Adobe InDesignWhat is InDesign?| 00:00 | Adobe InDesign is the industry-standard
publishing application for print
| | 00:04 | publications, interactive PDF
documents, digital magazines, and EPUBs.
| | 00:09 | Print designers use InDesign for
creating rich typographic layouts, using
| | 00:13 | InDesign's powerful typesetting tools,
assembling photos and artwork into their
| | 00:17 | designs quickly and easily, creating
styles which allow them to instantly change
| | 00:22 | the look and feel of their document, and
packaging and pre-flighting their files
| | 00:26 | for commercial print in a
quick and organized manner.
| | 00:30 | Interactive designers use InDesign for
creating rich interactive documents with
| | 00:33 | audio, video, and HTML content, adding
slideshows to the digital publications to
| | 00:39 | showcase multiple images, building
interactive PDF forms to collect data from
| | 00:45 | customers, and delivering digital
publications to a wide variety of tablet and
| | 00:49 | mobile devices using DPS.
| | 00:53 | In addition to this, InDesign also
gives publishers the ability to quickly
| | 00:56 | convert their ordinary documents
into digital formats like EPUB and then
| | 01:00 | distribute those EPUB
documents across multiple marketplaces.
| | 01:04 | InDesign works in tandem with
applications like Photoshop and Illustrator
| | 01:08 | to assemble your artwork and photographs
into visually engaging documents like these.
| | 01:13 | No matter if you're a Print, Web or
Interactive Designer, InDesign allows you to
| | 01:18 | create a symbol and output
your documents to suit your needs.
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IntroductionWelcome| 00:00 |
(music playing)
| | 00:04 |
Hi, I'm David Blatner.
Welcome to InDesign, Essential Training.
| | 00:08 |
In this course, I'll show you everything
you need to start building your high
| | 00:11 |
quality InDesign documents.
I'll teach you how to create a new
| | 00:15 |
document and build strong and flexible
master pages which can really speed up
| | 00:19 |
laying out your file.
I'll explain how to bring text and
| | 00:22 |
graphics onto your page, manipulate them
and style them to make effective and
| | 00:27 |
engaging designs.
And I'll discuss how to ready your pages
| | 00:30 |
for final output, whether that's print,
PDF, or even an interactive ebook.
| | 00:35 |
However, InDesign is so rich that every
feature relates to every other feature
| | 00:40 |
and that's why I recommend that you watch
this essential training title once all
| | 00:44 |
the way through and then go back and
watch specific videos when you need a review.
| | 00:49 |
I've been doing page layout for over 20
years and I've been working with InDesign
| | 00:53 |
since version 1.0.
Come on.
| | 00:55 |
Let's have some fun with InDesign.
| | 00:58 |
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| Using the exercise files| 00:00 |
Before we jump in and start learning
about InDesign's features and how to use
| | 00:04 |
them, let me say a quick word about the
exercise files available for you to use.
| | 00:07 |
If you're a premium member of the Online
Training Library, you have access to the
| | 00:12 |
exercise files that I'm going to be using
throughout this training.
| | 00:16 |
The files have been broken down into
chapters.
| | 00:18 |
And if you're following along, it's
important to open the correct file for
| | 00:21 |
each chapter.
Many of these files have the same or
| | 00:25 |
similar name but are in fact
significantly different in order to show
| | 00:28 |
off or discuss particular features in the
program.
| | 00:31 |
To open a document simply double click on
it and it opens an InDesign.
| | 00:36 |
If you see a dialog box like this that
says there are missing links or modified
| | 00:39 |
links, go ahead and click, Don't Update
Links, because those files obviously
| | 00:43 |
aren't necessary for this particular
exercise.
| | 00:46 |
Also, if you see a dialog box that say
you're missing fonts, you can go ahead
| | 00:50 |
and replace them with fonts that you have
one your system.
| | 00:53 |
One more thing about these files, at the
end of each movie, as we've moved things
| | 00:57 |
or change it, you should go to the file
menu and choose revert.
| | 01:02 |
That's what I do.
So you'll see a nice clean file at the
| | 01:04 |
beginning of each movie.
The reason I do this is so that you can
| | 01:07 |
jump right to any movie you want, even if
it's in the middle of a chapter, and you
| | 01:11 |
won't be lost.
Now there is one exception to this.
| | 01:14 |
And that's in Chapter 1, where each movie
actually does build on where we left off
| | 01:19 |
in the previous movie.
On the other hand, if you're a monthly or
| | 01:22 |
an annual subscriber to the online
training library, you won't have access
| | 01:26 |
to these files, but you can still learn
by either just watching what I do, or by
| | 01:30 |
following along using your own text and
image assets.
| | 01:33 |
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| Adjusting the interface: Dark and light| 00:00 |
My copy of InDesign might not look
exactly like yours.
| | 00:03 |
That's okay, don't panic.
It's just because Adobe lets people
| | 00:07 |
customize the user interface in various
ways, that is all the panels, the tools
| | 00:11 |
and so on.
In particular, you can adjust the
| | 00:14 |
lightness or darkness of the screen.
Now, a lot of designers like dark
| | 00:17 |
charcoal gray.
It's soothing to the eye and most
| | 00:20 |
importantly, it doesn't distract your eye
from the important stuff, the graphics
| | 00:25 |
and text on your page.
Other designers are more used to a
| | 00:28 |
lighter interface, partly because that's
the way Adobe software looked for many years.
| | 00:33 |
You can change InDesign's appearance in
the preferences dialogue box.
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To find that on the Mac you go to the
InDesign menu.
| | 00:40 |
In Windows you go to the bottom of the
Edit menu.
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The location of this menu item is
actually one of the only differences
| | 00:46 |
between the Mac and Windows versions of
the program.
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Inside this Preferences sub-menu, choose
Interface.
| | 00:53 |
Now there are a lot of things we can
change in here, but I'm going to focus on
| | 00:56 |
the appearance, and specifically the
color theme.
| | 01:00 |
Right now I have this set to medium dark,
but you can change this pop-up menu to
| | 01:04 |
something else.
You can make it darker if you want, or
| | 01:07 |
make it much lighter.
You can even fine tune the control here
| | 01:11 |
by changing this slider.
The other feature that you'll notice here
| | 01:15 |
is Match Pasteboard to Theme Color, but I
don't usually turn that on and off here,
| | 01:19 |
I use the View menu.
I'll show you, I'll click OK and here in
| | 01:23 |
the View menu you'll see the same
feature, Match Pasteboard to Theme Color.
| | 01:27 |
Right now, that's turned on, which means
the pasteboard, the area around the page,
| | 01:32 |
is kind of a grey color.
If I turn that off, it goes to plain white.
| | 01:37 |
Now, sometimes I have the pasteboard set
to the UI color and sometimes I have it
| | 01:40 |
turned off.
It depends on what I'm doing and what
| | 01:42 |
kind of document I'm working on.
Anyway, the important thing is that if my
| | 01:47 |
screen sometimes looks different than
yours, now you know why and what you can
| | 01:51 |
do about it.
| | 01:51 |
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1. Learn InDesign in Thirty MinutesGetting started| 00:00 |
Our goal in this first section is to get
you acquainted enough with InDesign that
| | 00:04 |
you can create a new InDesign file or
edit one that someone else has made.
| | 00:08 |
This is the basics of the basics.
Step zero.
| | 00:10 |
Just the facts, Ma'am.
If your boss handed you a file and you
| | 00:14 |
need to open it and do something with it
before lunch today, start here.
| | 00:17 |
Okay, let's dive in.
Everyone knows how to create a new file.
| | 00:20 |
You go to the file menu and then choose
new.
| | 00:22 |
But in inDesign it gives you 3 different
options.
| | 00:28 |
In this case we want to choose new
document.
| | 00:31 |
The new document dialog box has a lot of
options and I'm going to cover all of
| | 00:35 |
these in our later chapter.
But for right now, the first thing you
| | 00:37 |
need to think about is does your document
have basing pages.
| | 00:40 |
That is, does it have a left hand and a
right hand page like a book or a magazine.
| | 00:45 |
If it doesn't, then turn off the facing
pages checkbox.
| | 00:49 |
Next you want to choose a page size from
the page size pop up menu.
| | 00:52 |
Or type in a value here.
This is the final size, what's called the
| | 00:56 |
trim size.
Down at the bottom of the panel, we see
| | 01:00 |
the margin.
These just add margin guides.
| | 01:03 |
They're just guidelines, you can ignore
them if you want.
| | 01:06 |
Now, I'll click okay, and In Design
creates a nice, new clean document for me.
| | 01:10 |
Now, you could start with an empty In
Design document like this, if you want.
| | 01:13 |
But, I find it's usually easier to start
with a template.
| | 01:16 |
Something that's partially created.
And then, change the text and graphics as
| | 01:20 |
I work.
Now I have a template to work with in my
| | 01:22 |
exercise folder, so I'm going to switch
to that and open it.
| | 01:27 |
Here it is, brochure intro dot indd, its
inside this exercise files folder, and I
| | 01:32 |
can open it simply by double clicking on
it.
| | 01:35 |
Of course, you could also go to the files
menu and choose open.
| | 01:38 |
There's the file.
I also want to mention that this open
| | 01:44 |
dialog box lets me open quark express and
page maker files.
| | 01:47 |
I'm talking about the old quark express 3
and 4 files, and also page maker 6.5 or 7 files.
| | 01:54 |
If you have one of those files.
Just select it in the open dialogue box
| | 01:57 |
and click open and InDesign will
translate it.
| | 02:00 |
It will convert it into an InDesign file.
Now, if you have a QuarkXPress document
| | 02:04 |
created in a later version, like maybe
QuarkXPress 5, 6, 7, 8, or 9, you could
| | 02:09 |
still open those but you need a plug in
from a company called Markzware.
| | 02:13 |
And the plug in is called Qx2ID.
Markzware also sells another plugin that
| | 02:19 |
lets you to open Microsoft Publisher
files and InDesign.
| | 02:22 |
That's cool.
But, in this case, I'm going to click
| | 02:24 |
cancel because I already have my document
open.
| | 02:27 |
There's the template that I'm going to
use.
| | 02:29 |
In the next few movies, I'll be filling
this out by adding text and graphics.
| | 02:32 |
Now, this template comes with the
exercise files but there are lots of
| | 02:36 |
InDesign templates available in the web,
including dozens of free ones on the site
| | 02:40 |
that I run with Enrique Concepcion,
called InDesign Secrets.
| | 02:44 |
Here on this page, there are dozens of
free templates that you can download and
| | 02:47 |
use, including ones to create books,
brochures, menus, and more.
| | 02:51 |
Just download them, open them in
InDesign, and you're good to go.
| | 02:55 |
Of course, getting your document open is
just the first step on the adventure
| | 02:58 |
called InDesign.
Next, we're going to learn how to get
| | 03:01 |
text in there, and make it look the way
you want.
| | 03:03 |
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| Adding and editing text| 00:00 |
Okay, we have our document open but we
have a problem, it's mostly empty.
| | 00:04 |
Empty document not good.
Let's look at how we can get some text in here.
| | 00:08 |
And then edit it and format it.
The main tool in InDesign for
| | 00:12 |
manipulating text is the Type tool.
That's the one in the tool panel over
| | 00:15 |
here, the one with the T on it.
The Type tool lets me do two things in InDesign.
| | 00:20 |
It lets me create text frames, that is
frames that are going to contain text,
| | 00:24 |
and it also lets me edit the text inside
those frames.
| | 00:27 |
So, first I'm going to take that type
tool and I'm going to drag out a
| | 00:31 |
rectangle on my page.
When I let go of the mouse button, you'll
| | 00:35 |
see that the Type tool created a text
frame, and the text cursor is flashing
| | 00:38 |
inside of here.
So, I can go start typing now if I want.
| | 00:43 |
Now in this case, I don't want to type
all the text that I want to put in this frame.
| | 00:46 |
So, I'm going to delete that by selecting
it and then hitting the Delete key.
| | 00:50 |
Instead, I want to place text from my
hard drive.
| | 00:53 |
And I can place a text file or a Word
file or even an RTF with fully formatted
| | 00:58 |
text inside any text frame.
To do that, I go to the File menu and
| | 01:02 |
choose Place.
Then I choose the file that I want to
| | 01:05 |
import, in this case it's this
brochure_intro.rtf file, and I'll click Open.
| | 01:09 |
When I click Open all of the formatted
text is placed inside the text frame.
| | 01:14 |
Now over here on the right side of my
page I have an empty text frame, so I can
| | 01:18 |
click on that and place text inside of
here by typing in it.
| | 01:21 |
I'd kind of like this text to be in all
caps but instead of typing it over in all
| | 01:29 |
caps I'm just going to select it by
dragging over it and then I'll go up to
| | 01:32 |
the control panel.
The control panel is this panel across
| | 01:35 |
the top of the screen and this lets you
control all of your formatting, both
| | 01:40 |
object and text formatting.
So to make this text all caps, I'm just
| | 01:44 |
going to click on the All Caps button.
When I click on that, the text becomes
| | 01:48 |
all caps, but it's not really all caps.
It just looks that way.
| | 01:51 |
I'll click again, and you'll see it goes
back.
| | 01:54 |
It's all caps formatting.
Let's turn that back on.
| | 01:56 |
Now, let's change the color of a single
word.
| | 01:59 |
I'm going to double-click on the second
word, design, to select it.
| | 02:03 |
Then I'll choose a fill color from the
middle of the control panel.
| | 02:06 |
This popup menu next to the orange T is
the fill popup menu.
| | 02:10 |
When I click on that, up comes this list
of all the color swatches from this document.
| | 02:15 |
I'll talk about color swatches and how to
create new ones in a later chapter.
| | 02:18 |
In this case I'm simply going to click on
this blue swatch and then click down here
| | 02:22 |
and you'll see that the text is now blue.
I'll make one more little text formatting
| | 02:26 |
change here.
I'm going to select some text, maybe this
| | 02:28 |
last sentence at the end of this text
frame down here and I'm going to make it italic.
| | 02:33 |
To do that I'll go back to my control
panel and the second pop up menu on the
| | 02:37 |
left is the Font Style menu.
