |
In this case, I am going to add a
discretionary hyphen.
| | 03:31 |
For this particular use of the word
minute, minute is being used as a noun.
| | 03:36 |
It would be okay to hyphenate it right
here, between n and u to add a
| | 03:40 |
discretionary hyphen at the point of your
text cursor, Cmd+Shift or Ctrl+Shift hyphen.
| | 03:48 |
And the problem is solved.
Moving on to page ten, we are using text wraps.
| | 03:54 |
And whenever you use text wraps, you make
your life a little bit harder, because
| | 03:57 |
you are narrowing the column.
So these kinds of problems are more
| | 04:01 |
likely to occur.
These two lines here.
| | 04:05 |
I'm going to live with those, but I am
going to try and fix or at lease improve
| | 04:08 |
this one.
And as with previous fixes, I'm going to
| | 04:13 |
do this adjusting the shape of the text
wrap offset.
| | 04:19 |
I'm going to tap A to go to my Direct
Selection tool.
| | 04:25 |
And then I'm just going to pull that to
the right like so.
| | 04:29 |
And we can see that moves that word over,
so the column width for that line is now
| | 04:33 |
narrowed, and we no longer have the
spacing problem on that line.
| | 04:39 |
So moving ahead to page 20, I have this
sort of problem.
| | 04:43 |
You may remember when we applied the GREP
style that applies a no break to the last
| | 04:48 |
two words of every paragraph.
I said then that there may be certain
| | 04:53 |
times when that creates more of a problem
than it solves, and this is the first of
| | 04:57 |
those times.
By forcing these two words to be kept
| | 05:01 |
together, it's keeping the line that
precedes it have bad word spacing.
| | 05:07 |
Now I can anticipate a few times when I'm
going to be employing this same solution.
| | 05:14 |
So, what I'm going to do here is, I'm
going to duplicate my Body style.
| | 05:19 |
And I'm going to make a paragraph style
which will be called body, no grip.
| | 05:26 |
It will be based on body.
Just in case, it's very unlikely at this
| | 05:29 |
point, but just in case anything about
the body style should change, then that
| | 05:34 |
change will also pass on to this, which
becomes an offspring style of body.
| | 05:41 |
I'll then come to my GREP styles.
And I'm going to remove that GREP style.
| | 05:50 |
So now we have a paragraph that ends with
a single word which isn't ideal, but it's
| | 05:54 |
preferable in this case.
And this one I fixed by changing the
| | 06:01 |
hyphenation settings.
Way back, seems a long time ago, but way
| | 06:08 |
back when we set up the Style Options for
the Body style, I was quite restrictive
| | 06:14 |
about how hyphenation can be applied.
What I'm going to do here is just for
| | 06:21 |
this particular paragraph is be a bit
more lenient.
| | 06:24 |
I'm going to select paragraph, and I'm
going to come to my Hyphenation Options.
| | 06:29 |
And here, I'm going to say that words
with six letters can be hyphenated and
| | 06:33 |
that we only need two characters after
the first hyphen, and two before the last hyphen.
| | 06:41 |
And that's going to allow the word
expected to hyphenate.
| | 06:44 |
Again, not ideal but preferable.
So the rest is just a matter of
| | 06:53 |
repetition, working your way methodically
through the document.
| | 06:57 |
Applying negative tracking where
appropriate.
| | 07:00 |
Applying a variant of the body style that
does not have the GREP style incorporated
| | 07:05 |
into it.
Applying discretionary hyphens, adjusting
| | 07:09 |
the spacing on text wraps and changing
the hyphenation settings.
| | 07:14 |
Those are the tools that you have to fix
the hyphenation and justification problems.
| | 07:19 |
| | Collapse this transcript |
| Fixing awkward line endings| 00:00 |
One will parse through the document
fixing, spacing and composition problems.
| | 00:05 |
In this movie I want to look at line
endings.
| | 00:08 |
In particular, I want to fix lines that
end with the word I or the word A where
| | 00:13 |
it is capitalized.
So, we want to avoid single letter words
| | 00:17 |
at the end of a line.
They just look bad.
| | 00:21 |
The first instance I have of this problem
is on page three, line 25.
| | 00:26 |
Now I have my hyphenation and
justification composition highlighting
| | 00:32 |
turned on.
So that I can see if my intended
| | 00:36 |
solution, is going to create more of a
problem than it solves.
| | 00:41 |
The first thing I'm going to try here is
just adding in a line break.
| | 00:45 |
A Shift Return.
And we can see that that does create a problem.
| | 00:49 |
So, I'm not going to go for that
solution, instead, I'm going to select I
| | 00:52 |
and the word that follows it, and apply a
no break character style.
| | 00:57 |
And you will remember that I added a
keyboard shortcut to that character style.
| | 01:01 |
So, I'm just going to use that keyboard
shortcut, Option and the number pad 1.
| | 01:06 |
That's no better.
So, I need to decide here do I think it
| | 01:09 |
looks better like this, or the way it did
before.
| | 01:13 |
And I think this is still preferable
although it's not ideal, but it's still preferable.
| | 01:19 |
Moving on to the next instance of the
problem, page 13, let's turn the line
| | 01:24 |
numbers on.
Line two (SOUND) I'm going to try that No
| | 01:29 |
Break solution again.
(SOUND) and here it works perfectly.
| | 01:36 |
Sometimes it's going to work, sometimes
not, you're not going to know until you try.
| | 01:41 |
Now on to page 16 line 21.
Now there is no easy way of finding these
| | 01:48 |
bad line endings, you just need to train
your eye to see them.
| | 01:52 |
Page 59, line 21.
No Break doesn't work there.
| | 02:08 |
I'm going to try something else.
I could select this text and apply
| | 02:16 |
negative tracking to it.
But since we have a short range of text,
| | 02:20 |
I fear that it will suffer, that the
change will be noticeable.
| | 02:25 |
So instead, I'm going to try and just
tighten the word spacing, so the spacing
| | 02:28 |
between the characters will remain the
same.
| | 02:33 |
I'm just going to tighten up the spacing
between the words.
| | 02:35 |
Cmd+Option+Shift and the Backspace+
Delete key will do this.
| | 02:41 |
Now, the first time I tap my Delete key,
my automatic kerning type switches from
| | 02:46 |
matrix to being blank.
And unlike when applying tracking, my
| | 02:51 |
tracking value is not going to update.
So, I just need to be careful how many
| | 02:56 |
times I press the keyboard short cut
here, that was once.
| | 02:59 |
Twice, three times, four times, five
time,s six times.
| | 03:06 |
It's being very resistant.
Okay, now that is what it has taken, and
| | 03:10 |
I think that is an acceptable solution.
It's not perfect, but it's better than it
| | 03:14 |
was before.
Lets have a look at composition
| | 03:17 |
preferences, I'm now going to turn on in
my custom tracking kerning that we didn't
| | 03:22 |
see before.
And there you can see what's going on,
| | 03:26 |
its just adjusting the space between the
words.
| | 03:29 |
So, that's not something I will use very
often but every once in a while adjusting
| | 03:33 |
the space between the words and the word
only can be a useful trick.
| | 03:38 |
The rest as I said before It is just
repetition, moving through the document,
| | 03:42 |
finding these problems and fixing them
where they can be fixed.
| | 03:46 |
| | Collapse this transcript |
|
|
7. Creating the Front MatterAdding a half title and title| 00:00 |
It's now time for us to create the front
matter for our book.
| | 00:03 |
And the front matter is going to comprise
the half title, followed by a blank page,
| | 00:08 |
followed by the title page, then we have
the copyright page, followed by the table
| | 00:12 |
of contents.
In this movie, I'm going to show you how
| | 00:17 |
to create the title and half title.
So including the blank pages that go with
| | 00:22 |
both of those, we need an extra four
pages of front matter.
| | 00:27 |
To begin with, I'm going to come to the
Pages panel and I'm going to create a
| | 00:31 |
master page for the front matter pages.
And this master page is going to be based
| | 00:38 |
upon the B master page.
So I'm going to right-click on there and
| | 00:42 |
choose New Master.
Prefix will be C, the name will be Front Matter.
| | 00:48 |
It will be based on B.
And the size and orientation will remain
| | 00:54 |
the same.
There is that master page.
| | 01:00 |
And we do not need the page numbers, so I
am going to unlock those by pressing
| | 01:05 |
Cmd+Shift and clicking on them, to delete
them.
| | 01:10 |
We also don't need the line numbers here,
so I will Cmd+Shift click on those to
| | 01:14 |
unlock them.
That doesn't work, and that's because
| | 01:17 |
they are on a locked layer.
So I'm going to unlock that layer, then
| | 01:22 |
unlock the item and delete.
So all we're left with is the size of the
| | 01:27 |
type area and the margins around it.
And that's an important point, because
| | 01:34 |
when we come to design our half title and
title pages, we want their alignment to
| | 01:39 |
be within the size of the text frame or
the type area as we defined for our
| | 01:43 |
master page A and our master page B.
It will have the same margins as the rest
| | 01:50 |
of the book.
So I'm on my first page here.
| | 01:54 |
I'm going to right-click on the icon for
page one, and choose Insert Pages.
| | 01:59 |
I want four pages before page one, and I
want the Master Page C applied to those pages.
| | 02:08 |
So, on my first page this is going to be
the half title.
| | 02:12 |
I'll tap T4 my type tool, and now I
realize I actually would like to divide
| | 02:18 |
my type area vertically into five rows.
So, I'm just going to revisit my master
| | 02:25 |
page and then come to the Layout menu and
to create guides.
| | 02:31 |
Five rows.
I want these rows fitted to the margins,
| | 02:34 |
and the gutter space needs to my letting
value, which is 15 points.
| | 02:39 |
And doing that is just going to help me
with the placement of the elements on my
| | 02:44 |
half title and title pages.
I'll click and drag a text frame, now
| | 02:51 |
that text frame has ended up on the wrong
layer, so I'm just going to make sure
| | 02:54 |
that it ends up on my text layer.
I'll come back and lock my line numbers,
| | 03:00 |
and then come back into that text frame
and type out the half title.
| | 03:05 |
The half title is nothing more than the
title of the book.
| | 03:09 |
We don't have any subtitles or author or
illustration credit, or any publisher,
| | 03:15 |
just the title, which is Alice's
Adventures in Wonderland.
| | 03:23 |
Okay.
Now, I'm going to start out by applying
| | 03:26 |
the chapter title style to that, and then
I'm going to modify this.
| | 03:36 |
Firstly, I would like it to be regular or
Roman as opposed to bold, and I want it
| | 03:40 |
all to fit onto one line.
I'm going to remove any tracking that it
| | 03:45 |
inherited from that style.
And I was practicing before I recorded
| | 03:50 |
this, and I discovered that optical
kerning, I think works better for
| | 03:54 |
Clarendon at this size.
That's going to necessitate me to just
| | 04:00 |
make a change to my chapter title style
as well.
| | 04:05 |
So, before I forget to do that, I'm
going to do that right now.
| | 04:08 |
Right click on chapter title and basic
character formats, and just change the
| | 04:13 |
kerning from metrics to optical.
Basic rule of thumb here is, choose
| | 04:19 |
whichever method of automatic kerning you
prefer.
| | 04:23 |
Whichever one looks best in this case and
it won't always be this way, but in this
| | 04:26 |
case for Clarendon the optical kerning is
a little bit tighter.
| | 04:31 |
Anyway, having done that I'm going to
make my type smaller.
| | 04:36 |
Now, earlier on I changed my units and
increments preference so that every time
| | 04:41 |
I used this shortcut Cmd+Shift+Less than,
I only get a quarter point smaller or
| | 04:46 |
bigger if I were to use its companion
keyboard shocker.
| | 04:54 |
But that's okay.
I'll just keep tapping that until I get
| | 04:57 |
it onto one line.
Let's go down to an even number.
| | 05:00 |
I'm a little bit superstitious about
using even numbers, so I'm going to use
| | 05:04 |
an even number there, and I am going to,
am I going to center it?
| | 05:09 |
No, I'm going to leave it.
I'm going to break with my superstition
| | 05:13 |
and just go up to 16 point 25, so that
it, while it remains left aligned it is
| | 05:18 |
filling the full width of that type area.
There is my half title.
| | 05:28 |
Nothing more than that.
Now, I am going to capture these formats
| | 05:32 |
as a paragraph style.
I'll call that half title, apply style to
| | 05:37 |
selection is checked.
I'm then going to copy that, and move
| | 05:43 |
over on to pages two and three.
What are currently pages two and three,
| | 05:48 |
although the pagination will change and
then paste that in place.
| | 05:52 |
And this is now the beginning of my full
title page.
| | 05:55 |
On my full title page where I will turn
my guides back on, I need all that other
| | 05:59 |
information and I can also make a bigger
splash with the type treatment.
| | 06:06 |
So, to start out with, I'm going to
increase the size of this type substantially.
| | 06:17 |
And I may need to increase the size of
that text frame.
| | 06:20 |
Cmd+Alt+C will do that.