I could either choose italic from this
| | 02:42 |
menu or I could press Cmd+Shift+I or
Ctrl+Shift+I.
| | 02:46 |
Either of those things make that sentence
italic.
| | 02:49 |
Now, as you can see, there are many other
features in the control panel for
| | 02:52 |
formatting text.
InDesign is a text and typography powerhouse.
| | 02:56 |
And I'm going to be covering lots more
about text in later chapters.
| | 03:00 |
Now, this document is starting to come
together, but you know what Shakespeare
| | 03:02 |
would say about this, words, words,
words, bring on the pictures.
| | 03:06 |
Okay, hold on, Will.
That's where we're headed next.
| | 03:09 |
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| Adding and replacing graphics| 00:00 |
It's easy to get graphics into InDesign
and you may be tempted to copy them out
| | 00:04 |
of one program and paste them in here,
but don't do it.
| | 00:07 |
Resist the urge.
Instead, you want to place them.
| | 00:11 |
That is, go to the File menu and choose
Place.
| | 00:15 |
When you choose Place, InDesign gives you
a list of all the different files that
| | 00:18 |
you can place inside this document.
In this case, I'm going to place this
| | 00:22 |
logo file, this .ai or Adobe Illustrator
file.
| | 00:25 |
And then when I click open, InDesign
loads what's called the place cursor or
| | 00:30 |
the place gun.
This place cursor lets me insert or place
| | 00:33 |
this graphic inside of a frame that I
already have or it will create a frame
| | 00:38 |
for me.
But its very important to pay attention
| | 00:41 |
to the place cursor icon.
Right now, if you look closely in the
| | 00:44 |
upper left corner, I see the place cursor
has little dotted lines, kind of as parenthesis.
| | 00:50 |
That means if I click right now, this
image is going to go into the empty frame
| | 00:53 |
behind the cursor.
If I move the cursor out here it changes.
| | 00:57 |
Now I have a sharp pointer cursor.
That means if I click, it's going to
| | 01:01 |
create a new frame for me.
So, I'm simply going to click.
| | 01:05 |
You see it made a frame, and put the
image into it.
| | 01:07 |
Now, if I want to move that into
position, I make sure that I have my
| | 01:10 |
Black Arrow Selection tool selected in
the Tool panel, and I can simply click
| | 01:14 |
and drag.
Okay, let's go get another graphic.
| | 01:18 |
But before I do, notice that this frame,
this graphic frame, is still selected.
| | 01:23 |
I'll go to the File menu and choose
Place.
| | 01:24 |
This time, I'm going to choose this Roux
Spirals file, and I'll click Open.
| | 01:31 |
What happened to my logo?
Well, you'll see that the image that I
| | 01:33 |
placed actually replaced that logo,
because it put that picture into the
| | 01:37 |
frame that was selected.
That's actually not what I'd intended to do.
| | 01:41 |
I wanted to put those spirals over here,
inside this frame.
| | 01:45 |
But that's okay.
InDesign has a very robust undo.
| | 01:47 |
So, I'm going to go to the Edit menu and
choose Undo.
| | 01:51 |
That not only put's that logo back, but
it loads my spirals onto my place cursor.
| | 01:55 |
So, now I can come over to this frame and
then click.
| | 01:59 |
The graphic goes into that frame.
It's too large for the frame.
| | 02:02 |
But I'll deal with that later.
I'm gong to bring in a couple more graphics.
| | 02:05 |
But this time, I'm going to deselect this
by clicking out here on the pace board.
| | 02:10 |
There's no frames out there so that
deselects everything.
| | 02:13 |
Now, I'll go back to my place dialog box.
I'll do that with a Cmd+D on the Mac or a
| | 02:17 |
Ctrl+D on Windows, and I'm going to grab
this logo again here.
| | 02:20 |
Click Open, and this time, I want the
logo down at the bottom of this page.
| | 02:25 |
Unfortunately, you see that cursor, it
says it's going to go into an empty frame
| | 02:28 |
in the background.
I don't want that.
| | 02:30 |
So, I'm going to trick this by clicking
and dragging.
| | 02:34 |
When I click and drag, InDesign makes a
frame exactly that size and then places
| | 02:38 |
the graphic into it and scales it to fit
that frame.
| | 02:41 |
Okay, let's go ahead and grab the last
image.
| | 02:43 |
I'm going to click out here where there's
nothing so it deselects everything.
| | 02:46 |
Go back to my place dialog box and then
choose this Photoshop file.
| | 02:50 |
I'm going to click Open.
And this time, I'm simply going to click
| | 02:53 |
out here to place that graphic inside my
document.
| | 02:56 |
Again, InDesign made the frame for me and
placed the picture into it.
| | 03:00 |
Now one thing to notice here.
You'll see that end design honors the
| | 03:03 |
transparency from this Photoshop file.
That is where there's a checkerboard
| | 03:07 |
background in Photoshop is transparent
here in InDesign.
| | 03:10 |
So, that means I can see right through
that background area.
| | 03:13 |
But there's something else here that you
don't see immediately.
| | 03:15 |
And that's that InDesign is linking to
the file on disk.
| | 03:19 |
Every time you place an image into
InDesign, it doesn't actually embed the
| | 03:23 |
image into your document, it links to it.
It creates a link between the InDesign
| | 03:27 |
document and the high resolution file on
disk.
| | 03:30 |
You can see that link, by going to the
Links panel.
| | 03:34 |
Over here on the right side of my screen,
you'll see something called the Dock.
| | 03:38 |
That contains a bunch of the panels that
I often use.
| | 03:41 |
In this case, I'm going to click on links
to open my Links panel.
| | 03:44 |
Here in the Links panel, we can see all
the images that I've placed.
| | 03:47 |
Because that Photoshop image is selected
on the page, it's also selected here in
| | 03:51 |
the Links panel.
There's much more to say about pictures
| | 03:54 |
and graphics and links.
And I'm going to cover all of that in
| | 03:56 |
detail in a later chapter.
For now, we finally have a document that
| | 04:00 |
has texts and graphics.
But it's definitely far from finished.
| | 04:03 |
Next, I'm going to show you how to move
these objects around to get just the look
| | 04:07 |
that you want.
| | 04:07 |
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| Moving objects| 00:00 |
We've just been kind of throwing text and
graphics onto this page, and it is a mess.
| | 00:04 |
So, let's go ahead and clean it up!
Head toward a finished product that we
| | 00:08 |
can print.
The main tool that we're going to use to
| | 00:10 |
move objects around our page is the
Selection tool.
| | 00:13 |
That's the first tool at the top of the
Tool panel.
| | 00:16 |
Also called the Black Arrow tool.
We saw this tool briefly in the last
| | 00:19 |
movie, but the Selection tool lets me
move objects around my page and even
| | 00:23 |
resize them and rotate them.
Let's see how to do it.
| | 00:27 |
If I click on this object here, this
logo, I can drag it around my page.
| | 00:32 |
Now you'll notice as I drag it I see all
these green lines flashing on and off.
| | 00:36 |
Those are called Smart Guides.
And Smart Guides are a great way to make
| | 00:40 |
sure that objects are aligned or
distributed on your page properly.
| | 00:43 |
So, I'm going to drag this over until I
see a green line, a green vertical line
| | 00:48 |
that goes between it and the frame
beneath it.
| | 00:51 |
When I let go of the cursor, you'll see
that it's lined up perfectly.
| | 00:54 |
I'll do the same thing with the logo down
here.
| | 00:56 |
I'll select it, and then drag it around
until it aligns through the center of the
| | 01:00 |
object above it.
Now I'm going to move this image of this photographer.
| | 01:05 |
If I click in the image up here around
the edge and drag, you'll see that the
| | 01:08 |
image actually moves.
But that's different than if I click on
| | 01:11 |
this little icon in the middle.
That's called the Content Grabber.
| | 01:14 |
It looks kind of like a bagel or a
Lifesaver candy.
| | 01:17 |
The Content Grabber actually let's me
move the picture inside the frame.
| | 01:21 |
For example, if I click and drag here,
you'll see that the image moves and the
| | 01:25 |
frame doesn't.
That's actually a very important thing
| | 01:28 |
for you to understand about InDesign.
Images and frames are two separate things.
| | 01:32 |
I currently still have the frame
selected.
| | 01:35 |
But, if I double-click on this frame, it
goes inside and selects the image.
| | 01:40 |
You'll notice that the highlight changed,
and also the cursor change to a hand cursor.
| | 01:44 |
And that means now I'm moving the image
around, not the frame.
| | 01:47 |
I can go ahead and move this back to
approximately where I want it.
| | 01:50 |
Just so that I can see the picture here,
and now I'm going to double-click again.
| | 01:55 |
Now the frame is selected again.
The frame that contains the image.
| | 01:59 |
Actually a little bit is still cropped
out, so I'm going to resize this frame,
| | 02:03 |
simply by dragging the side handle a
little bit to the left.
| | 02:07 |
As you can see the selection tool also
lets me change the size of frames.
| | 02:11 |
So I could select this text frame, move
it around and then also resize it by
| | 02:15 |
dragging one of its side or corner
handles.
| | 02:20 |
Of course by doing that some of the text
ended up going behind the image, and
| | 02:23 |
that's not so good.
I really wish that the text could see
| | 02:26 |
where the edge of the image is and wrap
around it.
| | 02:29 |
And I can.
To do that, I'm going to select the
| | 02:32 |
graphic, not the text frame, but the
graphic frame.
| | 02:35 |
And then I'm going to go up to the Window
menu and choose Text Wrap.
| | 02:38 |
All of InDesign's panels live up there in
the Window menu.
| | 02:42 |
And in this case, the Text Wrap panel
let's me adjust the Text Wrap or
| | 02:45 |
run-around around this graphic.
This panel has lots of options that I'm
| | 02:49 |
going to be covering in a later chapter.
But for right now, I'm just going to go
| | 02:53 |
through this quickly, just the basics,
remember.
| | 02:55 |
I'm going to click on this third button
at the top of the Text Wrap panel.
| | 02:59 |
Then I'm going to come down to the
Contour Objects Type pop-up menu and I'm
| | 03:02 |
going to choose Detect Edges.
That tells InDesign to draw a line, a
| | 03:07 |
text wrap line around the image itself.
You can see it if you look closely.
| | 03:11 |
A very thin blue line.
Right now, it's a bit too close to the image.
| | 03:15 |
So I need to increase the amount to say
nine points.
| | 03:18 |
And I'll do that over here in this field.
I'll just change this to nine pt.
| | 03:23 |
When I'm done, I hit Return or Enter.
And you'll see that it moved that text
| | 03:27 |
wrapped line away from the image.
That might be a little bit too much,
| | 03:30 |
let's bring this down to maybe four
points.
| | 03:34 |
Okay, there are two other problems that I
see on this page.
| | 03:36 |
One, is that this graphic does not fit
inside this frame.
| | 03:40 |
But, I could make it fit by selecting it.
And, why don't I close the Text Wrap panel.
| | 03:44 |
I'll just click on this little x next to
it.
| | 03:46 |
There we go.
I'm going to select that frame.
| | 03:48 |
And now, I'm going to go up to the
control panel, and I'm going to choose
| | 03:51 |
this button here.
The Fit Content Proportionally button.
| | 03:55 |
When I click that button, the entire
graphic gets resized so that it fits
| | 03:59 |
inside the frame.
The last problem that I see is down here.
| | 04:03 |
This guy's shoulder is obscuring the text
behind it.
| | 04:07 |
Now, in this case, I'm not going to make
a text wrap, I'm just going to move the
| | 04:10 |
stacking order, that is, what is on top
of what.
| | 04:14 |
With the Black Arrow Selection tool, I'll
select this frame, this text frame and
| | 04:17 |
also Shift+click on the text frame down
here, that selects both of them.
| | 04:22 |
I want to move them up above the image of
the photographer, so I'll go the Object
| | 04:26 |
menu and look inside the Arrange
sub-menu, here I'll choose Bring to Front.
| | 04:33 |
Bring to front means stack these frames
on top of everything else on the page.
| | 04:37 |
Okay, this is finally really coming
together.
| | 04:39 |
And, there's so much more that I'll be
talking about in later chapters.
| | 04:42 |
About grouping and distributing objects,
organizing them onto layers, and making starbursts.
| | 04:48 |
Anchoring them into text.
We're going to have great fun.
| | 04:50 |
But before we jump into all of that,
there are two more things we need to do
| | 04:54 |
to this document, print it and export it
as a PDF.
| | 04:58 |
| | Collapse this transcript |
| Printing and creating a PDF| 00:00 |
An InDesign document by itself is fun to
look at, but it's not very practical out
| | 00:04 |
in the real world.
No.
| | 00:05 |
Instead you're going to want to print
this puppy, or export it out as a PDF so
| | 00:09 |
that other people can view it or print
it.
| | 00:11 |
No problem.
But before we go there, I've made a bunch
| | 00:14 |
of changes to this document, so let's go
ahead and save it.
| | 00:17 |
I'll go to the File menu and choose Save
As.
| | 00:19 |
Then I tell InDesign where I want to save
it and I give it a name.
| | 00:24 |
Before I click Save, I want to point out
that the format pop up menu lets me save
| | 00:28 |
this as a document, a template, or
something mysterious called an IDML file.
| | 00:33 |
IDML is how you can save your file back
to earlier versions of InDesign, but in
| | 00:38 |
this case, we're just going to save it as
a regular InDesign document.
| | 00:43 |
Now, everyone knows that to print, you go
to the File menu and you choose Print.
| | 00:48 |
But there are a couple of gotcha's here
in this dialog box that you should be
| | 00:51 |
aware of.
This dialogue box looks different than
| | 00:54 |
the print dialog box in most other
programs, but most of it is pretty self-explanatory.
| | 00:58 |
You choose the number of copies you want,
which pages that you want to print and so on.
| | 01:03 |
Notice that we have the list of different
panes down the left side here.
| | 01:07 |
I'm going to choose the setup pane, and
it's crucial that I choose the right
| | 01:11 |
paper size for the printer that I'm
printing to.
| | 01:14 |
In this case its going to be printing to
U.S letter.
| | 01:17 |
I also need to set the orientation.