And I also want to increase the leading value.
| | 06:28 |
I realize that I'm going to need to
increase the size of that text frame a
| | 06:30 |
bit more, otherwise it's just going to
fall out.
| | 06:34 |
Option and the Down arrow will do that.
I'll increase the size a bit more.
| | 06:42 |
And now I'm going to cut the word in from
that text frame and click and drag to
| | 06:46 |
paste it in its' own text frame.
Select it, and change it's typeface to
| | 06:54 |
Adobe Caslon Pro Italic, and reduce its'
size to, I think 24 pont, we'll start out
| | 07:02 |
with that.
Now in terms of positioning these two
| | 07:09 |
elements together, I'm going to select
both of these text frames and align the
| | 07:13 |
type to the bottom of the frame.
I can then position this one relative to
| | 07:19 |
the larger text frame, I'm going to zoom
in a bit bigger on that.
| | 07:26 |
I'll double-click on its right hand
handle to collapse it to just the width
| | 07:30 |
of the type itself, position that to the
left of the title, select both of those
| | 07:35 |
elements and then I'm going to nudge them
over like so.
| | 07:42 |
Then I will put my cursor in this
paragraph, and let's give it a paragraph
| | 07:49 |
style, and I'm going to call that title.
Now, I'm going to tap my T key, and
| | 08:00 |
create another text frame down here.
And you can see how I'm using these rows
| | 08:05 |
that I defined with the create guides in
an early step, and now type in the name
| | 08:10 |
of the author.
Lewis Carroll.
| | 08:14 |
And then with illustrations by John
Tennial.
| | 08:20 |
I'm going to select both of those pieces
of type and make them regular, as opposed
| | 08:28 |
to Italic.
And I'm going to increase both of them to 14-point.
| | 08:36 |
Then "Lewis Carroll," I am actually going
to make into all small caps and increase
| | 08:48 |
its size to 18 points.
And I think I might just want to increase
| | 08:58 |
the spacing between these two paragraphs.
Now, at the moment, these are aligned to
| | 09:06 |
the baseline grid.
I'm going to take them off the baseline grid.
| | 09:11 |
And that's going to give me the
opportunity of just opening up a bit of
| | 09:15 |
space between them, like so.
I'll now draw a guide, flush with the
| | 09:20 |
left hand edge of the larger pieces of
type and align that left hand edge of
| | 09:26 |
this text frame to that guide.
All that remains now is to add the
| | 09:32 |
publishers logo.
Cm or Ctrl+D, and in the AIW
| | 09:37 |
illustrations folder, you will find the
logo of our fictional publisher, Red30 Press.
| | 09:49 |
I had my Import Options checked, so
that's why I see this intermediate dialog
| | 09:54 |
box before we get to the image itself.
And here I'm cropping the placed graphic
| | 10:00 |
to the artwork itself.
And that's going to replaced that
| | 10:05 |
selected frame.
So all I need to do now is press Cmd+Z to
| | 10:09 |
undo that and then sense I have that
frame larger than it needs to be down
| | 10:13 |
there at the moment, I'm just going to
click and drag.
| | 10:18 |
Put that above the author credits.
Then I will come and reduce the size of
| | 10:24 |
that text frame.
Cmd+Alt+C, and then we can select the
| | 10:28 |
publisher logo and that can move down to
the line below.
| | 10:33 |
So there we have our half title and title
page.
| | 10:40 |
| | Collapse this transcript |
| Adding a copyright and colophon| 00:00 |
Here, I'm going to add the addition
notice, usually referred to as the
| | 00:03 |
copyright page and the coliform and I'm
going to combine the two into one so that
| | 00:07 |
we can save some space.
And this is going to go on the page after
| | 00:12 |
the title page, I'll go to that page,
currently the fourth page in the document.
| | 00:18 |
Turn on My Guides, press Cmd or Ctrl+D
and we have a text file already prepared
| | 00:24 |
for this called Coliform.
And I would like this to go towards the
| | 00:29 |
bottom of the page, so I'm going to click
and drag to determine its placement.
| | 00:34 |
Let's just go and take a look at this
information.
| | 00:39 |
So, some of this information is struck
out because it's not relevant to this
| | 00:41 |
particular project but it might be
relevant to other projects that you're doing.
| | 00:45 |
The copyright notice would be at the top.
And since this work is in the public
| | 00:50 |
domain there is no copyright notice.
Then we have the publication information.
| | 00:55 |
First published 1865, etc.
Then we have the cataloging information
| | 01:00 |
from a national library followed by the
ISBN number.
| | 01:04 |
Both of those paragraphs struck out.
Then and combining this information with
| | 01:08 |
the copyright notice I have the coliform.
Now the coliform is essentially notes
| | 01:12 |
about the production and you can include
in this the software that you use.
| | 01:17 |
But more appropriately perhaps because
the software is always going to be out of
| | 01:20 |
date as soon as the book is published.
The type faces that you've used and
| | 01:25 |
perhaps some information about those type
faces, if you feel it's relevant to the
| | 01:30 |
design of the book.
Now this may seem like a bit of an
| | 01:34 |
affectation and it is a bit of an
affectation but people are increasingly
| | 01:38 |
interested in this information.
Don't over do it, keep it subdued and
| | 01:43 |
simple but it's interesting I think to
include some of this.
| | 01:48 |
I'm going to delete the parts that are
struck out and then we'll go about
| | 01:53 |
formatting this text.
I'll turn on My Guides.
| | 01:57 |
First thing I'd like to do is just delete
that paragraph mark at the end and then
| | 02:01 |
I'm going to align this text with the
bottom of its text frame, Cmd and Ctrl+B.
| | 02:07 |
Now we will align it to the bottom so
that it sits on the bottom base line of
| | 02:12 |
the page.
Then I'm going to select all.
| | 02:16 |
I could begin by applying one of my
paragraph styles which is going to be a
| | 02:20 |
starting point at that is going to be
body space but it's going to differ quite
| | 02:24 |
a lot from that.
And I'm going to remove the first line indent.
| | 02:31 |
Since it's going to be too restrictive to
have this type on a grid, I'm going to
| | 02:34 |
take it off the grid.
I am going to reduce its size to ten
| | 02:39 |
points and its leading to 12 points, make
it left aligned as opposed to justified
| | 02:46 |
and turn off any hyphenation.
Then I'm going to reduce the amount of
| | 02:54 |
space between these paragraphs.
I'm using 12 point leading, I'd like a
| | 02:58 |
half line space here, so I'm going to use
six points of space before.
| | 03:04 |
Then I will come to this one paragraph
and just differentiate this by making it italic.
| | 03:10 |
And adding 12 points of space before
this.
| | 03:13 |
Now, it might be an idea for me to
capture these as paragraph styles.
| | 03:22 |
I'll call that one copyright, apply that
to those two and two, those two and this
| | 03:28 |
one I will actually apply the copyright
style to it and then make those change I
| | 03:33 |
just made.
I should have done that in a different
| | 03:39 |
order, doing it this way so that
ultimately this style will end up being
| | 03:44 |
based upon the copyright style and I will
call this copyright head.
| | 03:50 |
Now, that's not going to be of much use
to me in this particular document but
| | 03:54 |
let's say that I'm creating a series of
books or I do a lot of book designs.
| | 03:59 |
That way I can build upon the legacy of
the styles that I create in this document
| | 04:03 |
and use them in another document.
So there is our copyright notice and our coliform.
| | 04:11 |
| | Collapse this transcript |
| Creating the table of contents| 00:00 |
We're now ready to create our table of
contents.
| | 00:03 |
And the first thing we need to do is add
some pages for our Table of Contents, so
| | 00:06 |
I'm going to come to my Pages panel.
And click away from those two selected
| | 00:12 |
pages of that spread.
Click back onto page 5, right-click on it
| | 00:17 |
and choose Insert Pages.
I want two pages Before Page 5 and I want
| | 00:23 |
them to have the Front Matter aster page.
Now it is significant that I have left
| | 00:30 |
table of contents until now.
Because I want to make sure that the
| | 00:34 |
pagination is pretty much finalized
before I generate the table of contents.
| | 00:39 |
Otherwise, I'm going to end up generating
the table of contents and constantly
| | 00:42 |
having to be updating that table of
contents.
| | 00:45 |
And that can get confusing.
And there's more scope for error so
| | 00:49 |
that's the reason I've left it until
almost last.
| | 00:53 |
I turn my guides on then come to my
Layout menu Table of Contents.
| | 00:59 |
Let's just go through these one by one.
Table of contents style.
| | 01:03 |
I'll make all of these settings into a
style when I have plugged in all the
| | 01:07 |
options that I want.
If you don't see some of these options,
| | 01:12 |
that's because you need to click on more
options.
| | 01:16 |
And we will be using some of these
options.
| | 01:19 |
What do I want to call my table of
contents?
| | 01:22 |
Well, I want to call contents so I'm just
going to leave this as it is.
| | 01:26 |
What paragraph style do I want applied to
my table of contents title.
| | 01:32 |
I'm going to choose this one TOC title.
Now, you may be thinking did we make a
| | 01:37 |
style called TOC title?
No, we did not.
| | 01:39 |
This is going to be an auto-generated
style.
| | 01:43 |
And we will have to change its style
options but the most important thing is
| | 01:46 |
that this paragraph will be tagged with
this style.
| | 01:51 |
Next, I need to determine what table of
contents entries I want and our TOC is
| | 01:56 |
going to be very simple.
We just want the one and that is the
| | 02:02 |
Chapter Title, click on that.
Click Add, that puts it into the list of
| | 02:08 |
styles that will be included in the TOC.
What paragraph style gets applied to
| | 02:13 |
those entries?
TOC Body Text, another of those
| | 02:18 |
auto-generated styles.
I want my page number after the entry and
| | 02:24 |
between the entry and the number, I want
not a tab because that's going to create
| | 02:29 |
too much space between the entry and the
number but instead I would prefer an endspace.
| | 02:37 |
I do not need a character style applied
to the page number.
| | 02:42 |
Nor do I need a character style applied
to the space between the entry and the number.
| | 02:47 |
Which might be filled with dot liters,
for example but in my case not.
| | 02:52 |
I do want to create PDF bookmarks.
We're not going to see the benefit of
| | 02:57 |
this now but if we come to generate a PDF
then this will make the TOC entries into hyperlinks.
| | 03:04 |
And that's it, we're ready to go.
I just need to save this style and I'm
| | 03:08 |
going to call it AliceTOC.
Then click OK and there is my Table of
| | 03:15 |
Contents story.
I'm now going to come and click the Top
| | 03:20 |
of that Text Frame to place the story.
Now the story doesn't look the way we
| | 03:25 |
want it to look yet but it's not going to
take much to whip this into shape.
| | 03:30 |
First of all TOC title.
I actually want this to look very much
| | 03:36 |
like my chapter number paragraph styles,
which I'll just quickly remind you are these.
| | 03:46 |
So what I'm going to do here is I'm
going to come to TOC title.
| | 03:50 |
Edit that and I'm going to base it upon
chapter number.
| | 03:55 |
And alright, well that's looking pretty
good.
| | 03:59 |
I'm going to reset it to base.
So it's now exactly the same as chapter number.
| | 04:05 |
But I do just want to make it a little
bit bigger.
| | 04:09 |
I'm going to make it.
18 points, I think, yep.
| | 04:13 |
And that's all we need there.
Next, I'm going to come to my TOC body
| | 04:17 |
text style.
Let's zoom in on that and select that and
| | 04:24 |
make a few changes to this.
Let's turn off the hyphenation.
| | 04:30 |
Most importantly lets change the type
face.
| | 04:33 |
Its going to Adobe Caslon Pro.
I would like it to be 14 points and I
| | 04:38 |
would like some space between the
paragraphs.
| | 04:44 |
I'd like 7.5 points of space between the
paragraphs.
| | 04:51 |
So, now I can come a right click on TOC
bodytext plus to incorporate that
| | 04:55 |
override into the style definition.
And there is my table of contents.
| | 05:01 |
Important point here, if anything about
your pagination changes, come back to the
| | 05:07 |
Layout menu and choose Update Table of
Contents.
| | 05:13 |
And you will see this message, which you
can choose to not see again and any
| | 05:17 |
changes will be reflected in your new
table of contents.
| | 05:22 |
| | Collapse this transcript |
| Numbering the front matter| 00:00 |
One more task concerning a front matter,
and that is to create a different
| | 00:04 |
numbering system for a front matter.
Currently, we have just one numbering
| | 00:09 |
system throughout the whole document,
which means that our first chapter begins
| | 00:13 |
on page seven.
We actually want this to be numbered one,
| | 00:17 |
and the page number to begin here.
Which means that the pages that proceed
| | 00:21 |
this, the front matter, need to be
numbered with a different numbering
| | 00:25 |
system and traditionally that's lowercase
Roman numerals.
| | 00:29 |
Now because we have only a few pages of
front matter, I'm choosing to not put any
| | 00:33 |
page numbers on here.
But you may have such things such as a
| | 00:38 |
dedication, a forward, preface,
acknowledgements.
| | 00:41 |
Introduction, in which case, you probably
would, almost certainly would, want to
| | 00:45 |
have page numbers.
Whether or not we have page numbers, we
| | 00:49 |
still need to designate it as a different
numbering system.
| | 00:54 |
So, I'm going to come to my Pages panel,
and the first thing I'm going to do is go
| | 00:58 |
to the first page in the whole document.
Right-click on this, and choose Numbering
| | 01:04 |
and Section Options.
I'm change the style to lower case Roman numerals.
| | 01:12 |
And that is going to affect the whole
document.
| | 01:14 |
And you can see that our chapter opener
is now lower case Roman numeral seven.
| | 01:20 |
I'm going to go to that page and then do
the same right-click on it, Numbering and
| | 01:24 |
Section options.
And here I'm going to change the style to
| | 01:29 |
Arabic numerals, and we want to start the
page numbering at one.
| | 01:35 |
And that is how we have more than one
numbering system throughout the whole document.
| | 01:40 |
And if you look on the Pages panel, the
triangles that are above the section
| | 01:44 |
starts indicate just that.
That this is the start of a section.
| | 01:51 |
Now that we have changed the numbering,
we also need to update our table of contents.
| | 01:56 |
So, I'm just going to double-click and
insert my cursor into that table of
| | 02:01 |
contents story.
Choose Update Table of Contents and, it
| | 02:07 |
does exactly that.
| | 02:09 |
| | Collapse this transcript |
| Reviewing your work| 00:00 |
It's always a good idea to print your
work to review it in print, and that's
| | 00:04 |
going to reveal problems that you won't
necessarily see on screen.
| | 00:09 |
At this point, we all have something that
looks quite different, I'm sure.
| | 00:14 |
But, for me, when I printed my work, I
had a problem with the position of the
| | 00:19 |
page numbers that are on the chapter
openers.
| | 00:23 |
So, I want to fix this, and the problem I
occurs because even though I offset this
| | 00:28 |
by one line space 15 points.
And I did the same for the page number on
| | 00:34 |
the top the text which follows the page
number the first line of type in the type
| | 00:39 |
area is aligned to the grid.
And you can see there when I hover over
| | 00:45 |
that text frame, that there is a built-in
amount of space at the top of the text frame.
| | 00:51 |
The consequence of this is that visually,
and if I were to draw myself, I'm just
| | 00:55 |
going to use my Frame tool here.
Draw myself a frame like that, which
| | 01:01 |
essentially I'm using as a measuring
stick.
| | 01:06 |
And so that we don't lose that, I'm just
going to come and color it.
| | 01:11 |
And then if we position that down here,
we can see that there's quite a
| | 01:15 |
difference in the amount of spacing.
So this is the amount of space I want,
| | 01:20 |
I'm going to cut that box from there.
And then come to my master pages.
| | 01:27 |
Now, it's on the master page b that I
want to implement this change.
| | 01:31 |
I'll turn on my guides, I will paste in
that measuring stick, position it like so.
| | 01:40 |
Now I will come and select both the page
number text frame on the left and right
| | 01:45 |
master page.
And nudge those down.
| | 01:50 |
So that the top of the page number aligns
with the bottom of that colored
| | 01:54 |
rectangle, which has now served its
purpose and I can delete that.
| | 01:59 |
So, my point here is that really now is
the time to do any last-minute tweaking,
| | 02:04 |
before we make this into a PDF and then
upload it to our printer.
| | 02:10 |
| | Collapse this transcript |
|
|
8. Creating the CoverCreating the cover using the Blurb Book Creator plugin| 00:00 |
Let's turn our attention now to designing
the cover for our book.
| | 00:04 |
And I'm going to do this in a couple of
different ways.
| | 00:06 |
One using the blurb book creator plugin
and then one just doing it from scratch
| | 00:11 |
within InDesign.
In case you don't have this plugin, which
| | 00:16 |
is a free download from blurb.com.
So, I'm going to do it first of all with
| | 00:20 |
this and all this is going to do is make
a template that is at the appropriate size.
| | 00:26 |
So, here is the book that we started
before, we specified that its a trade six
| | 00:30 |
inch by nine inch book and the paper type
and the color stock.
| | 00:37 |
We said earlier that we had 20 pages, in
fact we didn't even put this value in.
| | 00:41 |
We didn't know how many pages we had at
that point.
| | 00:45 |
So, I'm just going to move out of there
for a moment and come to my Pages panel.
| | 00:50 |
And it tells us here, we have 120 pages.
Now, if you're following along with me,
| | 00:56 |
we'll probably have more or less that
number but it might differ slightly.
| | 01:00 |
Lets just go all the way to the end of
the document.
| | 01:03 |
To make sure that we don't have any empty
pages at the end and we shouldn't because
| | 01:09 |
we are using Smart Text Reflow with the
delete empty pages option checked.
| | 01:18 |
So, that should take care of any empty
pages that might otherwise attach
| | 01:22 |
themselves to the end of the document as
our text flow changes.
| | 01:27 |
Important also that it's the total number
of pages not the page number that we're
| | 01:31 |
concerned with.
Because we have six pages that precede
| | 01:36 |
the main body of the book, that are
numbered with lower case Roman numerals.
| | 01:41 |
So 120 pages in total.
I'll specify that now, 120 and then I
| | 01:50 |
will create the cover template.
And I need to say where I'm going to save
| | 01:56 |
the file.
And here seems as good a place as any in
| | 01:59 |
the exercise files folder.
And I can now click OK.
| | 02:07 |
So, just as when we created the pages
template, we have all of this
| | 02:11 |
informational text designed to guide us
about where to place the elements on our page.
| | 02:18 |
And all of this exists on it's own
separate layer, which we can turn off if
| | 02:22 |
we find distracting, but it's useful just
to familiarize yourself with The
| | 02:25 |
different elements that we have here.
So, the spine is clearly indicated and
| | 02:31 |
the spine is drawn at the appropriate
width for the number of pages that we have.
| | 02:36 |
On the right we have our front cover, on
the left, our back cover.
| | 02:42 |
The page area, the safety line, the
margins, it's given us margins of 18
| | 02:48 |
points and the bleed guide.
And it has given us a bleed of nine
| | 02:55 |
points and then we have a new empty layer
above the instructions layer on which we
| | 03:02 |
place all of our artwork.
So I'm going to now turn off that layer.
| | 03:10 |
And we're ready to start adding our
artwork to this template.
| | 03:14 |
| | Collapse this transcript |
| Creating the cover from scratch with InDesign| 00:00 |
In the previous movie, I created this
blank document which we'll serve as a
| | 00:04 |
front cover, back cover and spine, using
the Blurb Book Creator plug-in.
| | 00:10 |
In this movie, I'm going to create the
same document, at the same spec, but
| | 00:14 |
doing it from scratch.
Just in case you don't have the plug-in,
| | 00:19 |
or if you just prefer to do everything
from scratch so that you have more of a
| | 00:22 |
sense of ownership and control over it.
So I'm going to create a blank document.
| | 00:31 |
Now, our page size here is six inches by
nine inches.
| | 00:38 |
Currently, my default unit of measurement
is in picas.
| | 00:42 |
And that's okay.
It can stay in picas.
| | 00:44 |
And you can see that when I put in the
inch value, it is automatically converted
| | 00:48 |
to picas.
Now, I actually want my page width to be
| | 00:53 |
twice what it currently is, 72 picas.
And then I need to add in the value of
| | 00:59 |
the spine.
Now the spine is 22.5 points.
| | 01:03 |
How do I know that, I went and measured
the document I created in the previous movie.
| | 01:10 |
Measured the width of the spine.
At 120 pages, which is the length of my
| | 01:14 |
book, that is the appropriate width of
spine.
| | 01:18 |
If you are sending this work to a
commercial printer, call the printer,
| | 01:22 |
communicate with them, tell them your
page count and your intended paper stock,
| | 01:25 |
and they will give you the width of the
spine.
| | 01:30 |
I now need to add that to the width of my
page.
| | 01:33 |
So I'm going to do plus 22.5, and this is
a different measurement system, PT.
| | 01:40 |
And that's going to give me the total
width of my document.
| | 01:46 |
In terms of the margins, I'm going to go
with the one pica and six point margins
| | 01:50 |
suggested by the previous document that
we were working in.
| | 01:56 |
So, I can type that in as 1P6, or 18
points, same difference.
| | 02:01 |
And I also want to specify a bleed of
nine points, and I have the chain
| | 02:05 |
unbroken so that I get the bleed on all
four sides.
| | 02:11 |
Facing pages, that's irrelevant really,
but I'm going to turn that off anyway.
| | 02:16 |
And I think we're good to go.
Now, I just need to indicate with guides
| | 02:22 |
where that spine is going to be.
So, I'm going to draw myself a guide.
| | 02:28 |
I'm going to drop it anywhere.
And then I'm going to make sure that
| | 02:33 |
guide is selected and specify that it's X
value be at six inches.
| | 02:40 |
And then I'm going to draw another guide
and it's X value will be six inches plus
| | 02:47 |
22.5 Points, and that will indicate the
left hand of edge of the front page i.e
| | 02:54 |
the space between those two guides is the
spine.
| | 03:04 |
And that gets us to the point that we are
in the document that was created using
| | 03:09 |
the Blurb book creator plugin and we have
exactly the same spec.
| | 03:15 |
I could now, lock these guides perhaps,
that might be a good idea, in fact I
| | 03:19 |
think I will do that.
I will lock that layer and then create a
| | 03:24 |
new layer above that on which to place my
artwork.
| | 03:28 |
| | Collapse this transcript |
| Creating a layout grid| 00:00 |
So I have two cover documents, both
currently blank one created with the
| | 00:04 |
blurb plugin, and one created from
scratch.
| | 00:07 |
It doesn't really matter which one I go
forth with, they are both exactly the
| | 00:10 |
same at this point.
I'm going to use the one that was
| | 00:14 |
creating by blurb.
And the next thing I'm going to do, which
| | 00:18 |
is optional but highly recommended, is to
place some guides to divide my page
| | 00:22 |
vertically and horizontally.
Now, what makes this a little bit tricky
| | 00:28 |
is that we actually have here, three
separate elements.
| | 00:33 |
A front cover, a back cover and a spine.
Which is going to mean that if we use the
| | 00:38 |
normally very useful Create Guides
feature, it's not going to be able to
| | 00:42 |
just work on the particular part of our
page.
| | 00:47 |
But will apply them to the whole page,
fitted to the margins or to the
| | 00:52 |
dimensions of the whole page itself.
So, we need to use a slightly different approach.
| | 01:00 |
The approach I am going to use here
involves using a couple of scripts I'm
| | 01:04 |
going to start out by drawing myself a
frame that covers the whole of my live
| | 01:08 |
area of what would be the front cover.
Then, I will come to my Window menu >
| | 01:15 |
Utilities Scripts and first time you come
here, it's going to look like this.
| | 01:22 |
Now I need to expand this, and then I
want to expand it further, so that I see
| | 01:25 |
the AppleScript and the JavaScript
folder.
| | 01:29 |
And then I need to expand further, I'm
going to go to the JavaScript folder.
| | 01:33 |
Let's just tear off this and park it down
here and then close that.
| | 01:39 |
And, first of all, the script that I want
is make grid.
| | 01:46 |
It's an old script and in many ways it
has been superseded by the Gridify features.
| | 01:52 |
But I still like it in this particular
usage, allowing us to divide a rectangle
| | 01:57 |
into a specified number of rows and
columns.
| | 02:02 |
I want to divide this into 12 rows and
eight columns and I'm chosing those
| | 02:08 |
numbers because our page is at a three to
two aspect ratio.
| | 02:14 |
And the space between those rows and
columns will be 12 points.
| | 02:18 |
That gives me all of those boxes.
I'm now going to select all of those and
| | 02:25 |
then copy those over to the back page
holding down my Option and Shift keys.
| | 02:32 |
Now the reason I've had to do it this way
is because we do not want the spine
| | 02:36 |
factored into this equation.
That's the reason we're doing it like this.
| | 02:41 |
I'm now going to select all of those
frames, and then scroll up to my Add
| | 02:46 |
Guides script.
Not what I use often, but it works great
| | 02:52 |
in this particular instance.
Now when I add the guides, I want them
| | 02:56 |
added to the top, left, bottom, right.
I don't need the horizontal or vertical center.
| | 03:02 |
I can then click OK and it will take a
short while to draw all these guides so
| | 03:05 |
be patient.