Right now it's set to landscape, but if I
| | 01:21 |
set this to portrait, down here in the
left corner in the preview area, you'd
| | 01:24 |
see that the document page is not
matching the paper size.
| | 01:28 |
So I'll go back to landscape, sideways.
That seems to fit the page best.
| | 01:34 |
Now there are some features that you may
be used to that you won't be able to find
| | 01:37 |
in this print dialog box.
For example, if you had a double-sided
| | 01:40 |
printer, a duplex printer, you won't be
able to find those printer-specific
| | 01:44 |
features inside this dialog box.
Instead, you need to go to the Printer
| | 01:48 |
Driver dialog box, and you get there by
clicking Printer down at the bottom of
| | 01:53 |
the dialog box.
InDesign warns you that many of the
| | 01:56 |
features in the Printer Driver dialog box
are being overwritten by the ones in
| | 02:00 |
InDesign's own dialog box, but that's
okay.
| | 02:03 |
I'll click OK, and up comes the dialog
box.
| | 02:07 |
Again, this is the Printer Driver dialog
box.
| | 02:09 |
So I could turn on two-sided here, and
then click Print.
| | 02:15 |
That returns me to InDesign's Print
dialog box, and now I could choose Print.
| | 02:19 |
Now in this case, I'm just going to
cancel that, because I don't really want
| | 02:22 |
to print this.
Instead, I want to make a PDF.
| | 02:25 |
Now, back in the 20th century, the old
days, the way people usually made PDFs is
| | 02:30 |
by printing postscript to disk and then
using Acrobat Distiller to turn those
| | 02:34 |
postscript files into PDFs.
Now you don't want to do that.
| | 02:38 |
Instead, InDesign lets you export PDFs
directly, right out of the program.
| | 02:43 |
To do that, you go to the File menu, and
choose Export.
| | 02:49 |
Then you can name it, and choose a
format.
| | 02:52 |
You'll notice there are two different
PDFs to choose from.
| | 02:55 |
Now if your document contains buttons and
movies and other interactive objects that
| | 02:59 |
we'll talk about in a later chapter then
you'll choose Interactive.
| | 03:03 |
But in most cases, the vast majority of
cases, you're going to choose Adobe PDF Print.
| | 03:08 |
I'll click Save, and up comes the Export
PDF dialog box.
| | 03:12 |
Here the first thing you should probably
do, is choose one of the Adobe PDF presets.
| | 03:16 |
If you're sending this to a commercial
printer for example, you'd probably
| | 03:19 |
choose PDFX1A or PDFX3.
But check with your printer to find out
| | 03:24 |
what they want.
If instead, you're going to be putting
| | 03:27 |
this PDF on your website for somebody to
download and view, you'll probably start
| | 03:31 |
with something like High Quality Print,
and then make a few changes.
| | 03:35 |
Let's do that.
I almost always change the compatibility
| | 03:37 |
to Acrobat 6 or later and I turn on the
View PDF after Exporting check box,
| | 03:42 |
because I like seeing the PDF after I
export it.
| | 03:45 |
Now I'm going to head over the
compression pane and change the
| | 03:48 |
resolution for all my color and grayscale
images.
| | 03:51 |
I like setting these to 150, and I'm just
tabbing from one field to the next.
| | 03:58 |
I do that because I really don't need
high resolution images for this PDF.
| | 04:01 |
I'm just putting it on my website.
I'm also going to change the image
| | 04:04 |
quality down to Medium.
Again, if this were for print, I'd never
| | 04:08 |
do that.
I'd want high, maximum quality.
| | 04:10 |
But for a PDF going on the web, this is
fine.
| | 04:13 |
I care more about keeping my PDF small.
In a later chapter, I go into far more
| | 04:17 |
detail about the options in this dialog
box, but for now I'm just going to click
| | 04:21 |
the Export button and have it export to a
PDF.
| | 04:24 |
InDesign exports it, and then opens it in
Acrobat.
| | 04:26 |
There we go, this looks great.
So, that's it for our first lesson.
| | 04:32 |
I hope you've enjoyed this very fast
overview.
| | 04:34 |
By now, you know the basics enough to at
least make a simple document, maybe get
| | 04:38 |
yourself into a little trouble.
Now that we've scratched the surface
| | 04:41 |
though, it's time to really go ahead and
learn InDesign.
| | 04:45 |
| | Collapse this transcript |
|
|
2. Understanding Your WorkspaceExploring the application window| 00:00 |
You can't play football or baseball if
you don't know your way around the field,
| | 00:04 |
and you can't be efficient in in desing
until you're comfortable with the
| | 00:07 |
application window because whether you
create a new document or open an already
| | 00:11 |
created one you'll see the same things.
The first thing you see in InDesign when
| | 00:15 |
you launch it Its this big upside down U
shaped set of controls.
| | 00:19 |
And there's no documents open yet, so I'm
going to make one quickly.
| | 00:23 |
I'll go to the File menu, choose the New
sub menu, and then choose document.
| | 00:28 |
Up comes the New document dialog box, and
I'm just going to go with the default
| | 00:32 |
settings here.
I'll click OK.
| | 00:35 |
Now we can see a fresh, new InDesign
document right in the middle of the screen.
| | 00:39 |
Now on Windows, InDesign lives inside
what's called the application frame.
| | 00:44 |
On the Mac, we don't have a frame by
default, so we can actually see behind InDesign.
| | 00:49 |
For example, down here in the lower right
corner we can see the blue desktop.
| | 00:53 |
Or is there's other applications running,
we could see those apps back there.
| | 00:57 |
To me, that's really distracting, so I
like to turn on the application frame and
| | 01:02 |
on the Mac you can do that by going to
the Window menu, and choosing Application Frame.
| | 01:07 |
This puts InDesign into an application
frame which can take up a portion of the
| | 01:12 |
window or the entire window.
Here it's taking up the whole screen.
| | 01:15 |
But I could make it smaller, by going to
the lower right corner and dragging.
| | 01:21 |
I typically want it to fill the whole
window, so I'm going to go up to the
| | 01:24 |
green maximize button, and click it, and
now it fills the window again.
| | 01:28 |
Again, you don't need to turn on the
application frame on Windows, because the
| | 01:32 |
application frame is always on there.
Now let's take a look at what we're
| | 01:36 |
seeing here.
At the top of the screen of course
| | 01:38 |
there's all the menus that we're going to
be working with.
| | 01:41 |
The File menu, the Edit menu, Layout, and
so on.
| | 01:44 |
These control many of the features that
we'll be using throughout the title to
| | 01:48 |
talk about how to create InDesign
documents.
| | 01:50 |
Now just below that, we see what's called
the Application bar.
| | 01:55 |
The Application bar gives us a few
features that let us control how we're
| | 01:58 |
seeing our document.
For example, here in this pop up menu,
| | 02:02 |
you can control whether the rulers should
be turned on or off, or the guides, and
| | 02:06 |
so on.
I'll turn them off.
| | 02:09 |
And then I'll turn them on again.
I'll be talking about all of that later
| | 02:12 |
in this chapter Next down in the strain
we see the control panel and the control
| | 02:17 |
panel is probably the most important
panel in design.It lets you not only
| | 02:22 |
control the design of the page it let's
you control the formatting.
| | 02:27 |
It let's you control the filed and scope
of your objects, it lets you control the
| | 02:31 |
formatting and so on.
The control panel is extremely important
| | 02:35 |
and that's why they put it right here at
the top of this screen.
| | 02:38 |
However, if you don't want it at the top
of your screen, you could actually move
| | 02:42 |
it some place else.
You can do that by dragging this little
| | 02:45 |
gray bar on the left edge.
As I drag it out, you see it becomes a
| | 02:49 |
floating panel.
I could even drag this down to he button
| | 02:52 |
of my screen until I see a little blue
bar area show up, and when I do, that
| | 02:57 |
docks it to the bottom of the screen.
Some people like it down there more
| | 03:01 |
because they find it more efficient to
look down than up, but in this case I
| | 03:05 |
want to move it to the top of the screen
because that's the way it will be on most
| | 03:08 |
of your machines.
So I'm going to drag it back to the top
| | 03:11 |
by dragging this little gray bar, and
I'll drag it up until I see that blue bar
| | 03:15 |
show up again.
Then I'll let go and it docks up there.
| | 03:20 |
Okay, so right now I have a brand new
document open, and it's called Untitled One.
| | 03:25 |
I can tell that by looking up here at the
tab.
| | 03:27 |
It say Untitled One.
This tab area shows all the documents I
| | 03:32 |
have open right now.
For example, if I go to the file menu and
| | 03:35 |
choose new document once again, I'll
click okay, and now I have two documents
| | 03:41 |
open, untitled one and untitled two.
I can see that because I have two
| | 03:45 |
different tabs.
Of course, in this case, both documents
| | 03:48 |
are completely empty, so they look the
same, but believe me, there really are
| | 03:51 |
two different documents open right now.
Now the document page itself is centered
| | 03:56 |
in the window and the edge of the page is
this black line.
| | 04:00 |
That's the edge of the page that's going
to get printed, or if it's an on screen
| | 04:04 |
interactive document, that's going to the
edge of the screen.
| | 04:08 |
Inside the page there are these guides,
these pink and purple guidelines.
| | 04:11 |
They're just guidelines, they won't print
out.
| | 04:14 |
The pink one or magenta one, is the
margin guide.
| | 04:17 |
Thats where the edge of the margin is
inside the page.
| | 04:20 |
The purple one are column guides.
In this case, there's only one column on
| | 04:25 |
the page so it takes up the entire width
from one margin to the next.
| | 04:28 |
On the outside of the page, is an area
called the pasteboard.
| | 04:32 |
Now the pasteboard is very useful for
storing objects that you're not sure if
| | 04:36 |
you're going to use.
For example, you might have an image that
| | 04:38 |
you may want to use, you may not.
It's no problem.
| | 04:41 |
Just put it up there on the pasteboard
for a little while and then you can move
| | 04:44 |
it on to the page if you need to.
Objects on the paste board will not print
| | 04:48 |
or export to PDF or anything like that,
they're just for storage.
| | 04:52 |
Now as you're constructing your document
in InDesign, you're going to need tools
| | 04:56 |
and all the tools live over here in the
tool panel along the left side of the screen.
| | 05:01 |
There's a selection tool, a page tool, a
type tool and so on and I'm going to be
| | 05:06 |
covering all of those tools in later
movies.
| | 05:09 |
The counterpart to the Tools are Panels.
Panels give you a lot of control over how
| | 05:14 |
objects look or how they behave on the
page.
| | 05:16 |
And the panels typically live over here
on the right-side of the screen in what's
| | 05:20 |
called the Dock.
For example, here we have the Pages
| | 05:24 |
panel, the Layers panel, and so on.
I'm simply clicking on the name, and up
| | 05:28 |
pops the panel.
To close the panel you just click on the
| | 05:30 |
name again.
You can find even more panels over here
| | 05:34 |
in the window menu.
The window menu shows all the panels in InDesign.
| | 05:38 |
And the last thing I want to point out
here is the help menu and you might be
| | 05:42 |
tempted just to skip over this or ignore
it, but there's a few items in here which
| | 05:46 |
you should definitely know about.
For example, it's really worth choosing
| | 05:49 |
updates every so often.
Maybe once a month.
| | 05:52 |
Make sure your copy of InDesign is up to
date, because Adobe keeps releasing mini upgrades.
| | 05:57 |
They fix bugs, they make things work more
smoothly, more quickly, and so on.
| | 06:02 |
You definitely want to make sure you have
the newest free update for your copy of InDesign.
| | 06:06 |
Now that you know your way around the
document page, the document window and
| | 06:10 |
the panels and so on.
It's time to learn about navigation;
| | 06:13 |
zooming in, zooming out, changing pages,
panning around your document and so on.
| | 06:18 |
| | Collapse this transcript |
| Navigating and magnifying pages and objects| 00:00 |
You won't get very far in In-design just
by staring at the first page of a document.
| | 00:04 |
You need to learn how to navigate the
high seas.
| | 00:07 |
Zooming, panning around, jumping from
page to page.
| | 00:10 |
So, let's start with moving around a page
and from one page to the next.
| | 00:14 |
To do that I'm going to need a document
open.
| | 00:16 |
So, I'll go to the file menu, choose
open, and then choose a document from my
| | 00:20 |
exercise files folder.
When I click the open button, up comes
| | 00:26 |
the first page of the document.
Now everybody knows about the scroll bars
| | 00:30 |
on the right side of the window and at
the bottom of the window and you can use
| | 00:33 |
those for scrolling around your document
from spread to spread and so on.
| | 00:36 |
But I find it's usually easier to use the
hand tool.
| | 00:40 |
Some people call it the grabber hand.
You can find that down here at the bottom
| | 00:44 |
of the tool panel.
It's the one that looks like a little hand.
| | 00:47 |
But honestly, almost nobody really
chooses that tool.
| | 00:51 |
Instead, you should use the temporary
hand tool, which you can get by holding
| | 00:55 |
down Option +spacebar on the Mac or Alt +
spacebar on Windows.
| | 00:59 |
When you hold down Alt + space bar, or
Option + space bar, you can actually
| | 01:03 |
click and drag as you move around.
And you actually move the whole page or spread.
| | 01:09 |
The Hand tool is a great and very
efficient way of panning around your document.
| | 01:13 |
However, if you're trying to jump to a
particular page or spread, especially in
| | 01:17 |
a long document, you don't want to have
to use the scroll bars or the grabber hand.
| | 01:22 |
Instead you want the Pages Panel.
So I'm going to go over here to the Pages
| | 01:26 |
Panel in the doc, very top of the doc
here.
| | 01:28 |
And I'll click on pages and up it comes.
And you can see that all the pages live
| | 01:33 |
here in one long line.
In fact I'm going to make this Pages
| | 01:36 |
Panel a little bit larger, by clicking
and dragging in the lower right corner.
| | 01:40 |
That way I can extend it down and I can
see that I have six pages in three
| | 01:45 |
spreads in this document.