Okay, if we look on the Layers panel we
| | 03:10 |
see that it's placed the guides on their
own layer.
| | 03:17 |
I'm now going to delete all of those
boxes.
| | 03:22 |
And I'm going to come lock that Guides
layer and target the Your Design Goes
| | 03:26 |
Here layer okay and we're now ready to
actually start working with our artwork.
| | 03:33 |
| | Collapse this transcript |
| Adding cover elements| 00:00 |
I want my cover design to be really
simple and I'm going to begin with an
| | 00:03 |
area of flat color.
Let me just close the Layers panel and
| | 00:08 |
then I'm going to switch to my Rectangle
tool and draw a rectangle starting from
| | 00:12 |
the bleed guide and go all the way over
to the right-hand edge of the spine.
| | 00:20 |
And I want to make sure when I do this,
that it does not have a stroke.
| | 00:26 |
Because when I remove that stroke, it
will slightly change the dimensions of
| | 00:30 |
the rectangle.
And I have drawn one that does have a stroke.
| | 00:34 |
So I'm going to delete that.
And before I go any further, I'm going to
| | 00:38 |
set the stroke property to none.
So now I've drawn that rectangle and I
| | 00:47 |
want to fill that with a color and I want
it be a warm yellow.
| | 00:53 |
I'll start out with the basic yellow but
that's far from where I want to end up.
| | 00:59 |
I'm just going to modify this color.
So I would like to have 35% magenta and
| | 01:04 |
I'm going to take the yellow value down
to 95.
| | 01:11 |
And then click OK.
And I also want to use the same color on
| | 01:14 |
the back but not completely across the
whole of the back, so for this I'm
| | 01:17 |
going to need to draw myself a separate
rectangle.
| | 01:22 |
I'm going to come down four rows, one,
two, three, four and draw myself another
| | 01:27 |
rectangle and I can overlap these two
just to make absolutely sure that they do
| | 01:32 |
not leave any gap where they meet.
And that will also be filled with that
| | 01:40 |
same color and then when these two
elements are completely in place I'm
| | 01:44 |
going to verify that they go up to the
guides that they are supposed to go up to.
| | 01:52 |
I'm now going to lock them.
So the next thing we want is our text and
| | 01:57 |
I'm going to press Cmd or Ctrl+D and then
come to the Cover Photo which is in the
| | 02:02 |
Exercise File photo.
And I'm going to place the cover text and
| | 02:09 |
I'm just going to start by dumping this
on a page just so we can get familiar
| | 02:14 |
with what's what.
Let's zoom in and I've struck out the
| | 02:21 |
text that needs to ultimately be removed.
But this is just indicating what goes on
| | 02:26 |
the front, what goes on the spine and
what goes on the back.
| | 02:31 |
Pretty self-explanatory.
I'm just going to now cut this up into
| | 02:34 |
separate chunks.
So this is the text for the back.
| | 02:38 |
I'm going to cut that from there.
And we'll just put that right there for now.
| | 02:42 |
Get back to that in a moment.
I'll delete the identifier front from
| | 02:47 |
there and cut that.
And then I'll just put that right there.
| | 02:52 |
And then that just leaves us with the
text for the spine.
| | 02:57 |
And also that indication that we need to
include the logo as well.
| | 03:02 |
So before I forget that, I'll just delete
that text and we will place the logo.
| | 03:09 |
So these are in text frames that are now
far too big or far bigger than they need
| | 03:12 |
to be.
I'll just press Cmd+Option+C to shrink
| | 03:17 |
the text frames to the size of the text.
Then I'll press Cmd+D and there's the
| | 03:24 |
logo we want.
I'm going to uncheck that so that it
| | 03:28 |
doesn't replace that text frame that I
have selected.
| | 03:31 |
And this is going to go down there at the
bottom of the spine.
| | 03:40 |
So those are our elements on our page as
well as the text, I also have a couple of images.
| | 03:46 |
Cmd+D again and I have these two, cover
one, cover two.
| | 03:51 |
I'm going to select them both and the
rabbit is going to go down there.
| | 03:57 |
And the Cheshire cat or the face of the
Cheshire cat is going to go up there.
| | 04:03 |
Okay.
So I've just dumped these things on the
| | 04:06 |
page very roughly and we now need to
start designing with them.
| | 04:11 |
| | Collapse this transcript |
| Designing the front cover| 00:00 |
So, working on the front cover.
We have the text that we placed from the
| | 00:03 |
text file, but actually I am going to
copy and paste the text that we already
| | 00:07 |
worked on, for the title page of the book
interior.
| | 00:11 |
Frequently, you find that book interior
title pages, and the book covers,
| | 00:14 |
stylistically don't really go well
together.
| | 00:17 |
And the reason for that is that they're
often designed by different people with
| | 00:21 |
little communication between them.
But here, we're designing both, so we
| | 00:25 |
want to make them look like they're from
the same stable.
| | 00:30 |
So I'm going to select this text.
I'm actually going to select all of the
| | 00:33 |
text, and then copy that.
And then we'll move over to our cover document.
| | 00:38 |
We can delete that bit, and then paste
the text from our title page onto our cover.
| | 00:45 |
Let's just move this text for the spine
out of the way, and I'm now going to
| | 00:50 |
select the text for the title, and group
that.
| | 00:55 |
And, actually I want that to go at the
bottom of the page, which sounds a little
| | 00:59 |
odd, but I think it looks good like this.
So, I'm going to move it down and I'm
| | 01:04 |
going to position so that the baseline of
this type is one row away from the bottom margin.
| | 01:12 |
And so that the left hand edges of the
larger letters are aligned to the second column.
| | 01:21 |
And then, I would like to make this
bigger.
| | 01:25 |
Now, at the moment I can see that my text
frame is actually bigger than my text.
| | 01:30 |
So I want to make it bigger.
Let me zoom out and select that.
| | 01:35 |
Let me just move Mr Rabbit out of the way
for a moment.
| | 01:39 |
And then I'm going to now scale this up,
Cmd+Shift and pull from it's top right corner.
| | 01:47 |
And I want its right hand edge to be one
column, away from the edge of the page,
| | 01:52 |
like so.
And then when I look at this text, I
| | 01:56 |
think that I would like the leading to be
a little bit tighter, and I would like
| | 02:01 |
this word, in, to be a little bit closer
to the W.
| | 02:07 |
So let's do that bit first, I'll
double-click on that and I'll just nudge
| | 02:11 |
that over.
And then I will select that type.
| | 02:19 |
Now currently this is in a text frame
with the text aligned to the bottom.
| | 02:23 |
So when I press optional alt and the up
arrow to reduce the leading, the text
| | 02:27 |
will continue to be aligned to the
bottom.
| | 02:31 |
Like so.
Alright, now let's turn our attention to
| | 02:36 |
the Cheshire cat and the author and
illustrator text.
| | 02:42 |
The Cheshire cat, I would like to have
one row from the top.
| | 02:48 |
And I think he's going to look cheekier,
which is how I want him to look, if he's
| | 02:54 |
a little bit smaller.
And I'll position the author name beneath
| | 03:06 |
him, like so.
Let's consider the size of this text,
| | 03:12 |
currently 18 points.
And the illustrator, curently 14 points.
| | 03:18 |
I think I'd like to make these semi-bold,
since they are over-printing on coloured background.
| | 03:29 |
And possibly a little bit bigger.
I'm just going to scale them up,
| | 03:34 |
Cmd+Shift and drag from the corner.
Prior to doing that, I fitted the frame
| | 03:42 |
around the text Cmd+Alt+C.
And then I'm just going to nudge the cut down.
| | 03:49 |
So there's a clear connection between
these two elements, like so.
| | 03:55 |
Let me just point something out about the
images.
| | 04:00 |
I want to turn on my Overprint Preview
which is going to give me a clear
| | 04:03 |
indication of how things will look when
printed.
| | 04:07 |
And when I do the images look a little
bit strange.
| | 04:10 |
These are one bit or bit mapped images
and they're saved as tiffs and the white
| | 04:15 |
pixels become transparent.
But, we can see that they're not looking
| | 04:21 |
quite as solid as we want them to.
The easy fix here is to come to the
| | 04:27 |
effects and change the blending mode to
mulitiply, and that makes them a solid black.
| | 04:35 |
Right, now I just need to consider the
size and positioning of our rabbit down here.
| | 04:55 |
Let's turn the guides on.
So I'd like him to sit on the same base
| | 04:59 |
line as the word Alice.
So I'm nudging him up and then I want to
| | 05:04 |
scale him up and scale him such that I
bring him closer to these elements and
| | 05:09 |
make a visual connection between them.
And that's knocked his position off, so I
| | 05:22 |
just need to reposition him again.
Now, there maybe some necessary tweaking
| | 05:32 |
that goes on here but essentially that is
the design of my front cover.
| | 05:37 |
| | Collapse this transcript |
| Designing the spine| 00:00 |
Okay, we now need to address the spine
text and I just want to point out that I
| | 00:04 |
have turned off overprint preview which
on the previous movie.
| | 00:09 |
And the reason I have done that is so
that when I turn my guides back on and
| | 00:13 |
show hidden characters.
I can actually see those hidden
| | 00:17 |
characters because we wouldn't see them
if we had Over Print Preview on.
| | 00:21 |
Over Print Preview very useful for
evaluating how our graphics in particular
| | 00:25 |
are going to look when printed but at the
moment we want it turned off.
| | 00:31 |
Okay, here is our spine text I am
going to start out just by deleting that
| | 00:35 |
paragraph space that separates those two
lines because we want it all to be on one line.
| | 00:42 |
And I'm going to replace that with a
right indent tab, shift tab and that's
| | 00:46 |
going to push the author's name out to
the right hand edge of the text frame.
| | 00:53 |
I'm not going to select that text, Cmd+A
and change the font.
| | 00:58 |
I have my character formats active, so I
can press Cmd six to jump to my Font menu.
| | 01:04 |
And then just type in the font that I
want, which is Adobe Caslon Pro.
| | 01:08 |
And since I want it to be as solid as
possible, I'm going to choose Bold.
| | 01:14 |
And since I want it to look optically
centered between the edges of the spine I
| | 01:18 |
am going to choose All Caps so that we
don't have to factor in ascenders and descenders.
| | 01:26 |
When I use All Caps, I also want to use
some positive tracking and I'm going to
| | 01:32 |
apply 50 units of tracking.
Okay, let me just adjust the width of
| | 01:40 |
that so we can see all of that text.
There's the beginning of our spine text.
| | 01:46 |
I'm now going to zoom out and rotate this
text through 90 degrees.
| | 01:52 |
Position it within the spine, which is
this area right here.
| | 01:57 |
And I want it to have one row of space
above it and one row of space below.
| | 02:04 |
I'm going to need to just move that logo
down.
| | 02:08 |
Right there.
So I'm going to reposition the text frame
| | 02:13 |
or resize the text frame into that area.
At this point, I want to make my life
| | 02:19 |
easier by rotating my spread through 90
degrees counter clockwise.
| | 02:26 |
I can then zoom in on that text.
And the next thing I'm going to do is
| | 02:30 |
address the vertical justification.
Object Menu > Text Frame Options and this
| | 02:36 |
will be aligned to the center of the
frame.
| | 02:40 |
I have my Preview turned on and you can
see what that's doing.
| | 02:44 |
So now I'm going to select all of that
text and I want to make it bigger.
| | 02:47 |
Cmd+Shift, more than.
I'm currently moving in two point
| | 02:51 |
increments and I'd like to be moving in
half point increments, so I'm just
| | 02:54 |
going to go and change my units and
increments preference.
| | 02:59 |
I'm going to change that to .5 and while
I'm here although I may not need it, I'm
| | 03:03 |
going to change my kerning and tracking
preferences as well.
| | 03:10 |
Okay, I think 15 points is about as big
as we can get there.
| | 03:14 |
Lets just see that without the guides.
And, that's looking good.
| | 03:19 |
I'm now going to clear the rotation.
And just address the position and scale
| | 03:26 |
of the logo.
Now the logo is currently looking very jagged.
| | 03:30 |
That's because its a vector graphic with
an eight bit preview but if I come to the
| | 03:35 |
View menu and choose Display Performance
> High Quality Display, it looks good.
| | 03:41 |
This does not affect how it prints but
only how it looks on screen.
| | 03:46 |
Currently this graphic is touching the
edges of the spine and I need to give it
| | 03:50 |
a little bit of space either side.
So I'm going to click on the content
| | 03:54 |
selector to select the graphic within the
frame.
| | 03:57 |
And then I'm going to just reduce its
scale ever so slightly, let's go down to 40%.
| | 04:05 |
Turn off the guides and there we have our
spine text and our publisher logo.
| | 04:14 |
| | Collapse this transcript |
| Designing the back cover| 00:00 |
So, for the back cover we have this text.