And if I want to go directly to the page
| | 01:48 |
24, 25 spread, down here at the bottom,
all I have to do is double click on the numbers.
| | 01:54 |
And it takes me right to that spread.
And it centers it in the window.
| | 01:58 |
If I want to go just to page 23, I just
double click on that one page.
| | 02:03 |
And it takes me to that page and centers
the page in the window.
| | 02:06 |
So the pages panel is a great way to move
from page to page or spread to spread.
| | 02:11 |
We can also navigate from page to page
using the layout menu.
| | 02:14 |
The layout menu gives us a number of
controls.
| | 02:16 |
For example I can go to the first page,
the previous page, the next page and so on.
| | 02:22 |
But if you find yourself using the layout
menu more than two or three times, tell
| | 02:26 |
yourself, remember these keyboard
shortcuts.
| | 02:29 |
You don't want to have to go to the menu
over and over again.
| | 02:31 |
The keyboard shortcuts really help.
For example, if you want to go to the
| | 02:35 |
first page in the document, you press
command, shift, page up.
| | 02:39 |
That's what those little squiggles mean.
That's a shift, that's a command, and
| | 02:43 |
that's a page up.
On Windows, you press control, shift,
| | 02:46 |
page up.
If you want to go to a specific page in
| | 02:49 |
your document, you can choose go to page
or press Cmd + J or Ctrl + J on Windows.
| | 02:55 |
You absolutely owe it to yourself to
remember some of these keyboard shortcuts.
| | 02:59 |
You don't have to get all of them.
But remember some of them, the ones that
| | 03:02 |
you're going to use most often.
Here, I'm going to choose go to page and
| | 03:06 |
then I'm going to press 24, and press OK.
And it takes me right to that page.
| | 03:11 |
So now that we know how to move from page
to page to page, we need to know how to
| | 03:15 |
move in and out of the page, how to
magnify the page so that we can see
| | 03:19 |
what's on it better.
InDesign has about ten different ways of
| | 03:22 |
zooming in and out.
So let me show you a few of them, the
| | 03:24 |
ones that you are probably going to use
most often.
| | 03:27 |
Up here in the application bar, there's a
zoom level popup menu and we can choose a
| | 03:31 |
specific percentage for zooming in or
out.
| | 03:34 |
Right now, we're at about 75%, but if we
wanted to zoom in, we might choose 150%.
| | 03:41 |
If we wanted to move out, we might choose
something smaller, like 50%.
| | 03:45 |
So you can move in and out with that
popup menu.
| | 03:48 |
This popup menu is actually whats called
a combo box because you can choose from a
| | 03:52 |
popup menu or you can click inside the
field and type an exact percentage that
| | 03:57 |
you want.
Say a 145%.
| | 04:00 |
Now when I press enter it goes right to
that percentage.
| | 04:04 |
Okay.
Another way to move in or out is to hold
| | 04:06 |
down the Cmd key on the mac or Ctrl key
on windows and press the - or + buttons
| | 04:11 |
on your keyboard.
That lets you zoom in or out of your page
| | 04:15 |
but if you want to know what I use most
often its just a few keyboard shortcuts.
| | 04:19 |
For example Cmd+Option+zero or
Ctrl+Alt+zero on Windows centers the spread.
| | 04:25 |
Both the left and right page spread
inside the window.
| | 04:28 |
Cmd + 0 or Ctrl + 0 on Windows does the
same thing, but just one page, not the
| | 04:33 |
spread but the page, centers that page in
the window.
| | 04:36 |
Command one or control one goes all the
way to 100%.
| | 04:41 |
Command two or control two goes into 200%
and command four or control four jumps
| | 04:46 |
all the way to 400%.
I find that those keyboard shortcuts are
| | 04:51 |
very useful for moving in and out of a
document in the percentages that I use
| | 04:55 |
most often.
So now that I'm zoomed in to 400% here, I
| | 04:58 |
can see the text really well.
But what if I want to quickly move over
| | 05:02 |
to a different part of the page?
Well, InDesign has a feature called Power
| | 05:06 |
Zoom, and you can get to Power Zoom by
first jumping to the Grabber hand.
| | 05:10 |
You remember the keyboard shortcut for
that?
| | 05:12 |
It's Option-Spacebar on the Mac Or
Alt+Spacebar on Windows.
| | 05:15 |
That gives you that grabber hand
temporarily.
| | 05:17 |
And then, instead of clicking and
dragging, I'm going to click and hold the
| | 05:22 |
mouse button down.
When you click and don't move the cursor,
| | 05:25 |
suddenly you'll zoom all the way out to
see almost the whole spread.
| | 05:29 |
And you'll also see this red rectangle
showing where we were looking.
| | 05:33 |
I can now drag that rectangle to a
different part of my spread and let go of
| | 05:37 |
the mouse button and it'll zoom in there.
So, power zoom is a great way to stay
| | 05:42 |
zoomed in, but also move around your
spread.
| | 05:45 |
Now, for the last zooming trick I'm going
to show you, I'm going to zoom out to fit
| | 05:48 |
the whole spread in the window by
pressing Cmd+Option+0 or Control+Alt+0 on windows.
| | 05:53 |
I want to zoom in on a very specific
place on my page.
| | 05:56 |
Just this caption down here in the lower
right corner.
| | 05:59 |
To do that, I want to get the zoom tool
temporarily.
| | 06:02 |
Now, I say temporarily, because I really
don't want to have to go all the way over
| | 06:05 |
to the tool panel and click on the zoom
tool.
| | 06:07 |
That's that little magnifying glass thing
down there.
| | 06:10 |
I don't want to have to do that.
Instead I'm going to hold down the Cmd
| | 06:13 |
+Spacebar keys on Mac or Ctrl+Spacebar on
Windows.
| | 06:17 |
Now on the Mac when I do that I hold down
Cmd + Spacebar I get something really
| | 06:22 |
unfortunate happening.
I get that little spotlight search field
| | 06:25 |
in the upper right corner.
And that drives me crazy.
| | 06:28 |
Personally, I don't want Spotlight, I
want Cmd+space bar to be the Zoom tool.
| | 06:33 |
So for those of you who are on the Mac,
let me show you a little trick.
| | 06:37 |
First, I'm going to go to the Apple menu
and I'm going to choose System Preferences.
| | 06:41 |
Then I'm going to click on the Keyboard
System Preference.
| | 06:43 |
And then I'm going to look at the
Spotlight pane inside the Keyboard
| | 06:47 |
Shortcuts tab.
Now all I have to do is turn off these
| | 06:50 |
two check boxes.
With those off, when I go back to
| | 06:53 |
InDesign, I can use the keyboard shortcut
and it'll work the way I want it to,
| | 06:57 |
which is command the space bar gives me
the zoom tool temporarily.
| | 07:02 |
To use it, all I have to do is click and
drag over the area that I want to zoom into.
| | 07:06 |
And when I let go of the mouse button, it
zooms right in on that caption.
| | 07:10 |
Now I know this is a lot of different
features that I'm throwing at you
| | 07:13 |
quickly, but it's really worth going over
these navigation features a number of times.
| | 07:18 |
Really get them down, because these are
the features that you're going to be
| | 07:21 |
using 100 or even 1,000 times each day.
| | 07:24 |
| | Collapse this transcript |
| Setting rulers and measurements| 00:00 |
As scientists like to say, if you can
measure it, it must be there.
| | 00:04 |
But how do we measure things in InDesign?
Well measurements show up in a number of
| | 00:08 |
locations in InDesign, including the
control panel, and the rulers.
| | 00:12 |
But what if those measurements show
inches, and you work in millimeters?
| | 00:15 |
Or in this case this document is set up
to points, and I want to work in centimeters.
| | 00:21 |
How do we change it?
No problem.
| | 00:23 |
The trick is to right-click on one of the
rulers or control-click with a one button mouse.
| | 00:29 |
If I right-click on this ruler it gives
me a context menu and that shows me a
| | 00:33 |
number of different options.
For example I could choose inches here
| | 00:37 |
but that only chooses that one ruler, the
horizontal ruler.
| | 00:41 |
I want to change both rulers, the
horizontal and the vertical rulers.
| | 00:44 |
So to do that, I'm going to right-click
on the little square in the upper left
| | 00:48 |
corner where the two rulers intersect.
I'll right-click or control-click with a
| | 00:52 |
one button mouse, and choose centimeters.
Now whenever I select an object on my
| | 00:58 |
page, like clicking on this image with a
selection tool, I can see that all the
| | 01:02 |
measurements in the control panel are
listed in centimeters, not points.
| | 01:07 |
So this is great, but unfortunately it
only applies to this one document.
| | 01:12 |
What if I want to change all the new
documents I create from now on?
| | 01:15 |
Well here's the trick, first close all of
your documents, I'll close this document
| | 01:21 |
by clicking on the little X in the tab.
I'm not going to save that change right now.
| | 01:27 |
Now, when no documents are open, you can
change some preferences.
| | 01:31 |
But, I can't right-click on a ruler,
because there's no rulers to be found.
| | 01:35 |
So instead, I need to go to the
Preferences dialogue box.
| | 01:37 |
And, I can get there on the Mac by going
to the InDesign menu and choosing Preferences.
| | 01:42 |
Or on Windows, it's at the bottom of the
Edit menu.
| | 01:46 |
Or you can do what I do, and just press
Cmd+K on the Mac, or Ctrl+K on Windows.
| | 01:51 |
Up comes the Preferences dialog box, and
you'll want to choose the Units and
| | 01:55 |
Increments pane, over here in the list on
the left.
| | 01:57 |
InDesign lets you change dozens of
different preferences, and we'll be
| | 02:00 |
talking about a few or more of those in
later chapters, but for right now, I'm
| | 02:04 |
just going to focus on the Rulers and
Increments pane.
| | 02:07 |
I'm going to change the horizontal and
vertical ruler units to centimeters.
| | 02:14 |
And then I'm going to click OK.
Now it does't look like anything's
| | 02:17 |
changed, but the next time I create a
document it's automatically set to centimeters.
| | 02:22 |
I'll go to the File menu, choose New
Document.
| | 02:26 |
And you can see that in here, inside this
dialog box, everything is set to centimeters.
| | 02:30 |
I'll click OK and I'll see that even the
rulers are now in centimeters.
| | 02:35 |
Now again this does not change all
documents, any document that you've
| | 02:38 |
already created, but it does change every
document you create from now on.
| | 02:43 |
Setting up InDesign to use the
measurements that you're comfortable with
| | 02:46 |
is not just a little way to make it
nicer.
| | 02:49 |
It's fundamentally a way to become more
efficient with the program, and getting
| | 02:53 |
efficient with your tools is what it's
all about.
| | 02:56 |
| | Collapse this transcript |
| Working with panels| 00:00 |
Most of InDesign's features live in its
panels, and there are a lot of panels in
| | 00:04 |
this program.
For example, here's the Pages panel over
| | 00:07 |
here in the Dock.
There's the Layers panel.
| | 00:10 |
There's the Links panel.
Since you're going to be looking at these
| | 00:13 |
panels a lot, you should know how to
manage them efficiently.
| | 00:16 |
By the way, many people still call these
pallets, so if you hear someone say
| | 00:20 |
pallet, maybe I'll say pallet.
Sometimes it just sneaks out.
| | 00:24 |
Just smile and know that panels and
pallets are the same thing.
| | 00:27 |
Okay, when you first open InDesign, you
see a list of panels along the right side
| | 00:32 |
of the screen.
These panels all live in something called
| | 00:35 |
the dock.
If I go to the Window menu, I see a list
| | 00:38 |
of all my other panels.
For example, maybe I want to use the Text
| | 00:42 |
Wrap panel.
So, I'll choose that from this menu.
| | 00:45 |
Here we can see that the Text Wrap panel
is now floating on my screen.
| | 00:49 |
I can move panels anywhere I want when
they're floating, just by dragging the
| | 00:52 |
grey bar at the top, or their tab.
I can move it to the left over to the
| | 00:57 |
right, I can even put it into the dock by
dragging the panel over the dock until I
| | 01:02 |
see a blue line.
That little blue line means it's going to
| | 01:06 |
go right here.
If I drag a little bit higher before I
| | 01:10 |
let go, I can see that I can put it
inside this panel group or a little higher.
| | 01:14 |
I can put it between these two groups
because the blue line is in between those
| | 01:18 |
panels in the dock.
So when I let go the Mouse button, I can
| | 01:22 |
see that the Text Wrap panel is docked
right where I wanted it.
| | 01:25 |
If you ever find yourself using a
particular panel often, you should
| | 01:29 |
definitely put it over there on the dock.
So, it's just easier to get to.
| | 01:32 |
And by the way, each panel has its own
set of features in it.
| | 01:36 |
And I also want to point out that almost
all the panels have a menu.
| | 01:40 |
The Panel menu is here in the upper right
corner of the panel.
| | 01:44 |
When you click on that Panel menu, you
get a list of features that a lot of new
| | 01:47 |
InDesign users don't notice at first.
There's the menu for the Links panel.
| | 01:52 |
If I click over on the Text Track panel,
I get a very different menu.
| | 01:57 |
This Text Wrap panel is currently docked
but is also open so that I can use the
| | 02:00 |
features in it.
To close it again, all I have to do is
| | 02:03 |
click on the panel's name either in the
dock or in this tab at the top of the panel.
| | 02:09 |
Here are a couple of other things about
panels that you should know about.
| | 02:11 |
First of all, there's a double headed
arrow at the top of the dock.
| | 02:15 |
And when you click on that, it opens all
of the panels.
| | 02:18 |
Some people just like that kind of thing.
For example, I'll click on this color
| | 02:22 |
tab, and you can see the Color panel
shows up, ready for me to use.
| | 02:26 |
On the other hand, I find this to be kind
of a waste of space on screen, so I'm
| | 02:30 |
going to click that double-headed arrow
again to put it back into this mode where
| | 02:34 |
I see just the names.
In fact, I don't even need to see the
| | 02:37 |
names because after you've been using
InDesign for more than two weeks, you're
| | 02:41 |
going to know what all these icons are.
You know, that's the Text Drop icon,
| | 02:45 |
there's the Color Swatches icon and so
on.
| | 02:47 |
So, I don't need to see the names and I
can hide them by dragging the left edge
| | 02:52 |
of the dock.