And this text, is going to be divided
| | 00:05 |
into two parts, the first part will be
this quote, and the second part will be
| | 00:09 |
this informational text.
I'm going to select it all, I'm in my
| | 00:14 |
character formats, I'm going to change it
to Adobe Caslon Pro.
| | 00:19 |
Now I'm just going to select that one
paragraph and cut that.
| | 00:24 |
Press my Backspace key to delete the
paragraph mark space at the end of the
| | 00:28 |
text that remains, and I'll just come put
that down there for the time being.
| | 00:35 |
We'll return to that in a moment.
Turning my guides back on.
| | 00:39 |
I'm going to move this text frame, so
that it's not one column in and one row
| | 00:43 |
down from the left and from the top, and
then stretch it across six columns so
| | 00:48 |
that we have one column of space on the
right hand side and on the left hand side.
| | 00:57 |
I will then select all of this text in
the first text frame, and increase its size.
| | 01:03 |
And I'm increasing its size by i, using
the keyboard shortcut Cmd+Shift more
| | 01:07 |
than, and I'm going up to 21 points.
I'm going to lead the leading at Auto
| | 01:13 |
Leading, but I do want to add a first
line indent to the second paragraph.
| | 01:22 |
So I'm going to come and click on my
paragraph formats.
| | 01:25 |
If necessary I am going to change my unit
of measurement to points, and then right
| | 01:31 |
there, first line indent and specify that
as being 21 points.
| | 01:38 |
I'll just turn off my guides, and I think
that looks fine with one exception.
| | 01:44 |
And that is that this text begins with a
quote mark and we want the text to be
| | 01:49 |
aligned along the vertical stress.
Of this eye like so.
| | 01:57 |
There are two ways we might go about
this.
| | 01:59 |
The first way I'm going to try and
hopefully this will be sufficient is to
| | 02:02 |
apply optical marginal alignment.
So with my cursor in this story, I'll
| | 02:07 |
choose the Story panel from the Type
menu.
| | 02:11 |
Check optical marginal alignment and you
can see that when I do that, things shift slightly.
| | 02:18 |
Then I'm going to change the size of the
type to the actual size of type, I'm
| | 02:23 |
using, 21 points.
And that solves the problem.
| | 02:30 |
I will then, just to tidy things up,
press Cmd + Alt + C to fit my frame
| | 02:35 |
around my content.
Now, I will come and work on this text
| | 02:41 |
here, which is going to go over this
field of yellow.
| | 02:45 |
I want it to begin one row down, I want
it to span six columns, so it's the same
| | 02:50 |
width as the text above it.
Since this is overprinting on a field of
| | 02:56 |
color, I am going to change the white of
the type to semi-bold.
| | 03:01 |
I'm going to increase its size to 14
points and increase it's leading.
| | 03:09 |
Now when I increase it's leading, I
realize I need to make that text frame
| | 03:12 |
bigger, otherwise I'm going to end up
with overset text.
| | 03:16 |
Cmd+Option+C will fit my frame around my
content.
| | 03:22 |
Let's turn off the guides, see how that's
looking.
| | 03:26 |
Slight problem there in that the lines
are not breaking as well as they might.
| | 03:31 |
So I'm going to tap T to go to my Type
tool.
| | 03:34 |
At the moment, we have the author's real
name broken across a line break, and we
| | 03:39 |
also have a very short word at the end of
a line.
| | 03:44 |
So those are two things we would like to
avoid.
| | 03:47 |
If I come to line number two and add a
shift return or soft return at this
| | 03:51 |
point, that's going to carry that word
down to line three and in so doing, fix
| | 03:56 |
those other two problems.
So there is our back cover, our spine and
| | 04:03 |
our front cover, now designed.
At this point we should print it, make
| | 04:08 |
any tweaking adjustments that are
necessary and then pre-flight it and prep
| | 04:12 |
it for print.
| | 04:14 |
| | Collapse this transcript |
|
|
9. Preparing for PrintPreflighting the finished book| 00:00 |
Both our book interior and our book cover
are now finished.
| | 00:04 |
We've reviewed them on screen, we've
output proof prints and based upon these
| | 00:08 |
proof prints have made any necessary
adjustments.
| | 00:11 |
We are now ready for any final preflight.
I say a final preflight even though I
| | 00:16 |
haven't mentioned the issue of
prefligthing up until now.
| | 00:20 |
Life preflight, which is this area down
here, as its name suggest is happening
| | 00:24 |
all the time to your document and it's a
good idea to keep an eye on what's going
| | 00:28 |
on down in this area.
Currently mine says no errors which is
| | 00:34 |
always good to see but it's not
necessarily a worrying thing if you do
| | 00:38 |
find the occasional error.
Indicated down here but certainly before
| | 00:43 |
we send these files to the printer we
definitely want to make sure there are no errors.
| | 00:49 |
Now while our documents have been live
preflighted throughout their creation,
| | 00:54 |
the preflight profile that has been used
is one that is not very stringent, so
| | 00:59 |
it's not really helping us that much.
What we're going to do is build our own
| | 01:05 |
more specific preflight profile and then
apply that to the document and then have
| | 01:10 |
it notify us of any errors or any
potential problem areas and then fix them accordingly.
| | 01:18 |
To do that I'm going to come and double
click on the Live Preflight area.
| | 01:21 |
It tells me that preflighting is on and
it's using this basic working profile.
| | 01:29 |
I'm going to come to the Panel menu and
choose Define Profiles and then Create a
| | 01:33 |
New Profile.
But I'm going to call this blurb trade.
| | 01:37 |
And I can use this profile for any books
that I plan to send to blurb.com for printing.
| | 01:45 |
Okay.
Now what do we need to change here?
| | 01:49 |
Links, well we want it to inform us of
any missing or modified links definitely
| | 01:54 |
color since we're working in black and
white its not really applicable to us so
| | 01:59 |
I'm going to leave that unchanged but.
In the Images and Objects section there
| | 02:06 |
are a couple of things that are relevant.
Firstly, image resolution.
| | 02:11 |
I'm going to check that one and we're
working with one bit images in this case,
| | 02:15 |
which is relatively rare but that's the
case in this document.
| | 02:21 |
And I'm going to leave the minimum
resolution at 800.
| | 02:27 |
I would also like to be notified of any
non-proportional scaling of any images,
| | 02:32 |
which although I've taken care to avoid
that, it's surprising how easily these
| | 02:36 |
kind of problems can creep into your
document.
| | 02:41 |
I want to be alerted of any over set
text, any missing fonts.
| | 02:45 |
And I think I'd also like know about any
non-proportional type scaling.
| | 02:50 |
Now that really is all I'm concerned
with, those are the only elements that I
| | 02:53 |
want to be notified about in the
preflight.
| | 02:57 |
I'm going to click OK and then change my
working profile to the profile that I
| | 03:01 |
just made and there may be a pause.
You may see a few errors indicated here.
| | 03:08 |
In my case, I don't see any.
Can it really be that good?
| | 03:12 |
Well, I have been checking this document
throughout and taking good care with it,
| | 03:16 |
so it's quite possible that it is that
good but I'm now going to just create a problem.
| | 03:21 |
And then show you how it would show up in
this Pre-flight panel and how we would
| | 03:25 |
address it were we to see a problem.
So I'm going to come over here and select
| | 03:30 |
this image and do this.
So I've now applied non-proportional
| | 03:35 |
scaling to this image.
And let's pretend that I'm somewhere else
| | 03:40 |
in the document other than that.
I'm unaware of the problem when I
| | 03:44 |
pre-flight, it tells me here I have one
error.
| | 03:48 |
I can twirl that open, non proportional
scaling, twirl that one open and then
| | 03:53 |
click on this hyperlink to take me to the
problem where I see, well my eyes tell me
| | 03:58 |
that it's been stretched.
But I can also confirm that right here
| | 04:05 |
looking on the Control panel.
And what I'm going to do is I'm going to
| | 04:10 |
select the smallest scale and copy that
and paste that into the width.
| | 04:16 |
Press Tab.
And I would then also need to just adjust
| | 04:19 |
the positioning within the frame.
And to fix that, I'm going to come to my
| | 04:25 |
Object menu > Fitting and choose Fit
Content Proportionally.
| | 04:30 |
And the problem is solved and once again
we see no errors.
| | 04:35 |
So whatever it takes, you need to fix or
at least knowingly overlook any problems
| | 04:40 |
that it identifies using the Preflight.
I'll just now run the Preflight on the
| | 04:48 |
cover and it too has no errors, so we're
now ready to move on to the next stage.
| | 04:57 |
| | Collapse this transcript |
| Exporting to print-ready PDF| 00:00 |
It's now time to make print-ready PDFs of
our book interior and our book cover.
| | 00:05 |
And if we intend to print through
Blurb.com, it's going to be preferable to
| | 00:10 |
use their PDF Job Options file that comes
installed with the Blurb book creator plugin.
| | 00:18 |
And that plugin, as I've mentioned a
couple times already is a free download
| | 00:21 |
from Blurb.com.
If you are printing through any other
| | 00:25 |
printer, then speak to that printer and
ask them to supply you with a Job Options
| | 00:30 |
file or at least to tell you what job
options is that they require.
| | 00:37 |
And they will likely be based on press
quality or a PDF X-1A, but that's just
| | 00:41 |
speculation so don't speculate, ask your
printer.
| | 00:46 |
Now there is something that I need to
address here and that is that when I
| | 00:50 |
created this document, I did not use the
Blurb template that I initially created.
| | 00:57 |
I went on and created my own.
And I have realized there is a slight
| | 01:01 |
problem with that, that slight problem is
that my version does not include a bleed.
| | 01:08 |
And a bleed is necessary, otherwise the
file is going to fail Blurbs pre-flight.
| | 01:13 |
It's necessary even though we haven't
used the bleed we still need to set it up.
| | 01:18 |
Don't ask me why, its just a dumb piece
of software so we need to just give it
| | 01:22 |
what it wants, its very easy to add the
bleed setting in at this stage.
| | 01:28 |
How am I going to do this?
I am going to come to Document Setup, and
| | 01:33 |
I need to break the chain and I want a
top bottom and outside bleed of nine
| | 01:38 |
points and an inside of zero.
Click OK and then save that.
| | 01:48 |
And now everything is going to work just
fine.
| | 01:53 |
So at this point, I'm going to come to my
File menu, Adobe PDF Presets, Blurb_PDF_Export.
| | 02:00 |
And come to my Export Adobe PDF options,
and it's telling me here don't modify anything.
| | 02:07 |
And I'm not going to modify anything, but
I just want to point out that, this job's
| | 02:11 |
Options Preset uses this standard.
If you don't have this for whatever
| | 02:16 |
reason, and it is an easy download from
their website.
| | 02:20 |
But if you don't have it you could just
choose this predefined preset that ships
| | 02:24 |
with inDesign and you will get the same
result.
| | 02:28 |
I just want to point out the options that
have been chosen, I'm not going to change them.
| | 02:33 |
But we have down sampling to 300 pixels
per inch for anything that is bigger than
| | 02:37 |
300 pixels per inch, that's applying to
the color and the grayscale images in our
| | 02:42 |
particular case.
For this document we're concerned with
| | 02:47 |
the monochrome images, because our images
are one bit images and they will be down
| | 02:52 |
sampled to 1200 pixels per inch.
In marks and bleeds there are no printers
| | 02:58 |
marks checked but we are using the
document bleed settings.
| | 03:02 |
And that's why I had to make that slight
modification at the beginning of this movie.
| | 03:09 |
In output there is no color conversion.
In the advance settings we are using the
| | 03:13 |
high resolution transparency flattener.
And all fonts will be subsetted and there
| | 03:19 |
are no security settings.
The summary is just a summary of
| | 03:23 |
everything that we've looked at.
I am now ready to export that and I'm
| | 03:27 |
also, while I'm waiting for that one to
cook, I'm going to go on and I'm going to
| | 03:32 |
do the same for the cover.
And we should now have two PDFs, one for
| | 03:43 |
the book interior.
And one for the cover.
| | 03:52 |
| | Collapse this transcript |
| Uploading to Blurb| 00:00 |
So, we have made our print-ready PDFs,
one for the cover, one for the interior,
| | 00:05 |
using the blurb PDF preset, and I'm now
going to upload those PDFs to the Blurb site.
| | 00:12 |
And this is one way of doing it, I'll
show you the other way of doing it
| | 00:15 |
directly from the blurb book creator plug
in in the next movie.
| | 00:19 |
Using this approach, I'm going to come to
the Make Your Book tab.
| | 00:24 |
And then down to PDF to Book.
You need to be signed in to do this, but
| | 00:28 |
it's free to sign up.
And then upload PDFs.
| | 00:35 |
You will need to log in.