I'll just place my cursor over that left
| | 02:55 |
edge and drag it to the right.
I'm going to drag all the way until all I
| | 03:00 |
can see is the icons.
I just find that a much more efficient
| | 03:03 |
use of screen real estate.
Over on the left side of the screen, the
| | 03:07 |
Tools panel can even be changed by
clicking that double-headed arrow just a
| | 03:11 |
little bit.
Click once, I can see a two-column setup.
| | 03:14 |
And in fact, if I drag this Tool panel
out, it undocks it and now it's floating
| | 03:20 |
on the screen.
If I click on the double headed arrow
| | 03:23 |
again, it turns back to single column,
click a third time and it becomes a row.
| | 03:27 |
A horizontal layout of all my tools.
Some people like it that way.
| | 03:31 |
And that's fine, but I'm going to set it
back to the way it was by dragging this
| | 03:35 |
little gray line all the way over to the
left edge until I see that blue line
| | 03:38 |
which means it's going to dock.
And once again, I have a vertical set-up here.
| | 03:43 |
Click on my double-headed arrow, and I
get it to the way I like it, which is a
| | 03:47 |
single column, again maximizing my screen
real estate.
| | 03:51 |
Now, I can still pull these other panels
out of the dock, too.
| | 03:53 |
For example, I'll click on the Links
panel to open it, and then I'll drag its
| | 03:57 |
tab out into the middle of the screen.
It's now a floating panel.
| | 04:01 |
I can do the same thing to the Pages and
Layers panel.
| | 04:04 |
But in this case, I'm going to drag this
little gray area to the right of the tab out.
| | 04:08 |
And that pulls out the entire layer
group.
| | 04:11 |
There's two panels in one group.
I can put links back in the group by
| | 04:15 |
dragging its tab until I see this blue
highlight.
| | 04:19 |
When I let go, it becomes part of the
panel group.
| | 04:21 |
I can even make these little floating
panel groups minimize if I want, if I
| | 04:25 |
click on the double headed arrow.
Then I can move them anywhere I want on
| | 04:28 |
my screen and still open the panel, close
it, or even maximize the panel group.
| | 04:34 |
Now, positioning your panels is all about
finding what you need as quickly and
| | 04:38 |
easily as possible.
But you'll find that you need different
| | 04:41 |
panels open at different times.
When you're working with text, you need
| | 04:44 |
certain panels open.
When you're working with interactive
| | 04:46 |
elements you need different panels open.
Fortunately, InDesign has a feature
| | 04:50 |
called workspaces.
And you'll find the workspaces in two places.
| | 04:55 |
In the Window menu, there's a workspace
submenu, and in the Application bar,
| | 05:00 |
there's a workspace menu.
Right now, it's set to essentials.
| | 05:03 |
But, InDesign ships with a number of
different workspaces.
| | 05:06 |
For example, advanced.
Now advanced is not really advanced, it
| | 05:09 |
just shows a different set of panels on
the screen.
| | 05:12 |
In general, I don't find essentials to be
that useful.
| | 05:15 |
And I reccomend almost everybody switch
to advanced.
| | 05:18 |
Now, I want to point out then when I go
back to essentials, InDesign goes back to
| | 05:22 |
exactly the way it was when I last was in
the essentials workspace.
| | 05:26 |
Even the changes that I made.
I'd like to clean this up go back to the
| | 05:30 |
way essentials originally was.
So to do that, I'm going to go back to my
| | 05:33 |
Workspaces menu and choose Reset
Essentials.
| | 05:38 |
Reset means put it back to the way it was
when it was first created.
| | 05:40 |
When this workspace was fresh.
I talk much more about workspaces and how
| | 05:45 |
you can make your own in my title
InDesign Insider Training Beyond the Essentials.
| | 05:49 |
Okay, once you have your panel set up
just the way you want them, you're going
| | 05:53 |
to want to turn your focus back to your
document.
| | 05:55 |
And the features that InDesign offers for
displaying your artwork and page items.
| | 05:59 |
| | Collapse this transcript |
| Setting the view quality of artwork| 00:00 |
20 years ago, a lot of people talked
about the term WYSIWYG, which stands for,
| | 00:04 |
what you see is what you get.
But the word fell out favor after people
| | 00:09 |
realized that they really couldn't trust
what they saw on-screen.
| | 00:12 |
But InDesign makes WYSIWYG a reality.
Because you really can start to trust
| | 00:17 |
your monitor again.
But you have to know how to manage
| | 00:20 |
InDesign's display options.
Let me show you what I mean.
| | 00:24 |
I'm going to use my Zoom tool shortcut,
which is Cmd+Spacebar on the Mac or
| | 00:28 |
Ctrl+Spacebar in Windows.
And I'm going to zoom in on this logo
| | 00:31 |
over here in the upper-right corner.
Right away, we see that this thing just
| | 00:35 |
looks cruddy.
I can't read the text very well, I can't
| | 00:38 |
really tell what's going on in the
graphic.
| | 00:39 |
It's just not that useful.
But do you need to print this thing out
| | 00:42 |
on a high resolution printer in order to
see it in good quality?
| | 00:45 |
Absolutely not, because InDesign can show
you high quality, but it only does it if
| | 00:51 |
you tell it to.
To do that, go to the View menu, choose
| | 00:55 |
the Display Performance submenu, and then
choose High Quality Display.
| | 00:59 |
That is much better.
Now typical is great, because it's fast.
| | 01:04 |
If you're on a slower machine, you
probably want to be in typical most of
| | 01:07 |
the time.
It'll keep things moving quickly.
| | 01:09 |
But if you're on a streaming fast machine
or you really need to pay attention to
| | 01:13 |
the quality of graphics all the time, ho
ahead and set it to high quality and then
| | 01:18 |
leave it that way.
When you're in high quality display, you
| | 01:21 |
can zoom in and in and in.
For example, right now we're at a little
| | 01:24 |
over 500%, but I'll use the Cmd+plus or
Ctrl+plus keyboard shortcut to zoom in
| | 01:30 |
and in and in and you'll see that even
here at 4000%, I can see totally
| | 01:36 |
beautiful lines.
It's like there's a whole high-end rip
| | 01:39 |
built right into InDesign.
So that no matter what zoom percentage
| | 01:43 |
you're at, you can always see the highest
quality.
| | 01:46 |
And it's not just for vector images
either, like this image from Illustrator.
| | 01:49 |
This works for pixels images too, like
raster images from Photoshop.
| | 01:53 |
I'll hold down Option+space bar on the
Mac, or Alt+space bar on Windows, and
| | 01:57 |
I'll click the mouse down and I'll hold
it down just for a moment.
| | 02:01 |
That way I get my power zoom.
And now I'm going to drag over to the
| | 02:05 |
left side of my spread.
I'll move this red rectangle over this
| | 02:08 |
guy's eye, and when I let go of the mouse
button, it zooms back to 4000%.
| | 02:14 |
When I'm in power zoom, I'm seeing the
low resolution, but after a moment it
| | 02:18 |
updates and I see the high resolution
image.
| | 02:21 |
These are real pixels.
This is exactly the way I would see it in Photoshop.
| | 02:24 |
Nice high quality, high resolution
display.
| | 02:27 |
Of course, if I go back to the View menu
and change Display Performance to
| | 02:30 |
Typical, I can see that it's much
rougher.
| | 02:34 |
This is just a low resolution 72 DPI
preview or proxy of this image.
| | 02:39 |
Now everything is going to be much
faster, but I'm going to have to deal
| | 02:42 |
with a lower quality image.
Knowing what you're looking at is key to
| | 02:46 |
being efficient in InDesign, and it lets
you make the right design choices without
| | 02:50 |
having to print a lot of proofs.
There are few more ways to adjust how
| | 02:53 |
InDesign displays your document too, and
that's what I'm going to cover in the
| | 02:56 |
next movie.
| | 02:57 |
| | Collapse this transcript |
| Adjusting view and preview settings| 00:00 |
What you see on screen is crucial to you
being efficient in this program.
| | 00:04 |
It's your only portal into understanding
what's in your document, and how it's
| | 00:07 |
going to end up in Print, or PDF, or
wherever the file is headed.
| | 00:11 |
Fortunately, InDesign gives you a number
of controls over how it displays your pages.
| | 00:16 |
We saw how to change display quality
earlier.
| | 00:18 |
Now, let's see about InDesign's other
display settings.
| | 00:22 |
Almost all of InDesign's display settings
live up here in the View menu, and the
| | 00:26 |
most important one is down here in the
Screen Mode submenu.
| | 00:31 |
It's called Preview.
Now, Preview mode is great because it
| | 00:35 |
gives you a nice neutral gray background
for your pasteboard.
| | 00:38 |
But more importantly, it hides all
non-printing objects.
| | 00:42 |
Your guides disappear, non printing
objects disappear.
| | 00:45 |
Edges of frames disappear.
Even anything that's hanging off the side
| | 00:48 |
of the page onto the pasteboard
disappears.
| | 00:52 |
This is what the final page is going to
look like when I print it or export to PDF.
| | 00:56 |
Now, it doesn't look like the Preview
mode has a keyboard shortcut, but I'm
| | 00:59 |
going to let you in on a secret, it does.
It's just the letter W.
| | 01:03 |
Whenever I want to go into Preview mode,
I simply press W.
| | 01:07 |
That goes into Preview mode, and then it
comes out of it again.
| | 01:09 |
Of course, if you're inside of a text
frame, editing text, then pressing W
| | 01:14 |
actually types the letter W.
So, that's not very helpful, but if
| | 01:17 |
you're not editing text, then pressing W
puts you into Preview mode, pressing W
| | 01:21 |
takes you out of it.
Now, I mentioned earlier that when you're
| | 01:25 |
in Preview mode, you can't see the edges
of your objects, but actually you can.
| | 01:30 |
As I move over my page, I can see that
objects start highlighting.
| | 01:35 |
They do that because you can actually
work in Preview mode.
| | 01:38 |
This tells me where an object is, so I
can click on it, and then do something
| | 01:41 |
with it, like move it to a different part
of my page.
| | 01:44 |
So, I find it really useful for those
little edges to appear when you move your
| | 01:47 |
cursor over an object.
But that said, I do know that this
| | 01:51 |
particular behavior drives some users
crazy.
| | 01:54 |
I don't know what it is, but for some
reason, some InDesign users just really
| | 01:58 |
hate that feature.
So, I'll let you in on another little secret.
| | 02:02 |
If you go to the preferences dialog box,
which again, on the Mac, you go to
| | 02:05 |
InDesign menu, on Windows, it's under the
Edit menu.
| | 02:08 |
You can choose the Preferences sub menu,
and I'm going to jump right to the
| | 02:12 |
interface pane of the Preferences dialog
box.
| | 02:15 |
Here, in this pane, I can find a checkbox
called Highlight Object Under Selection Tool.
| | 02:20 |
And if you don't like those edges
flashing on and off, turn off that
| | 02:24 |
checkbox, and then click OK.
InDesign still let's you work in Preview
| | 02:28 |
mode, but at least you're not distracted
by all those flashing edges.
| | 02:32 |
I'm actually going to leave this on
because, like I said, I like that feature.
| | 02:35 |
So, Preview mode is terrific for giving
you a sense for how this document is
| | 02:40 |
going to print or export to PDF, or
whatever.
| | 02:42 |
Here's another thing that you can do.
Press the Tab key.
| | 02:45 |
Again, when you're not editing text.
Press Tab and all the panels disappear.
| | 02:50 |
So, this means you have much more screen
real estate to work with.
| | 02:53 |
And it just looks more clean as well.
Now, it turns out that those panels are
| | 02:57 |
really still there.
If I move my cursor over the left edge of
| | 03:01 |
the screen, the Tool panel just pops out.
So, I could use it.
| | 03:04 |
Same thing with the right side of the
screen.
| | 03:05 |
Move my cursor over to the right side of
the screen, and the whole doc appears.
| | 03:10 |
Now, I can click on a panel, use it and
so on.
| | 03:12 |
But when I move my cursor away from the
right edge of the screen, it disappears.
| | 03:16 |
So, the Tab key turns off the panels, and
then turns them on again.
| | 03:21 |
Of course, this Preview mode is pretty
cool, especially when the panels are
| | 03:24 |
turned off.
But for the ultimate in screen display,
| | 03:27 |
you want Presentation mode.
You can get that from the View menu, or
| | 03:31 |
you can go to the Application bar and
choose from this little, unnamed popup menu.
| | 03:36 |
Here you can choose Presentation, or the
super secret keyboard shortcut, Shift+W.
| | 03:42 |
When you press Shift+W, it hides
everything.
| | 03:46 |
Everything disappears.
Your menus disappear, panels disappear.
| | 03:50 |
Everything's gone except your document
which is put on this nice black background.
| | 03:54 |
Very high contrast.
Great to look at especially when your
| | 03:57 |
boss walks in or a client.
Presentation mode is also helpful for
| | 04:01 |
moving through a multipage document.
Because to move from one spread to the
| | 04:05 |
next, all you have to do is click.
You'll see the cursor changes a little
| | 04:09 |
bit to a hand with a down arrow, and when
I click, it moves to the next spread.
| | 04:14 |
If you want to move back a spread, you
just hold down the Shift key.
| | 04:17 |
Shift click moves up to the previous
spread.
| | 04:21 |
Then, when you're ready to exit
Presentation mode to go back to work, you
| | 04:24 |
can press Shift+W again or just press the
Esc key.
| | 04:28 |
Now, I'm going to press the W key to move
out of Preview mode.
| | 04:31 |
And I can see all of my non-printing
objects again, like the guides and the
| | 04:34 |
frame edges and so on.
By switching from one display mode to
| | 04:38 |
anothe,r and by turning on and off these
view settings, you can really get a sense
| | 04:42 |
for what's in your document, whether it's
laid out properly, and how it will look
| | 04:46 |
when it's exported or printed.
| | 04:47 |
| | Collapse this transcript |
|
|
3. Creating a DocumentCreating a new document| 00:00 |
Finally, it's time to make a new InDesign
document.
| | 00:03 |
The way to make a new InDesign document
is to go to the File menu and then choose
| | 00:07 |
Document from the new sub-menu.