And then type in the spec of your book.
| | 00:48 |
So we have trade six by nine inches, 120
pages.
| | 00:53 |
Its black and white and we're going for a
soft cover.
| | 01:01 |
So, then we type in our information.
We make a choice about where we want the
| | 01:11 |
blurb logo page to go.
And we can remove it altogether, but that
| | 01:15 |
costs extra, so I'm just going to go for
the white blurb logo.
| | 01:20 |
And then we start the up-loader.
And it says here if you're having, of
| | 01:31 |
it's coming, you need the latest version
of java installed upload cover.
| | 01:37 |
Then you upload the pages and then blurb
will pre-flight your document.
| | 01:54 |
And that may take a little while.
It says it may take a few hours,it
| | 01:58 |
usually takes minutes rather than hours.
And after the preflighting is complete,
| | 02:05 |
this is the message that you want to see
that it ticks all the right boxes.
| | 02:12 |
So, at this point you can now go on and
order as many copies of your book as you wish.
| | 02:17 |
| | Collapse this transcript |
| Uploading to Blurb using the Book Creator plugin| 00:00 |
Another way we can upload our work to
Blurp.com is directly through the Blurp
| | 00:05 |
Book Creator plugin.
At the start of this whole process, I
| | 00:10 |
created a book and I then I went on to
create the pages from scratch.
| | 00:16 |
It was actually that second version that
I developed into my finished book.
| | 00:21 |
So, the two are out of sync.
What I can do here is re-link my pages to
| | 00:26 |
a new document.
And this will be useful even if you
| | 00:30 |
haven't done what I did you have probably
incremented your file name with each
| | 00:35 |
major change.
So, you will in that situation also need
| | 00:42 |
to link to your finished version.
So I'm going to scroll down here until I
| | 00:49 |
get to Alice final.
And then I'm also going to re-link to my
| | 00:57 |
cover final.
Just check all the specs, 120 pages.
| | 01:04 |
Has the right size.
I have myself there in as the author.
| | 01:07 |
As far as, I should have credit Lewis
Carroll for that rather than myself.
| | 01:13 |
I will log in, and I'm now ready to
upload the book.
| | 01:30 |
So I now switch over to Acrobat to review
the files.
| | 01:33 |
Then come back to InDesign, and click yes
to continue.
| | 01:49 |
So, we are then taking to the Blurb
website where we have the option of some Add-ons.
| | 01:54 |
But the most important part here is that
our books has passed the preflight and
| | 01:58 |
once we've made these choices we can
place our order for the book.
| | 02:03 |
| | Collapse this transcript |
| Archiving the project| 00:00 |
Now that we've sent our files to the
printers, there is one task that remains,
| | 00:03 |
and that is to archive our project.
You never know when we might need to
| | 00:08 |
reprint this or revisit it for whatever
reason.
| | 00:11 |
So we need to gather up all of the bits
that were used in the creation of this
| | 00:15 |
project, and save them in one tidy
package.
| | 00:21 |
So, let's do this, first of all, with the
interior of the book.
| | 00:25 |
And I'm going to come to the File menu
and choose Package.
| | 00:29 |
Now, this, of course, was the way in
which, back in the day, in the olden
| | 00:32 |
days, we would send our files to the
printer.
| | 00:36 |
But these days, printers prefer to
receive a PDF, which is easier for them,
| | 00:40 |
easier for you, and less prone to error.
but the package command is still useful
| | 00:46 |
for us, when we need to archive our
projects.
| | 00:50 |
And what I'm going to do here is click on
the Package button, it's going to tell me
| | 00:54 |
that I need to save this.
This dialogue box or this form I can
| | 00:59 |
bypass since this is only useful if I am
sending these files to a printer, which
| | 01:04 |
I'm not.
So, I just click continue and then I need
| | 01:09 |
to choose where is I'm archiving this
project to so now I'm just going to go to
| | 01:14 |
the desktop.
But maybe its a separate hard drive or
| | 01:18 |
some other location on my hard drive.
So, InDesign will make for me at this
| | 01:23 |
location, my desktop, a new folder which
will be the name of the file with the
| | 01:27 |
word, folder appended to it.
I can change that if I want to but I'm
| | 01:32 |
just going to go with that.
And I get to choose what I want to
| | 01:36 |
include in this package.
I definitely want to include the linked graphics.
| | 01:42 |
I might want to include the fonts.
I'm going to choose not to include the fonts.
| | 01:47 |
But, if you're playing it really safe,
you might want to include the fonts or if
| | 01:50 |
you're sending this project to somebody
else, you most likely would want to
| | 01:53 |
include the fonts.
The reason I'm not is that I don't want
| | 01:57 |
to end up with multiple versions of those
fonts at different locations on my hard drive.
| | 02:04 |
I know I have those fonts, so I don't
need to copy off them.
| | 02:07 |
I'll just then click Package and after a
brief delay, we can go and check on our
| | 02:13 |
desktop, where we see the folder that
we've just created.
| | 02:21 |
In which we have the instructions text
file, which is of no use to us, so I'm
| | 02:24 |
going to throw that away.
But importantly, we have a folder of links.
| | 02:29 |
Now, the way this document was created,
all of these images were taken from the
| | 02:35 |
same folder.
So that the benefit of the package
| | 02:39 |
command in this particular example is
perhaps somewhat underwhelming.
| | 02:44 |
But it's not uncommon to draw your images
from various different folders.
| | 02:49 |
And the nice thing about the package
command is that it gathers them all up at
| | 02:52 |
one location.
Just something to bear in mind, a slight
| | 02:57 |
word of caution here.
When you've done this, you now want to go
| | 03:02 |
and close this file that you have open.
Because you have this file Alice_final
| | 03:08 |
and you also have this file which is
saved in this folder at a different location.
| | 03:16 |
They are two separate entities.
And if you were to go on and make changes
| | 03:20 |
to this file with the expectation that
they are applying to this file, you will
| | 03:25 |
be, not only confused, but also,
disappointed.
| | 03:30 |
So, at this point, I'm going to close
that file, and then go on and package my
| | 03:34 |
cover file.
| | 03:36 |
| | Collapse this transcript |
|
|
10. Making an EbookGenerating a screen PDF| 00:00 |
Creating an EPUB from our print files, I
will make three variants of an EPUB.
| | 00:06 |
A screen PDF, an EPUB file, and a .mobi
or Kindle file.
| | 00:12 |
Let's begin with the screen PDF.
I have open the two files, the book
| | 00:16 |
interior and the cover that we've been
working with.
| | 00:20 |
Starting off with the book interior, I'm
going to come to my PDF presets and
| | 00:24 |
choose as my starting point smallest file
size.
| | 00:29 |
I will append the word screen to the file
name.
| | 00:33 |
And I'm going to modify this preset by
including bookmarks and hyperlinks.
| | 00:37 |
I will also change the compression
settings.
| | 00:40 |
Now this is not going to be relevant for
this particular project, because we don't
| | 00:45 |
have any color images or gray scale
images.
| | 00:48 |
But for similar projects, it would be
relevant, so I'm going to change these
| | 00:53 |
settings here and then save the preset.
Relevant to us is this number, the
| | 00:59 |
Bi-Cubic down sampling of the monochrome
images and I will leave that at 300.
| | 01:05 |
And we'll save this preset as Screen and
then export the file.
| | 01:11 |
I'll then come to the cover file, and I
need to make a modification here.
| | 01:17 |
And that is that, we do not have to have
the back cover, nor do we need to have
| | 01:20 |
the spine.
So I'm going to do a Save As and then
| | 01:29 |
switch to my Page tool.
Another approach would be to output the
| | 01:37 |
whole cover and then crop it either in
Acrobat Pro or in Photoshop, but I think
| | 01:41 |
it's slightly easier to just output only
the part of the cover that we need.
| | 01:48 |
Using the Page tool, I want to make sure
I have the reference point as one of the
| | 01:52 |
points on the right hand side, and then
I'll come and specify the width as being
| | 01:56 |
six inches.
And now we have effectively cropped the
| | 02:03 |
cover to just the portion that we are
interested in, the front cover.
| | 02:08 |
And I come and export this using that
same preset.
| | 02:12 |
Now, when I do this, I will come up
against a warning message, and that
| | 02:18 |
warning message concerns my transparency
blending space.
| | 02:26 |
Frankly this isn't going to make that
much difference.
| | 02:30 |
But I will pay it safe and cancel out of
here and change my transparency blending
| | 02:35 |
space from document CMYK, which was
appropriate when we were creating the
| | 02:40 |
print version, to document RGB, and then
I can.
| | 02:48 |
Return once again to the PDF export and
output that file to a PDF.
| | 02:57 |
Now in Acrobat, I have open, I'm checking
the view size on both the two documents.
| | 03:04 |
I need to make them into one.
So here in the book interior file, I will
| | 03:09 |
come to my Pages panel, right click on
the first page and choose Insert Pages
| | 03:14 |
from File.
And I can choose the cover file to insert
| | 03:19 |
that before the first page.
Now, if I take a page through the
| | 03:24 |
document, we can see that we are
currently looking at it one up.
| | 03:28 |
I would like this to be a two up layout.
So I'm going to come to the View menu,
| | 03:33 |
Page Display and I would like it to be a
two page view.
| | 03:40 |
And I need to return to that and choose
Show Cover Page in two page view.
| | 03:48 |
Now, if we scroll through, we can see
that we have a different problem.
| | 03:51 |
And that problem is that there is no
blank page to the left of the half title page.
| | 03:57 |
I think for the screen version, we don't
need a half title page so I will delete that.
| | 04:07 |
And we will try again, and its now
looking the way we want it to look.
| | 04:14 |
And the table of contents is indeed a
live hyperlinked table of contents.
| | 04:20 |
I might consider having the Bookmarks
panel open, so the user can navigate
| | 04:25 |
using the Bookmarks panel.
So that the book opens up in this format,
| | 04:31 |
I need to change the document properties.
In the initial view settings, I want to
| | 04:40 |
make sure that the Navigation tab opens
to the Bookmark panel and page.
| | 04:47 |
That the page layout is two up cover
page, and that the magnification is Fit page.
| | 04:54 |
I'll now click OK.
I will save that, and to verify that
| | 04:58 |
those changes have taken, I will close
this document and then come back, and
| | 05:02 |
open it again.
And we see that indeed, we now have a
| | 05:09 |
functioning screen PDF.
| | 05:13 |
| | Collapse this transcript |
| EPUB overview| 00:00 |
The ePub file that we generate from this
document is intended to be read on a
| | 00:04 |
tablet, like an iPad.
Before we adapt our print document into
| | 00:08 |
an ePub, I'd like to make a few points
about the ePub format.
| | 00:13 |
Creating ePubs is perhaps the fastest
growing area of InDesign.
| | 00:17 |
I'm recording this in April 2013, using
InDesign CS6.
| | 00:22 |
Things will probably have changed, and
may have changed considerably, if you're
| | 00:27 |
using a later version of InDesign.
And, because this is such a fast
| | 00:32 |
developing aspect of publishing, the
options will look different if you're
| | 00:36 |
using an earlier version than InDesign
CS6.
| | 00:41 |
This chapter is just a brief overview of
what's currently possible using InDesign
| | 00:46 |
CS6 to make epubs.
For more information, I highly recommend
| | 00:50 |
you check out Anne-Marie Concepcion's
course, InDesign CS6 to EPUB, Kindle, and
| | 00:55 |
iPad, here on lynda.com Thirdly, in order
to preview the epub on your desktop
| | 00:59 |
computer, you will need Adobe Digital
Editions installed.
| | 01:05 |
If you don't already have this, it is a
free download from the Adobe website.
| | 01:09 |
Lastly, and importantly, at present
exporting from Indesign is just the start
| | 01:15 |
of making a good epub.
You will then need to optimize the epub
| | 01:20 |
using an epub editor, like Dreamweaver.
That, as they say, is beyond the purview
| | 01:26 |
of this course.
That said, we want to get a result that
| | 01:29 |
is as close to being finished as
possible.
| | 01:32 |
Let's see what's involved in getting a
clean ePub expor.
| | 01:37 |
| | Collapse this transcript |
| Linking an EPUB file to the original document| 00:00 |
Because I'm going to be making a number
of changes to this file, EPUB is a very
| | 00:03 |
different animal from a printed document,
therefore we need to be working in a
| | 00:07 |
separate file.
I want to make a copy of this file.
| | 00:12 |
Now I could just do a save as and that
would be fine.
| | 00:15 |
But, the problem with that is that, you
want to keep your printed document and
| | 00:19 |
your EPUB synched in terms of the
content.
| | 00:23 |
So for example, if the text content
changes in the printed document, you
| | 00:27 |
don't want to then go and make exactly
the same text edits in the EPUB document.
| | 00:33 |
So that we can avoid having to do that,
what we are going to do is, we are going
| | 00:37 |
to place and link the text file.