Of course, you could also just press
| | 00:11 |
Cmd+N on the Mac or Ctrl+N on Windows.
Up comes the New Document dialog box.
| | 00:16 |
And at first, this dialog box might be a
little overwhelming.
| | 00:19 |
There are a number of features in here
that you probably don't need to pay
| | 00:23 |
attention to all the time.
But still, I'm going to go through them
| | 00:25 |
one feature at a time just to make sure
you know what's in here.
| | 00:29 |
The very first thing you need to decide
on is the intent.
| | 00:33 |
The intent popup menu lets you tell
InDesign where this document is going.
| | 00:37 |
Where's your intention for this document?
And there are three options here: Print,
| | 00:42 |
Web, and Digital Publishing.
I need to point out that Web is a bit of
| | 00:45 |
a misnomer.
It does not mean web like a web page or
| | 00:49 |
an HTML page.
It means a document that is going to be
| | 00:53 |
delivered on-screen.
This really should be called on-screen.
| | 00:57 |
An example of this might be a document
that you're going to be exporting as a
| | 00:59 |
PDF and maybe it has a movie in it, or
some button things.
| | 01:03 |
Things that will probably only be seen
on-screen, maybe occasionally printed out.
| | 01:07 |
Another example might be a SWF file, you
know, flash.
| | 01:10 |
Maybe it has animations built into it.
Those are on-screen documents.
| | 01:14 |
Now two things happen when you choose
Web.
| | 01:16 |
First, all your measurements are set to
pixels, instead of picas or inches, or
| | 01:21 |
centimeters, or whatever.
Second, all your colors in your document
| | 01:25 |
will be set to RGB.
Now that's appropriate for a web or an
| | 01:29 |
onscreen document.
On the other hand, Digital Publishing is
| | 01:33 |
very different.
Digital publishing is for documents that
| | 01:36 |
are destined to be used in the digital
publishing suite, otherwise known as AdobeDPS.
| | 01:40 |
And that's for documents that are going
to be created as apps on some sort of
| | 01:44 |
tablet, like an iPad or an Android
device.
| | 01:47 |
If you choose that, still all your
measurements are set to pixels, but one
| | 01:51 |
thing you'll notice is that the page size
is no longer set to a dimension, it's set
| | 01:56 |
to a name.
It's a device.
| | 01:58 |
For example, is this going to an iPad, or
an iPhone, or maybe a Kindle Fire?
| | 02:03 |
InDesign is smart enough to know the
pixel dimensions of those various devices.
| | 02:07 |
That said, for all the other InDesign
documents, probably 99% of the documents
| | 02:13 |
that are created with InDesign around the
world, you want to choose an intent of Print.
| | 02:18 |
Print does not mean only print.
It doesn't mean that you're necessarily
| | 02:22 |
going to be printing this.
If you're making a PDF that you're
| | 02:25 |
putting up on your website for somebody
to read, maybe like a product sheet for
| | 02:29 |
some business, you can still use print.
Print is kind of like the catch-all for
| | 02:34 |
all the other documents that you're going
to be creating.
| | 02:36 |
Now when you use print, your measurements
are all set to picas, or inches, or
| | 02:40 |
centimeters, or whatever you've chosen.
And all your colors are set to CMYK.
| | 02:45 |
Of course, you can later add other colors
that are not CMYK, and I'll talk about
| | 02:49 |
that in a later chapter.
The next thing you need to decide in the
| | 02:52 |
new document dialog box, is whether your
document is set up for facing pages.
| | 02:57 |
Facing pages should only be used for
documents that have a left hand and a
| | 03:02 |
right hand page, a verso and a recto,
like a book or a magazine.
| | 03:06 |
If you're doing a one page flyer or maybe
a double-paged brochure or something, you
| | 03:11 |
want to turn that off.
Anything that does not truly have facing
| | 03:15 |
pages, turn it off.
Now the next check box down is Primary
| | 03:18 |
Text Frame.
This is used for things like books where
| | 03:21 |
you have a story that goes from one page
to the next, over a lot of pages.
| | 03:25 |
Primary text frame will automatically add
a text frame to your master pages.
| | 03:29 |
I'm going to be covering this in a later
chapter, but for now I'm just going to
| | 03:32 |
tell you that most people can turn that
off and just leave it off.
| | 03:36 |
Couple of other features we can look at
quickly.
| | 03:38 |
Number of pages, that's usually set to
one.
| | 03:40 |
But if you know that you're creating a
document with say, 16 pages, you can type
| | 03:45 |
16 in here and you'll get 16 pages.
But it doesn't really matter, and
| | 03:49 |
honestly, I usually leave it set to one,
because I can add pages later when I need them.
| | 03:54 |
The same thing with Start Page.
Start page is something you can set here
| | 03:58 |
if you want to.
For example, say you're working on a
| | 04:00 |
chapter of a book and you know that
chapter starts on page 47.
| | 04:04 |
Well you could set that right here, if
you want.
| | 04:07 |
Otherwise, you don't have to.
It's easy to change later, and I'll show
| | 04:10 |
you how in a later chapter.
So now we get to the real meat and bones
| | 04:14 |
of this dialogue box, the page size.
This is the most important thing you can
| | 04:19 |
choose here.
What size should the finished piece be?
| | 04:23 |
Now, I'm talking about if you're going to
be printing this on a commercial printing
| | 04:26 |
press, what is the final size after it's
trimmed down going to be?
| | 04:30 |
Is it letter size?
Is it eight by ten?
| | 04:33 |
Is it something smaller?
If you're printing a business card, you
| | 04:36 |
should choose Business Card out of this
pop up menu, and the width and the height
| | 04:39 |
will update automatically.
Or if you know you're printing on A4
| | 04:43 |
paper, then go ahead and choose A4.
In this case, I'm going to create a
| | 04:47 |
document size that's not listed here.
So I'll click Office Popup Menu, and I'm
| | 04:52 |
going to make it a seven inch by nine
inch document.
| | 04:55 |
I'll select the width field, and I'll
type 7in.
| | 04:58 |
That's for seven inches, then I'll hit
tab.
| | 05:01 |
And you'll notice that InDesign
automatically updates the width field.
| | 05:05 |
It converts that measurement into the
current measurement system, which is picas.
| | 05:09 |
This document is going to be nine inches
tall, so I'll type 9in and then press Tab
| | 05:15 |
again, and InDesign converts it to picas
for me.
| | 05:18 |
If you want to, you can also click these
orientation buttons over on the right.
| | 05:22 |
All these do is literally swap the values
in the width and the height fields.
| | 05:25 |
It doesn't do anything special.
Now I should point out that sometimes
| | 05:29 |
it's difficult to visualize the size of
the page when you're working in numbers.
| | 05:33 |
Fortunately, there's a Preview check box
in the lower-left corner of this dialog box.
| | 05:37 |
If I turn on Preview, InDesign appears to
be creating a document for me, but it's
| | 05:42 |
just temporary.
If I click Cancel, the document will go away.
| | 05:46 |
But this is a great way to get a visual
sense of my document.
| | 05:49 |
I'm going to move my new document dialog
box out of the way a little bit, and I
| | 05:53 |
can see that when I change the
orientation from portrait to landscape,
| | 05:56 |
InDesign shows that to me onscreen.
That's really helpful.
| | 06:01 |
I'll go back to portrait, and now I'm
going to jump over to the Columns field.
| | 06:05 |
Most documents just have one column, but
if you know that you're going to have two
| | 06:08 |
or more columns in your document, go
ahead and change it here.
| | 06:11 |
I could just type a number in here, but
I'm just going to click this little up
| | 06:15 |
arrow button to change that one to a two.
The Gutter amount is the amount of space
| | 06:20 |
in between each column of your document.
So for example, if I want to add more
| | 06:24 |
space between the columns, I could change
it here.
| | 06:26 |
Let's say, two picas instead.
And now Margins.
| | 06:29 |
I need to be clear here.
Margins are just guidelines.
| | 06:33 |
There's nothing stopping you from putting
objects outside the margins, but margins
| | 06:37 |
are helpful reminders of where you should
put your text frames and graphic frames
| | 06:41 |
and so on.
One thing to note here is this little
| | 06:44 |
button in the middle.
It looks like a little chain.
| | 06:46 |
Right now, if I made a change to any of
these fields, let's say I change my
| | 06:50 |
margins to two picas instead, and I hit
Tab, you'll notice that all of those
| | 06:55 |
fields are linked together.
So they all change to two picas.
| | 06:59 |
But what if I want one of those margins
to be different than the others?
| | 07:03 |
No problem, I just click that button and
it decouples or unlinks those fields, so
| | 07:07 |
if I change the top field to something
like six picas and then hit Tab, you'll
| | 07:11 |
see that, that changes independently of
the others.
| | 07:14 |
Now there's a little bit more to this
dialog box and it's kind of hiding from
| | 07:18 |
you, but if I click on this little
triangle next to Bleed and Slug, up comes
| | 07:22 |
even more features.
I guess Adobe didn't want to freak you
| | 07:25 |
out by offering too many options at the
same time.
| | 07:28 |
I'm going to be talking about these Bleed
in Slug settings in a later movie in this
| | 07:32 |
chapter, I just wanted to point out that
this is where you can find those settings
| | 07:36 |
here in this dialog box.
The last thing I want to point out about
| | 07:39 |
the new document dialog box, is at the
very top, and that's the Save Document
| | 07:43 |
Preset button.
This is really helpful when you create a
| | 07:46 |
lot of new documents, because some of
those documents are probably going to
| | 07:49 |
have the same values.
The same page size margins and so on.
| | 07:53 |
So I can save all the work that I've just
done in this dialog box by clicking the
| | 07:58 |
Save Preset button and giving it a name.
You can call it anything you want.
| | 08:02 |
I'm just going to call it seven by nine
width six pica top.
| | 08:08 |
Now I'll click OK, and you can see that
next time I need a document with those
| | 08:12 |
settings, I just pull it right out of my
document preset popup menu.
| | 08:17 |
Then I'll click OK and I'm good to go.
There's the document.
| | 08:20 |
After you create your document, you might
realize that you need to make changes.
| | 08:23 |
Don't panic, InDesign is very flexible,
very forgiving.
| | 08:27 |
For example, let's say you want to change
the size of the page slightly.
| | 08:31 |
Okay.
We'll go to the File menu, and choose
| | 08:34 |
Document Setup.
We can change all sorts of settings here,
| | 08:38 |
including the page size.
For example, let's say we want to make
| | 08:41 |
this a little bit taller.
I'll change this from 54 picas up to 55
| | 08:46 |
picas, and then click OK.
And you can see that the document is now
| | 08:50 |
slightly taller.
Making a new document with the proper
| | 08:53 |
settings is the first step in creating a
strong foundation for your publication.
| | 08:57 |
| | Collapse this transcript |
| Saving and reverting documents| 00:00 |
Once you have a new document open or
you're editing an already existing
| | 00:03 |
document, you should save it to disk.
For example, if I select this object over
| | 00:08 |
here and I'll just drag it to the right.
I've made a change to this document, and
| | 00:12 |
I can tell that I've changed the document
because there's a small asterisk in the
| | 00:17 |
Document tab.
That asterisk means that this document
| | 00:21 |
has changed since the last time that I
saved it.
| | 00:24 |
So, let's say that I want to save it.
I'll go to the File menu and I can see
| | 00:27 |
that there are three different options in
here.
| | 00:30 |
Save, Save As and Save a Copy, so let me
talk for a moment about what the
| | 00:35 |
differences between these three are.
Save, you've probably had lots of
| | 00:39 |
experience with if you've used any of
their software.
| | 00:41 |
It simply saves over the current
document.
| | 00:44 |
Save As is slightly different.
It lets you rename the document to
| | 00:48 |
anything else.
If I choose that, you can see that
| | 00:51 |
InDesign lets me specify where I want the
document to be saved.
| | 00:54 |
I'll put it up on the desktop, and it
lets me rename it.
| | 00:57 |
I'll change this to oh, say, 3B.
It also gives you an option of what
| | 01:03 |
format to save it in.
An InDesign document, template, or this
| | 01:08 |
mysterious InDesign CS4 or later,
otherwise known as IDML.
| | 01:12 |
I'm going to be talking about that third
option later on in this chapter.
| | 01:16 |
An Indesign document is just a regular
InDesign file, nothing special about it.
| | 01:20 |
You open it, you change it, you save it,
and so on.
| | 01:23 |
A template, however, is slightly
different.
| | 01:26 |
When you save an InDesign document as a
template, you're telling InDesign that
| | 01:30 |
you're not expecting to make any changes
to this document in the future.
| | 01:33 |
That is you open this document, and it'll
open as untitled, you're using it as a
| | 01:38 |
base for future documents to work off of.
In this case, I'm going to save this as a
| | 01:43 |
regular InDesign document.
You will notice that the Document tab now
| | 01:48 |
reflects the name 03B.
A third option in the File menu is Save a Copy.
| | 01:54 |
Now, Save a Copy is kind of interesting.
Save a Copy means save the current state
| | 01:59 |
of this document out to my hard drive,
but let me continue working on the
| | 02:02 |
document that I have open.
For example, I'm working on document 03B
| | 02:07 |
rue article, right?
That's the one I just did a save as on.
| | 02:11 |
Now I can start making some other
changes.
| | 02:13 |
For example, I'm going to move this over
to the left side.
| | 02:16 |
I'm going to move this picture onto the
top, move this text down, and so on.
| | 02:20 |
I'm simply dragging these frames around
using the Selection tool, which is the
| | 02:24 |
Black Arrow tool, the first tool in the
Tool panel.
| | 02:27 |
Now I'll go to the File menu and choose
Save a Copy.
| | 02:31 |
I'll save this out as 03C, and click
Save.
| | 02:36 |
But you can see up here in the Document
tab, that I'm actually still working on 03B.
| | 02:41 |
This is what I call setting up base camp.
It's like when you're climbing a mountain.
| | 02:46 |
You set base camps every so often that
you can always return to, that's what
| | 02:49 |
Save and Copy is about.