Now, in this case, this is a historical text.
| | 00:43 |
Obviously, we're not going to be editing
it, but we might find some minor errors
| | 00:47 |
in here.
And we only want to have to make the
| | 00:50 |
change once in the master document, and
then that change can be updated in all of
| | 00:54 |
the offspring documents.
So, here's one way of going about that.
| | 01:01 |
I'm going to first of all choose, Save a
Copy.
| | 01:04 |
And I'm going to call this Alice EPUB.
I'm then going to open that document.
| | 01:16 |
So, I have now my printed version and my
EPUB version.
| | 01:20 |
They're currently both identical.
I'm going to come to the EPUB and put my
| | 01:26 |
text cursor inside the story, and select
all and delete.
| | 01:37 |
Now there is a problem with that
approach, and the problem with that
| | 01:42 |
approach is that when I now look on my
Pages panel, we see I only have 15 pages,
| | 01:46 |
whereas previously I had 120.
So before I do that, I need to change a preference.
| | 01:55 |
I will come to my Preferences and choose
Type.
| | 01:57 |
And uncheck Delete Empty Pages.
Now I want to do the same thing as I did
| | 02:05 |
before, with all of that text selected, I
will delete it.
| | 02:10 |
We now have the same number of pages as
we started with, and all of the nonactive
| | 02:16 |
graphics retained their same location.
So I'm going to come now to the final
| | 02:24 |
version, where clicked onto the story, I
will come to the Edit menu and choose
| | 02:29 |
Place and Link.
That's going to open up the conveyor,
| | 02:34 |
which I'm not actually going to use.
I'm just going to move over into the EPUB
| | 02:39 |
version and click into that text frame.
And the text flow should be identical.
| | 02:47 |
If I now turn on my guides, we can see
that we have the link badge at the top of
| | 02:53 |
the text frame for the EPUB version.
If we look at the final version.
| | 03:00 |
Guides turned on.
No such badge exists.
| | 03:05 |
So this text file, and we can see this on
the Links panel as well, is actually a
| | 03:11 |
linked file linked to this printed
version.
| | 03:16 |
Just before we go any further with this,
I want to just verify that everything has
| | 03:22 |
carried across the way we want it to, and
that the text flow is identical from one
| | 03:28 |
document to the other.
Here is the reason that is a good idea.
| | 03:37 |
I'm going to come to my final version.
Let's say I need to make and edit to my text.
| | 03:46 |
So, instead of down the rabbit hole,
we're going to call this down the bunny hole.
| | 03:50 |
I will now save this.
I will come to my EPUB version, and we
| | 03:57 |
see the updated link batch.
Now if I update that link, you can see
| | 04:02 |
that the text content now reflects.
And that badge should go away.
| | 04:09 |
And indeed it does.
The text content now reflects the changes
| | 04:14 |
that I made in the parent document.
This is a one way street.
| | 04:19 |
If in the EPUB version, I make changes to
the text, that will not affect the
| | 04:23 |
printed version, which is the parent
file.
| | 04:27 |
So I'm actually going to come back here,
undo that change, save that document.
| | 04:33 |
And once again, I will be required to
update that link, and that will put the
| | 04:38 |
text back to the way it was.
So while I could have just done a save
| | 04:44 |
as, and worked on the EPUB file
independently of the printed version.
| | 04:50 |
If I want my text to be synchronized from
my parent document to my EPUB version, I
| | 04:54 |
do need a link between those text files.
| | 04:58 |
| | Collapse this transcript |
| Structuring your book for the EPUB format| 00:00 |
I need to make some changes to my
document in order to get a decent epub export.
| | 00:05 |
And to begin with, I need to give it some
structure.
| | 00:08 |
Let's first of all see why.
If I were to export this, going directly
| | 00:12 |
to the File Export option and choosing
epub as the format, this is the kind of
| | 00:16 |
result I would get.
You can see that everything is just
| | 00:21 |
running together.
The content has no break before it,
| | 00:24 |
neither do the chapter numbers have any
break before them.
| | 00:28 |
And we are also missing the graphic that
accompanied Chapter 1, the graphic around
| | 00:32 |
which the text wrapped.
Because that is not an in-line graphic,
| | 00:37 |
and it needs to become an in-line
graphic.
| | 00:40 |
Also we can see that the name of the
publication is this rather un enticingly
| | 00:45 |
named alice_epub.
We want this to actually read with the
| | 00:49 |
title of the book.
So back here, I am going to first of all
| | 00:53 |
do a Save As.
And I'm going to call this Alice's
| | 00:58 |
Adventures in Wonderland.
And that will have the e-pub extension.
| | 01:05 |
Next, since a half title and blank page
following it is unnecessary for an e-pub
| | 01:12 |
I will delete both of those.
next, to give our document some structure
| | 01:20 |
I will go to the Articles panel and
define my different areas of content as articles.
| | 01:26 |
We're lucky, in that most of this
document is one continuous text flow,
| | 01:30 |
beginning here on page one.
But our front matter is made up of
| | 01:35 |
separate stories, and we need to define
these as articles starting out with the
| | 01:40 |
title page.
First of all, I will group those two
| | 01:44 |
together, and I will group those two
elements together.
| | 01:49 |
And then select those two groups, and
make those into an article.
| | 01:54 |
We will find that this is not going to be
entirely successful.
| | 01:58 |
And we will end up adopting a different
approach for the title page.
| | 02:03 |
I'll then come to the next page, which is
the copyright.
| | 02:05 |
I will select that story, and make that
into an article next to the contents.
| | 02:13 |
Now the contents have an additional
problem.
| | 02:16 |
And that is that they reference a
specific page number.
| | 02:19 |
But those page numbers have no meaning
whatsoever in an e-pub.
| | 02:23 |
So, those numbers need to be removed.
We do still want to retain the hyper
| | 02:27 |
linked table of contents.
That's something I'll address in the next movie.
| | 02:32 |
And then finally we have this main
content.
| | 02:41 |
So, we have four articles that's going to
be a start but we need more than that.
| | 02:46 |
We need each chapter to begin a separate
section and for that we can use paragraph
| | 02:51 |
export tagging.
If I come to my Chapter Number style, I
| | 02:58 |
will then edit this style.
Come to the last of my Paragraph Style
| | 03:04 |
Options, Export Tagging, and I want to
check this box, Split Document.
| | 03:11 |
Click OK.
I also want to make sure that the chapter
| | 03:15 |
number space of variant of that style has
the same Export Tagging option.
| | 03:21 |
In fact, the rationale for this variable
no longer exists.
| | 03:25 |
So, I'm going to delete it and replace it
with the standard Chapter Number.
| | 03:32 |
I'll then go to my contents, because this
has a different paragraph style.
| | 03:38 |
And this paragraph style is the TOC
Title.
| | 03:42 |
This also needs a Paragraph Export tag.
As does this paragraph which is the first
| | 03:55 |
paragraph of the copyright text.
And I need to designate this as being a
| | 04:02 |
separate paragraph style, which I will
call copyright one and, it too, will
| | 04:08 |
split the document.
So here I have done three things.
| | 04:15 |
I've renamed the document.
I have added articles to my Articles panel.
| | 04:20 |
And I have applied paragraph style Export
Tagging.
| | 04:24 |
I'm now going to export the document
again to see how this is going to improve
| | 04:28 |
the result.
It's not going to take us all the way
| | 04:32 |
there, but we will see an improvement.
Content order, I'm going to choose same
| | 04:37 |
as Articles panel, now a relevant option
for me.
| | 04:43 |
Then in the advanced settings I'm going
to choose Based upon Paragraph Style
| | 04:49 |
Export Tags.
I will click OK, and we still see that
| | 04:54 |
the reading order of the title page is
completely messed up so we're going to
| | 04:59 |
adopt a different approach for that.
We still see that the contents and the
| | 05:07 |
copyright run together.
But, hopefully, we do now see that each
| | 05:14 |
Chapter begins (SOUND) a new section.
(SOUND) Still missing will be those
| | 05:23 |
non-anchored graphics.
(SOUND) So while things have improved,
| | 05:27 |
they have a long way to go.
And let's see how we can take that
| | 05:30 |
further in the next movie.
| | 05:32 |
| | Collapse this transcript |
| Adapting the EPUB file| 00:00 |
Taking our ePub forward in this movie, I
want to do three things with our work-in-progress.
| | 00:06 |
Remove the overrides that I necessarily
applied to some of the paragraphs when
| | 00:09 |
working with the print version.
Those overrides no longer have any
| | 00:14 |
meaning and they're just going to create
confusion in the resulting e-pub.
| | 00:18 |
Secondly, regenerate the table of
contents without the page numbers, which
| | 00:21 |
again have no meaning in the e-pub.
And thirdly, and this is the one that
| | 00:26 |
will effect the biggest change, make
those non anchored projects into in line graphics.
| | 00:33 |
Firstly, I will come to my text and
select all of that then come to my
| | 00:37 |
Paragraph styles and just click on this
option here, Clear Overrides.
| | 00:45 |
So any exceptions that I needed to make
and I didn't bother to actually convert
| | 00:49 |
them into pure paragraph styles will now
be removed.
| | 00:53 |
Secondly let's come to the table of
contents.
| | 00:56 |
I will come to the Layout menu and
actually go to Table of Contents styles
| | 01:00 |
because I made a table of contents style
earlier when we generating the table of
| | 01:05 |
contents for the print version.
I'm now going edit that Table of Contents style.
| | 01:12 |
And the change that I need to make here
is available in the More options, and
| | 01:16 |
it's this one.
Page number, I don't want a page.
| | 01:20 |
Page numbers have no meaning, or have a
completely different meaning for an e-pubs.
| | 01:25 |
So, those will be removed.
And I have this checked Replace Existing
| | 01:30 |
Table of Contents.
So now when I click OK and OK again.
| | 01:36 |
I was expecting to see that update in my
Table of Contents.
| | 01:43 |
It has not, so I'm going to go to the
Layout menu and choose Update Table of
| | 01:47 |
Contents, and now we see the page numbers
go away.
| | 01:51 |
Thirdly, I need to find all of these
non-anchored graphics and turn them into
| | 01:57 |
anchored graphics.
This is going to be the most
| | 02:02 |
time-consuming step.
I will turn on my guides here.
| | 02:06 |
And while I could just select these
picture frames and drag them to the end
| | 02:10 |
of, and in this case if I were to drag my
marker to the end of the previous line,
| | 02:15 |
around which the text wraps.
I could anchor it that way, instead of
| | 02:21 |
doing it that way, which does tend to be
a bit unpredictable, I am going to do this.
| | 02:27 |
Insert my cursor in the text, make a
paragraph, apply the inline style to
| | 02:32 |
that, and then select this and just hold
down the Shift key.
| | 02:39 |
Drag it into that space and make sure
that in all instances, these have the
| | 02:44 |
in-line graphic object style applied to
them.
| | 02:53 |
So once I have converted all of my
non-anchored graphics into in-line
| | 02:56 |
graphics, I'm now ready to export again
and see how much the document is improved.
| | 03:02 |
Before I do that, let me just point out
that these master page items that we are
| | 03:06 |
currently viewing, a legacy of the print
document have no meaning, whatsoever.
| | 03:12 |
Neither does the actual position of
things, on what is currently on our page.
| | 03:16 |
So, if things are breaking awkwardly
here, that does not necessarily carry
| | 03:20 |
over to the e-pub, where the pagnation is
going to be entirely different.
| | 03:26 |
If I did want to remove those elements
because I found them distracting.
| | 03:30 |
I could come to my Master page and either
delete them or put them onto a separate layer.
| | 03:35 |
I may as well delete them.
So that all that we're seeing are the
| | 03:40 |
blank page.
But those elements, those master page
| | 03:45 |
elements are not included in the e-pub
export anyway.
| | 03:51 |
I'm just removing them just to remove any
visual clutter from my display.
| | 03:56 |
I will now come to the File menu and
choose Export once again.
| | 04:01 |
And this time we can employ the TOC style
since we modified that and I will now go
| | 04:06 |
and look at the image options.
And I would like the resolution of the
| | 04:13 |
images to stay at 150 but I want the
Image Size to be relative to the page.
| | 04:18 |
Working with fixed size images does give
you more control but Relative to Page
| | 04:22 |
gives you more flexibility so that the
size of the image will adjust according
| | 04:27 |
to the size of the page.
For example were this document viewed on
| | 04:32 |
a phone as suppose to a tablet.
I want the alignment to be centred and
| | 04:37 |
the settings to apply to the anchored
objects Image conversion.
| | 04:42 |
I'm going to change that to PNG.
And now I'm ready to export once again.
| | 04:49 |
I will also now put in the publisher
information.
| | 04:53 |
Red 30 Press.
Oh, and couple of other things while
| | 04:56 |
we're here.
I am going to uncheck preserve local
| | 05:00 |
overrides, we removed all of those
anyway.
| | 05:03 |
And, I'm also going to uncheck Include
Embedabble fonts, simply because this
| | 05:07 |
option is not supported on all tablets.
So we are just going to go with the
| | 05:13 |
generic font suggestions that are
suggested by the different e-pub readers.
| | 05:21 |
And now I will click OK.
And we still see the problem that exists,
| | 05:28 |
the front of the book where everything is
running together.
| | 05:30 |
That's a job for the next movie.
But we do now see that we have the
| | 05:34 |
hyperlinks on the contents.
That the contents no longer meaningless
| | 05:39 |
page numbers and that we have our
graphics as in-line graphics throughout.
| | 05:47 |
So, we have a structure here.
By the way the way this is being
| | 05:50 |
previewed in Adobe Digital Editions isn't
unfortunately a very reliable indicator
| | 05:54 |
of how it will look on the iPad.
And it's really only an intermediate
| | 06:00 |
proofing stage.
Ultimately, we want to, and we will, look
| | 06:04 |
at how this is looking on a tablet.
But we see some improvement in the
| | 06:09 |
appearance of our document and we will go
on and make further improvements in the
| | 06:12 |
next movie.
| | 06:14 |
| | Collapse this transcript |
| Using the Object Export options| 00:00 |
We are now going to use, Object Export
options.
| | 00:03 |
Which are right here, as well as some
tricks to make sure that the start of our
| | 00:07 |
document is segmented the way we want it
to.
| | 00:11 |
That we have the title page and the
copyright, and the contents as individual sections.
| | 00:16 |
And as that where we have some special
type treatments, those can be preserved
| | 00:20 |
by exporting them as graphics.
Let's begin here on the first page, and
| | 00:24 |
we've seen that in the last two movies,
when we exported this, it just came out
| | 00:28 |
as a complete mess.
What we are going to do is export this
| | 00:32 |
whole page as a PNG file, re-import it,
and then when we export it, it will
| | 00:36 |
export as a single element.
So, on this, my first page, I will come
| | 00:42 |
to the File menu, choose Export, change
the format to PNG.
| | 00:48 |
I will call this title and the range is,
in this case, lowercase roman numeral one.
| | 00:59 |
The quality is high, the resolution will
be 150, and then I will export that.
| | 01:06 |
Select all of these elements, just move
them over to the paste board for the time being.
| | 01:11 |
And then press Cmd or Ctrl + D and place
that resulting P and G onto my page.
| | 01:15 |
It should be the exact size of my page.
I'm now going to just crop that white
| | 01:21 |
space around it.
So that it is now the width of the type
| | 01:26 |
area as we had defined when working on
the print version.
| | 01:31 |
And that will be my Title page, not my
Cover but my Title page.
| | 01:37 |
Let's just now revisit the Articles panel
and if we look at the Title, we can see
| | 01:41 |
that we have these two elements still on
the Pasteboard which can be Deleted.
| | 01:49 |
This will be selected and then added to
the title article.
| | 01:55 |
Next, I will come to my contents and
color font.
| | 01:59 |
First thing is that the color font is
actually irrelevant here.
| | 02:03 |
Well, it doesn't have the same relevance
as it had in the print version.
| | 02:06 |
So, that is just going to be removed.
Secondly, we've noticed in the last two
| | 02:10 |
movies that this particular piece of
information seems to.
| | 02:14 |
No matter what we do, want to run
together with the information that follows.
| | 02:19 |
The solution I'm going to use here and
admittedly, it is a bit of a hack
| | 02:23 |
solution, but it does work, is I'm going
to add a whole extra page after this.
| | 02:31 |
So, I will right click and choose Insert
Pages.
| | 02:34 |
I want to add one page after page roman
numeral 2.
| | 02:39 |
Like so and then I will link this story
to that page.
| | 02:44 |
And at the bottom of what is currently my
copyright story, I will add a chapter
| | 02:50 |
number paragraph style.
And you can see that that moves it to the
| | 02:56 |
top of that blank page.
Now the fact that we've knocked our pages
| | 03:02 |
out of alignment doesn't matter, because
I know we're looking at this as a two
| | 03:05 |
page spread.
That is just a legacy of the print version.
| | 03:09 |
This is just going to end up as being one
continuous text flow.
| | 03:13 |
That extra page that seems to have crept
in can be deleted.
| | 03:20 |
Next, I would just like to change the
position of this anchored graphic.
| | 03:24 |
I'm going to select that whole paragraph,
cut it, and then paste it one paragraph
| | 03:29 |
lower in the text.
Now, if we move forward through the
| | 03:34 |
document, until we get to this treatment,
which you may remember from earlier on.
| | 03:40 |
Which was quite a difficult thing to
achieve, the mouse's tail.
| | 03:45 |
This is not going to be converted to our
e-pub in any sort of sympathetic way as
| | 03:50 |
text so what we need to do is export this
as a graphic.
| | 03:56 |
With it selected, I am going to come to
my object X-bar options and choose custom rastorization.
| | 04:04 |
Relate to page width, I'll make the file
format a PNG.
| | 04:08 |
The resolution I will leave at 300 and
everything else can stay the same.
| | 04:14 |
We're now ready to export this once
again.
| | 04:16 |
And with each export we get a little bit
closer to our goal.
| | 04:21 |
And I need to change the title.
It's going to go back to being "Alice's
| | 04:27 |
Adventures in Wonderland." We'll
automatically have the e-pub extension
| | 04:31 |
when I change that to e-pub format.
Couple of other things to consider here
| | 04:37 |
that haven't really come up until now:
cover, restorize first page.
| | 04:41 |
For now I'm going to choose none.
We are going to end up using this option,
| | 04:44 |
but since we haven't prepared the cover
for now I'll choose none.
| | 04:49 |
I am going to remove any forced line
breaks.
| | 04:52 |
I think there were only a couple of
instances where I used these throughout
| | 04:56 |
the text.
But where I may have used them and where
| | 04:59 |
they were relevant for the print document
to shape our text.
| | 05:02 |
They're no longer relevant in the e-pub,
so I'd like those to be removed.
| | 05:07 |
The images, we already set that up in the
previous export, those options can stay
| | 05:10 |
the same.
Likewise, the Advanced options.
| | 05:14 |
We are splitting the document based upon
our Paragraph style, Export Tagging.
| | 05:26 |
(BLANK_AUDIO).
So now back in Adobe Digital Editions, we
| | 05:29 |
see that we have the title page, it's
currently looking rather large but this
| | 05:32 |
is just in ADE.
It will look better on the iPad, trust me.
| | 05:37 |
If we move forward here, we do see, thank
goodness, that the content information is
| | 05:43 |
a section by itself, as is the contents.
And we can see from the blue and the
| | 05:49 |
underlining that these are hyper linked.
And then we have each of the chapters as
| | 05:55 |
separate sections.
And I will just move forward until we get
| | 05:59 |
to the mouse's tail.
Which is, right there.
| | 06:07 |
Now this does look rather big.
Just like the title page, but when we see
| | 06:10 |
this on the iPad it will look a whole lot
better, and a lot crisper as well.
| | 06:16 |
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| Creating the cover for the EPUB version| 00:00 |
We now need a cover for our ePub, and we
are going to adapt the cover that we used
| | 00:04 |
to create the print version.
The steps are pretty much the same as I
| | 00:09 |
used to create the cover for the screen
PDF.
| | 00:13 |
I will come first to my page tool, and I
want to resize my page so that we only
| | 00:17 |
see the front portion of the cover.
We don't need the spine and the back cover.
| | 00:24 |
Making sure that I have one of the
right-hand reference points selected, I
| | 00:28 |
will change the width to six inches and
we now have effectively cropped our page.
| | 00:37 |
I can now come to the File menu and
choose Export.
| | 00:42 |
I'll give this a name, and I will save it
as a .png using these settings,
| | 00:50 |
resolution 150, quality high.
Now I can go back to my document in
| | 00:59 |
progress, my ePub in progress, and go to
my export options here.
| | 01:05 |
Change these to ePub, make sure that I am
overwriting my last saved version of the
| | 01:11 |
ePub, and here the only thing I need to
do differently is specify that I want the
| | 01:17 |
cover chosen from a file image, the one
that we just created.
| | 01:25 |
And now when I export with the first page
of the epub is the cover and if I show my
| | 01:31 |
navigation panel we can also see that we
have a navigational table of contents as
| | 01:37 |
well as our hyperlinked table of contents
that we generated in an earlier step.
| | 01:48 |
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| Viewing on an iPad| 00:00 |
Having added my ePub to my iPad using
iTunes, I could now view my ePub in my
| | 00:06 |
iBook's app.
There it is and we see it has the new
| | 00:10 |
band over it's top right hand corner.
If I clicked to open that, we see that
| | 00:15 |
the first page is the cover, and then we
have our title page, our copyright
| | 00:18 |
information on a separate page, our
hyperlinked table of contents, and we can
| | 00:21 |
click on any of those to jump to that
hyperlink.
| | 00:26 |
We can also use the navigational table of
contents.
| | 00:36 |
And we also see that we have inline
graphics.
| | 00:40 |
And let's check out that typographic
treatment.
| | 00:43 |
I promised it would look better on the
iPad than it did in Adobe Digital Editions.
| | 00:48 |
(BLANK_AUDIO) And there it is.
So while this is far from perfect and it
| | 00:55 |
does need some adjustments made to it,
this is a very good start in terms of our
| | 01:00 |
e-pub and we can go on and refine this in
an e-pub editing program like Dreamweaver.
| | 01:07 |
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| Exporting for the Kindle| 00:00 |
In addition to the EPUB, I also want to
export a .MOBI file that can be viewed on
| | 00:04 |
a Kindle.
To do this, I'm going to use two extra
| | 00:08 |
pieces of software both of which are free
downloads.
| | 00:12 |
The first is the Export for Kindle plug
in and the second is the Kindle
| | 00:17 |
Previewer, essentially the equivalent of
Adobe Digital Editions but for MOBI files.
| | 00:25 |
If I come to my browser, this is where
you can download those two extra pieces
| | 00:29 |
of software.
Using this plugin is not the only way to
| | 00:34 |
get a MOBI file, it is perhaps the
easiest way.
| | 00:42 |
This is a beta piece of software, it is
far from perfect.
| | 00:46 |
The resulting exported file will not be a
finished file.
| | 00:50 |
You will need to open it up in
Dreamweaver or an equivalent program and
| | 00:54 |
continue to tweak the file to get it just
how you want it.
| | 00:58 |
But it is a good starting point.
Okay, so I want to use the same table of
| | 01:08 |
contents as I used for the EPUB.
I want to use the same image that I used
| | 01:16 |
for the cover of the EPUB so I'm linking
that.
| | 01:20 |
I am not embedding any fonts.
There's nothing that I need to change in
| | 01:26 |
the contents area, or in the images area.
In the metadata, I have put in the title
| | 01:31 |
of the book, and the name of the author
and the name of the publisher.
| | 01:37 |
The other information if I had it I could
also put in right now, but I'm going to
| | 01:40 |
leave it blank for the moment.
And then I will click on Guided Export.
| | 01:46 |
The first time you generate this type of
file, a .MOBI file, it will open up in
| | 01:50 |
whatever application that file type is
associated with.
| | 01:56 |
That might be Dreamweaver.
In my case that turned out to be Numbers,
| | 01:59 |
an application that comes with the Mac.
You may need to change that and associate
| | 02:04 |
these files with the Kindle Previewer.
In terms of this being a guided export,
| | 02:09 |
these are the options that we get to
change.
| | 02:12 |
The margin values and any settings for
drop caps.
| | 02:16 |
I'm not using any drop caps I'm just
going to move straight through that by
| | 02:19 |
clicking continue.
So that will now open the Kindle
| | 02:25 |
Previewer and I can now choose Open Book,
come to that file, open it, and then just
| | 02:31 |
navigate through it and see what we have.
Let me come back to the beginning.
| | 02:44 |
So there is a our resulting MOBI file and
it opens automatically to the first page
| | 02:49 |
of the first chapter.
If I click on the icon for my
| | 02:53 |
navigational table of contents, we can
see that here.
| | 02:58 |
And I could also scroll all the way back
if we want to see our cover page.
| | 03:03 |
Sob that then is a starting point for
creating a Kindle compatible ebook, or
| | 03:09 |
dot mobi file
| | 03:12 |
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|
|
ConclusionNext steps| 00:00 |
And that's the end of our course on
designing a book.
| | 00:03 |
When it comes to designing a book as with
so many other design projects, it's very
| | 00:07 |
easy to do it badly.
It takes a bit longer to do it well but
| | 00:11 |
it's that attention to detail that will
distinguish your work from the work of others.
| | 00:18 |
I'm Nigel French.
Thanks for watching and be sure to check
| | 00:21 |
out my other courses here at lynda.com.
| | 00:25 |
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