I could make all kinds of additional
| | 02:52 |
changes to this document.
But if I want to, I could always go back
| | 02:56 |
to that 03C that I've saved off.
That's one of my favorite things about
| | 03:00 |
InDesign, this ability to experiment and
never feel like anything I've done is set
| | 03:04 |
in stone.
You can always go back to where you were.
| | 03:07 |
So, saving a copy, a base camp, it's a
great way to feel confident that you can
| | 03:11 |
go back to where you were.
Now, another way you can feel confident
| | 03:14 |
in making changes and experimenting on
your pages is that there's an unlimited
| | 03:18 |
number of undo.
So, if I go ahead and start making even
| | 03:21 |
more changes.
I'll just do all kinds of crazy things
| | 03:24 |
here to really mess up this document, I
know that I can always undo.
| | 03:28 |
What I've done by pressing Cmd+Z or
Ctrl+Z on Windows and there's unlimited undos.
| | 03:34 |
You can also redo by pressing Cmd+Shift+Z
or Ctrl+Shift+Z on Windows.
| | 03:40 |
You can also get those from the edit menu
of course, undo and redo.
| | 03:46 |
And the cool thing is I can do that as
many times as I want.
| | 03:49 |
Now, sometimes you really mess up a
document, maybe you're working for a half
| | 03:52 |
an hour changing things, moving things
all over the place.
| | 03:55 |
And you realize you don't want to undo a
hundred times in a row.
| | 03:58 |
You just don't want to hit that keyboard
shortcut over and over again.
| | 04:01 |
In those cases, you might consider using
something else from the File menu.
| | 04:05 |
Up here, I can choose Revert.
Revert means go all the way back to where
| | 04:10 |
the document was when you last saved it.
In this case, it was all the way back to
| | 04:14 |
when I did the Save As.
When you choose revert, it confirms.
| | 04:18 |
Are you really sure you want to do this?
Because, all of your changes are going to
| | 04:21 |
get lost.
And, if you choose OK, it actually closes
| | 04:24 |
this document and reopens the original
one from disk.
| | 04:28 |
Look, mistakes happen.
They're inevitable.
| | 04:30 |
So, teach yourself to save.
Save often, save base camps, save
| | 04:34 |
backups, and then use undo and revert
judiciously when you need to.
| | 04:38 |
| | Collapse this transcript |
| Saving for CS4, CS5, or CS6 with IDML| 00:00 |
What do you do when you're using a newer
version of InDesign, but a client or a
| | 00:04 |
colleague is still using InDesign CS6, or
CS5, or even CS4?
| | 00:09 |
If you send them your InDesign file, they
won't be able to open it.
| | 00:12 |
Instead, they'll get a nasty alert
saying, they don't have the right plug ins.
| | 00:17 |
What will you do?
Well, the trick is to send them an IDML file.
| | 00:21 |
Technically an InDesign markup language
file.
| | 00:25 |
It's an XML thing, but you don't need to
worry about the technical details.
| | 00:28 |
It's just an IDML file that they can
open.
| | 00:32 |
And you can make an IDML in one of two
ways.
| | 00:35 |
First, you could go to the File menu and
choose Save As.
| | 00:38 |
We looked at that in the last movie.
Or you could choose Export.
| | 00:42 |
And in the format pop up menu in the
export dialogue box, you can choose
| | 00:46 |
InDesign markup, or IDML.
Both methods, either Save As or Export do
| | 00:52 |
exactly the same thing.
Then when you click Save, you'll get your
| | 00:56 |
IDML file that you can send to somebody
else and they'll be able to open it.
| | 01:00 |
InDesign exports your IDML in the
background.
| | 01:03 |
And sometimes, if it's a really large
file, it can take a little while.
| | 01:06 |
You'll see an indicator in the
application bar that shows you that the
| | 01:09 |
InDesign file is exporting.
The indicator will disappear when the
| | 01:13 |
IDML export is done.
But remember, using IDML to save backward
| | 01:18 |
to an earlier version is not seamless.
Some things can get lost.
| | 01:22 |
Your document might change, sometimes
radically, when you open a file in an
| | 01:26 |
earlier version.
For example, let's say your document
| | 01:29 |
contains more than one page size.
That's something I'll explain in a later chapter.
| | 01:33 |
Well, all of those page sizes are
completely lost if you open the IDML file
| | 01:38 |
back in InDesign CS4, because that old
version doesn't know about multiple page sizes.
| | 01:43 |
It just doesn't have that feature.
So all your pages end up the same size.
| | 01:48 |
Nevertheless, in many situations, IDML
works just fine, especially when you're
| | 01:54 |
working with simple documents and you
can't convince everyone you work with to upgrade.
| | 01:58 |
| | Collapse this transcript |
| Setting margin and column guides| 00:00 |
In an earlier movie, we saw that the new
document dialogue box lets you set your
| | 00:04 |
margins and column guides.
But what if you change your mind later
| | 00:08 |
and the file's already created?
Or, what if you want different margins in
| | 00:12 |
different parts of your document?
No problem.
| | 00:14 |
That's where the margins and columns
feature comes in.
| | 00:17 |
It's here under the Layout menu.
But before you choose this feature, you
| | 00:22 |
need to tell InDesign which pages you
want to effect.
| | 00:26 |
Right now, by glancing in the lower left
corner of the document window, I can see
| | 00:30 |
that this page on the left is page 24.
So, the one on the right is page 25, but
| | 00:35 |
that's not necessarily the pages that are
selected.
| | 00:38 |
To see which pages are selected, I need
to go to the Pages panel.
| | 00:42 |
I'll open the Pages panel at the top of
the dock here, and I can see that pages
| | 00:46 |
20 and 21 are selected.
I can tell that because those are the
| | 00:50 |
ones that are highlighted.
So, if I go to margins and columns right
| | 00:54 |
now, it will affect the selected pages,
20 and 21, not the ones I'm looking at.
| | 00:59 |
So, you do have to be a little bit
careful here.
| | 01:01 |
To affect the pages that I'm looking at,
I need to select them.
| | 01:05 |
If I click on page 24 here in the Pages
panel, it's selected, but page 25 is not.
| | 01:12 |
I could Shift click on this second one,
but I'm going to just click on these
| | 01:15 |
numbers underneath the spread.
That's a little shortcut for selecting
| | 01:19 |
all the pages on the spread.
Now, I'm going to go back to the Layout
| | 01:22 |
menu and choose margins and columns.
It's always a good idea to turn on the
| | 01:27 |
Preview checkbox in this dialog box.
That way you can see what you're doing
| | 01:31 |
while you're working before you click OK.
Now, I'd like to change the bottom
| | 01:35 |
margin, but before I do that I want to
make sure that this icon here, this
| | 01:39 |
little chain icon, is broken, unlinked.
If this button is turned on, if its
| | 01:45 |
selected, then any change I make will
effect all the fields in this section of
| | 01:49 |
the dialog box, and I don't want that.
I only want to change the bottom margin,
| | 01:53 |
right here, I'm going to change it to 80
points.
| | 01:56 |
Now, InDesign only updates when I leave
this field, so I'll press the Tab key to
| | 02:02 |
jump to the next item.
And we can see that because the Preview
| | 02:05 |
check box is turned on, the margins move.
You can see before and after by turning
| | 02:10 |
on and off the checkbox.
That was before, and now that's after.
| | 02:14 |
Now, obviously, this only changed the
margins.
| | 02:17 |
It did not affect the objects on the
page.
| | 02:19 |
If I want to affect the objects on the
page, then I need to turn on this Enable
| | 02:25 |
Layout Adjustment checkbox.
That is the on, off switch for move my
| | 02:29 |
objects or don't move my objects.
Let's see the difference.
| | 02:32 |
I'll turn it off, and then I'll set
bottom margin back to the way it was.
| | 02:36 |
60 points.
I'll hit Tab to make sure it takes effect.
| | 02:40 |
Now, I'm going to turn on Enable Layout
Adjustment.
| | 02:43 |
Set my bottom margin to 80 points again.
And hit Tab.
| | 02:46 |
See the difference?
Before and after.
| | 02:51 |
You can see that this text frame and this
image over here both moved, but this
| | 02:56 |
image, of this guy sitting on the sofa,
did not move.
| | 02:58 |
What's the difference?
Well, Layout Adjustment works by looking
| | 03:02 |
at any objects that are touching guides
that move.
| | 03:05 |
It has to be touching a guide, or very,
very close to a guide, and then it will move.
| | 03:11 |
This text frame in this image over here
were both touching the bottom margin.
| | 03:15 |
That's kind of like a guide, so when they
moved, those frames resized.
| | 03:19 |
But this image over here was not touching
any guide, so it stayed where it was.
| | 03:23 |
As you can tell, Layout Adjustment is a
great way to move a lot of objects on
| | 03:27 |
your page quickly.
So, perhaps you're changing your page
| | 03:30 |
size or your margins across an entire
book, Layout Adjustment may be just the
| | 03:34 |
ticket for you.
However, with that power comes great responsibility.
| | 03:38 |
Here's what I mean.
Sometimes Layout Adjustment can really
| | 03:41 |
mess up your page a lot.
For example, look what happens if I
| | 03:45 |
change the number of columns to 2.
Wow, that is not what I wanted, and it's
| | 03:51 |
certainly not what I expected.
It added the second columns on the
| | 03:54 |
spread, but it moved a lot of these
objects around and it changed the numbers
| | 03:58 |
of columns in the text frames.
I don't know what it did or why it did it.
| | 04:01 |
But I don't like it, so I'm going to
click Cancel to go back to the way it was.
| | 04:06 |
So, we've seen how we can change the
margins and columns on a single spread,
| | 04:09 |
but what if we want to change them for
all the pages at the same time?
| | 04:13 |
No problem.
There's two options.
| | 04:15 |
First, I could select all the pages in my
Pages panel.
| | 04:18 |
I could click on the bottom spread, and
then Shift click on the first spread.
| | 04:22 |
That selects all of the spreads.
Or, even faster, we can use Master Pages.
| | 04:26 |
And I'm going to be talking about Master
Pages in the next chapter, but for now
| | 04:30 |
suffice it to say that all of these pages
in the Pages panel are all based on a
| | 04:35 |
Master Page which lives up here at the
top of the Pages panel.
| | 04:38 |
So, if I click that Master Page once, it
selects it.
| | 04:43 |
Now, if I go to the Layout menu and
choose margins and columns,any change I
| | 04:47 |
make will affect the Master Page, which
will in turn affect all the pages that
| | 04:51 |
are based on that master.
In other words, all the pages in this document.
| | 04:55 |
Once again, I'll turn on Enable Layout
Adjustment, change the bottom margin and
| | 04:59 |
click OK.
It changed every page in this document
| | 05:03 |
that's based on that master, not just the
one's I'm looking at.
| | 05:06 |
Now, remember these margin guides are
just that, they're just guidelines from
| | 05:10 |
where you might put objects.
There's other kinds of guides in InDesign
| | 05:14 |
two called Page Guides, that we'll talk
about in the next movie.
| | 05:17 |
| | Collapse this transcript |
| Putting ruler guides on your page| 00:00 |
Designers love adding guides to their
page to define zones and manage the space.
| | 00:05 |
Production folks love adding guides
because it maintains consistency and it
| | 00:09 |
helps you lay out pages fast.
Whatever the reason you want to add
| | 00:12 |
guides, InDesign lets you do it in a
number of different ways.
| | 00:16 |
The basic way to add a guide to a page is
simply by dragging it out of the ruler.
| | 00:20 |
For example, I'll go up to this
horizontal ruler at the top and simply
| | 00:24 |
drag out a guide.
If I let go of the mouse button when I'm
| | 00:28 |
over the page, I get a page guide.
It just goes across that one page.
| | 00:34 |
If I drag out another guide, but I let go
of the mouse button when the cursor is
| | 00:37 |
over the pasteboard, I get a pasteboard
guide.
| | 00:40 |
Some people call this a spread guide
because it goes across all the pages on
| | 00:43 |
my spread.
Once I have a guide on my page, I can
| | 00:46 |
move it simply by clicking on it with the
selection tool, that's the black Arrow
| | 00:50 |
tool in the tool panel, and dragging it.
I'm going to move this one down until
| | 00:54 |
it's right against that text frame.
Immediately I can see that this text
| | 00:58 |
frame and the one on the right hand page
are not aligned.
| | 01:01 |
So, I'm going to go over here and click
on this text frame and re-size it by
| | 01:05 |
dragging this top handle up into the
guide.
| | 01:09 |
When I get close to the guide that handle
snaps to the guide so that I know that's
| | 01:13 |
exactly at that guide point.
Now, there are other ways to add guides
| | 01:17 |
as well.
I'm going to come over here to the
| | 01:19 |
intersection of these two rulers and I'm
going to right click and change this to inches.
| | 01:25 |
You could Ctrl click with a one button
mouse.
| | 01:27 |
I'm going to use inches, just because
it's easier to show this particular trick
| | 01:31 |
when I'm set to inches.
I'm going to drag out a new guide, and
| | 01:35 |
I'm going to let go of it when it's right
near this tick mark over here.
| | 01:38 |
Right near five inches.
And you'll see that it's actually very
| | 01:42 |
hard to get it right on the tick mark.
When I say you'll see, what I'm talking
| | 01:46 |
about is this field up here in the
control panel.
| | 01:49 |
You can actually see the measurements of
the guide.
| | 01:51 |
First you need to click on that object,
and then drag it around up and down.
| | 01:56 |
And you'll see the measurements.
I can get close to it, but it's really
| | 02:00 |
hard to get exactly on five inches.
What I really wanted to do is get it
| | 02:04 |
exactly on the five inch mark.
Right there at five inches.
| | 02:07 |
So to do that, I'm going to drag this
guide with the Shift key held down.
| | 02:12 |
The Shift key is great because it always
snaps to the nearest tick mark in the ruler.
| | 02:18 |
So now I just have to get somewhat close
and when I let go of the mouse button,
| | 02:21 |
it's at exactly five inches.
In fact, if I know that I want a ruler
| | 02:25 |
guide at exactly, say, four inches, I
don't even have to pull it out of the
| | 02:29 |
ruler at all.
All I have to do is hold down the Shift
| | 02:32 |
key and double-click near the tick mark
at four inches.
| | 02:36 |
InDesign adds a ruler guide at exactly
that point.
| | 02:39 |
I can see that simply by clicking on it.
There we go.
| | 02:42 |
The control panel says it's at four
inches.
| | 02:44 |
Okay, now lets see a little bit about how
guides act on our page and how objects
| | 02:49 |
behave with them.
I want to Zoom In on this little text
| | 02:52 |
frame over here and I'm going to hold
down the Cmd space bar on the Mac or Ctrl
| | 02:55 |
space bar on Windows and just drag the
marquee over this so I can Zoom right in
| | 03:00 |
on it.
Now I'm going to drag this text frame
| | 03:02 |
down and you'll see that as I drag it
down the edge of the frame snaps to that guide.
| | 03:09 |
That's what guides do, they snap objects
to them.
| | 03:11 |
They're kind of magnetic and that's
usually very helpful, but in this case I
| | 03:15 |
wanted to get close to that point, but I
didn't want it exactly on that guide.
| | 03:19 |
So what do I do?
Well, fortunately you can turn off that
| | 03:23 |
snapping behavior.
To do that, go to the View menu, choose
| | 03:27 |
Grids and Guides, and then choose Snap to
Guides.
| | 03:30 |
Thats a toggle, it goes on or off.
I'll start dragging this down and you'll
| | 03:34 |
see that the Snap to Guide feature is
turned off.
| | 03:37 |
I can get close to it, but it won't snap
right to it.
| | 03:40 |
But truly, Snap to Guides is my friend so
I'm going to turn it back on.
| | 03:44 |
Go back to the View menu, Grids and
Guides, and turn on Snap to Guides.
| | 03:48 |
By the way, I should mention that there
are some other things that act kind of
| | 03:52 |
like guides even though they're not
technically guides.
| | 03:54 |
For example, the page edges.
I can drag this object near the page edge
| | 03:59 |
and it snaps to that edge.
I like that.
| | 04:02 |
Okay, I'm going to Zoom Out to fit the
whole spread in the window with a Cmd+
| | 04:06 |
Option+0 or Ctrl+Alt+0, and I'm going to
add a few more guides onto my page.
| | 04:10 |
For example, I'll put some guides over
here.
| | 04:13 |
And I'm going to put a couple guides over
here, and I'll maybe make these some
| | 04:17 |
spread guides or pasteboard guides, what
ever you want to call them, and you can
| | 04:20 |
see I can add a lot of guides.
But what if I wanted to move some of
| | 04:25 |
those guides?
Well, it's easy to move guides because
| | 04:28 |
they act just like objects.
I simply select them by clicking on them.
| | 04:32 |
Click on that one.
And then, I can Shift-click on a couple
| | 04:35 |
of other ones if I want.
Let's get all four of these.
| | 04:37 |
There we go.
And now, they'll all move together as a
| | 04:40 |
group up or down.
To get rid of all four of those at the
| | 04:43 |
same time, I simply press the Delete key.
I can even make a whole bunch of guides
| | 04:48 |
at the same time by selecting one of
them, I'll click this one at the top, and
| | 04:52 |
then I'll use the Step and Repeat
feature.
| | 04:54 |
I'll go to the Edit menu and choose Step
and Repeat and I'm going to say, give me
| | 04:59 |
ten different guides and make them all
exactly one centimeter apart.
| | 05:06 |
When I click OK, you can see that I have
ten more, eleven total guides in a row.
| | 05:10 |
Well, now I've got so many guides on my
page that I can't tell what goes to what.
| | 05:15 |
Fortunately, InDesign even lets you
change the color of guides.
| | 05:19 |
So, for example, I'm going to drag over
three of these guides.
| | 05:23 |
I simply drag in an area where there's no
objects on the page and drag down, and if
| | 05:28 |
I drag over three of those, those three
are selected.
| | 05:31 |
Next, I'll go to Layout menu and choose
Ruler Guides.
| | 05:36 |
In the Ruler Guides dialog box I can
change the color of any selected guides.
| | 05:41 |
Instead of cyan, I'm going to choose
something completely different, like
| | 05:43 |
magenta, and I'll click OK.
Now, you won't see the change right away
| | 05:48 |
because those are selected, but as soon
as I deselect, you'll see that those
| | 05:52 |
three guides are now magenta.
Changing guide colors can be really
| | 05:56 |
helpful because you may want some guides
to indicate some things and other guides
| | 06:00 |
to indicate others.
Okay, so now, once you've done all this
| | 06:03 |
work to set up your guides, what if you
want to use them on another page, or even
| | 06:07 |
another document?
Well, again, they're just objects.
| | 06:11 |
So you can copy and paste them.
I'm going to select all my guides with a
| | 06:15 |
super secret shortcut, which is
Cmd+Option+G or Ctrl+Alt+G on Windows.
| | 06:21 |
That selects all the guides on the
spread.
| | 06:23 |
Now I'll copy them by going to the Edit
menu and choosing Copy.
| | 06:26 |
Of course, you could choose Cmd+C or
Ctrl+C on Windows.
| | 06:30 |
Then I'll go to the previous spread, I'll
go to the Pages panel, double-click on a
| | 06:34 |
different spread and then paste them.
Every guide is in exactly the same place
| | 06:41 |
as it was in the original spread.
When I deselect them I can see that even
| | 06:45 |
the colors are the same.
Guides are incredibly helpful for
| | 06:48 |
ensuring consistency and keeping you
efficient.
| | 06:50 |
They're just so easy to create.
There's really no reason not to use them.
| | 06:54 |
| | Collapse this transcript |
| Bleeding colors or images off the side of the page| 00:00 |
Let's say you're making a flyer, a
brochure like this one, and you want the
| | 00:04 |
background color to extend all the way to
the edge of the page.
| | 00:08 |
Well, if this were an on-screen document,
it's only going to be displayed on
| | 00:11 |
screen, then this is fine.
Just make sure the objects go all the way
| | 00:15 |
to the edge of the page.
But in order for this work in print, you
| | 00:19 |
have to actually extend it past the edge
of the page onto the pasteboard.
| | 00:23 |
Here's why.
Let's say it reaches just to the edge of
| | 00:26 |
the page.
When it ends up on a printing press, the
| | 00:29 |
paper might move just a tiny amount, but
you'd end up with a white sliver down one side.
| | 00:35 |
So, to compensate, printers want you to
extend the object off the page onto the pasteboard.
| | 00:41 |
This is called a bleed, and they print
the whole thing on a larger sheet of
| | 00:45 |
paper, and then they trim it down to
where the edge should be.
| | 00:48 |
So, I'm going to select this object, this
black frame, and I'm going to extend it
| | 00:53 |
past the edge of the page simply by
dragging this corner handle out a little bit.
| | 00:58 |
How far should bleeds go past the edge of
the page?
| | 01:00 |
Well, when you're making bleeds, it's
useful to have guides, and InDesign has
| | 01:06 |
bleed guides built right in.
You can make bleed guides in the New
| | 01:10 |
Document dialog box, but that only works
when you first create the file.
| | 01:14 |
In this case, we want to add them to this
document.
| | 01:17 |
So, to get them, we're going to head over
to the File menu, and choose Document Setup.
| | 01:23 |
You'll see the Bleed and Slug area at the
bottom of the Document Setup dialog box.
| | 01:27 |
If you don't see it, just twirl this
little triangle down.
| | 01:30 |
Now, most printers want between about 9
and 18 points for bleed.
| | 01:34 |
I'll set it to 10 points, and I'm
going to make sure that this button on
| | 01:37 |
the right side is turned on, this little
link icon.
| | 01:40 |
That way, if I change it in one place,
it'll update all of them.
| | 01:43 |
I just press Tab and InDesign changes
them all to 10 points.
| | 01:47 |
I want to emphasize that the amount that
you should choose, whether it's 10 points
| | 01:51 |
or something larger, is up to your
printer.
| | 01:53 |
Talk to your printer to get exactly how
much they want.
| | 01:56 |
Now, while I'm here, I'm also going to
add a little bit of a slug.
| | 02:01 |
I'll make sure this icon's turned off so
that I can change each of these independently.
| | 02:05 |
I'm going to make this something large,
just the top field, make it big, like 36 points.
| | 02:10 |
I'll show you what that means in just a
moment.
| | 02:11 |
Okay, great.
I'm going to click OK, and you'll see
| | 02:15 |
that I suddenly have guides around the
edge of my page.
| | 02:18 |
In fact, let's go to the View menu and
turn off Match Pasteboard to Theme Color,
| | 02:23 |
that way we can see the guides even
easier.
| | 02:25 |
These red guides are bleed guides, and if
I scroll down slightly by holding down
| | 02:29 |
the Opt+space bar or Alt+space bar
keyboard shortcut to get my grabber hand,
| | 02:33 |
you can see that there's other objects up
here, these blue guides set the slug area.
| | 02:38 |
That's a good place to put information
that you want printed out, but that you
| | 02:42 |
don't want on the final trimmed piece.
I don't want these notes on my final
| | 02:46 |
piece, but I do want my printer to see
them.
| | 02:49 |
So, because they are inside the slug
area, I can get them to print out.
| | 02:52 |
Now these red guides are going to tell me
how far off the edge of the page I want
| | 02:56 |
my objects to bleed.
So, all I need to do is resize this
| | 02:59 |
object to snap to that guide.
I'll just select it with a black arrow
| | 03:02 |
selection tool and drag a corner or side
handle until it snaps to the guide.
| | 03:07 |
Same thing with this pink box.
I'll simply click it and drag this top
| | 03:11 |
side handle up until it snaps against the
bleed guide.
| | 03:14 |
I'll scroll down, and now I'm going to
snap these bottom objects.
| | 03:18 |
Click on that one and drag down.
Click on this photograph, drag down, and
| | 03:23 |
so on.
You get the idea.
| | 03:24 |
Let's get that pink box down.
You want to make sure you get all of
| | 03:27 |
those objects.
Here's another graphic that I need to
| | 03:30 |
stretch out to the edge.
And I need to drag this side to the right
| | 03:34 |
edge, all the way past the edge of the
page, just to make sure it fits.
| | 03:38 |
Even this photo of this guy needs to snap
down as well.
| | 03:41 |
If I want it to print to the edge, I need
to extend it past the edge.
| | 03:45 |
So, I'll click and drag the edge down
there.
| | 03:47 |
Okay, I'm going to press Cmd+Opt+0 or
Ctrl+Alt+0 on Windows to see the whole spread.
| | 03:53 |
I'll click out here on the pasteboard to
deselect everything, and now I can see
| | 03:57 |
that all my objects are bleeding.
Oh, I missed one.
| | 04:00 |
There's one on the right side.
That graphic there needs to also be
| | 04:04 |
pulled down.
There we go.
| | 04:05 |
Now I've got them all.
If you want to see the final product,
| | 04:09 |
that is, what this page is going to look
like after it's trimmed down, remember
| | 04:12 |
the preview mode.
You can press the w key to go into
| | 04:16 |
preview mode and you can see all this
stuff that was bleeding off is actually
| | 04:20 |
cropped out now.
Press w again and you can see the
| | 04:23 |
original the way it was, all the way out
to the bleed guides.
| | 04:25 |
Now, I'm going to be talking about
printing and exporting PDFs in a later
| | 04:29 |
chapter, but I have to tell you this one
thing right now, because it pertains to bleeding.
| | 04:34 |
If you're going to be bleeding objects
off the page, you must turn on a
| | 04:38 |
particular setting inside the Print
dialog box or the Export dialog box.
| | 04:43 |
To show you this, I'm going to open the
Print dialog box with Cmd+p or Ctrl+p on
| | 04:47 |
Windows, and I'm going to go directly to
the Marks and Bleeds setting up here in
| | 04:51 |
this list.
Now, this is the same in both the Print
| | 04:54 |
dialog box and the Export PDF dialog box.
You have to go to Marks and Bleed and
| | 04:59 |
then make sure Use Document Bleed
Settings is turned on.
| | 05:02 |
If you don't turn that on, then
InDesign's going to crop them off at the
| | 05:07 |
edge of the page.
So, turn this on in order for those
| | 05:10 |
objects to bleed out, again, both in
print or PDF.
| | 05:13 |
And, if I want that slug information to
print, I need to turn on the Include Slug
| | 05:18 |
Area check box, too.
Ultimately, when you're bleeding objects
| | 05:21 |
off the page, you must talk with your
printer first to make sure they're set up
| | 05:25 |
to print bleeds, and also to find out how
large that bleed should be, otherwise you
| | 05:30 |
may not get the results you expect.
| | 05:31 |
| | Collapse this transcript |
|
|
4. Managing PagesInserting, deleting, and moving pages| 00:00 |
You can use InDesign to design anything
from a one sided business card to a book
| | 00:04 |
thousands of pages long.
But as soon as you go beyond that one
| | 00:08 |
page business card, you're going to need
to learn how to manage your pages, adding
| | 00:12 |
pages, moving them around, deleting them,
and so on.
| | 00:15 |
And that's what we are going to cover
here.
| | 00:17 |
All of InDesign's page features show up
in two places.
| | 00:21 |
The Pages submenu underneath the Layout
menu, or the Pages panel.
| | 00:26 |
But the Pages panel has everything from
the menu, plus a lot more.
| | 00:31 |
So, let's focus on the panel.
The very first thing I'm going to change
| | 00:34 |
in my Pages panel is the layout, the
configuration.
| | 00:38 |
Because currently, it shows each spread,
one on top of the other.
| | 00:42 |
It's just not a very good use of screen
real estate.
| | 00:45 |
Instead, I'm going to open the Pages
panel menu, up here in the upper right
| | 00:48 |
corner, and I'm going to choose the View
Pages sub-menu.
| | 00:51 |
And then, I'm going to choose
Horizontally.
| | 00:54 |
I think Horizontally is a much better use
of space, but you can do it either way
| | 00:59 |
you want, Vertically or Horizontally.
Now, I'm going to add a new page by
| | 01:04 |
clicking the New Page button down here at
the bottom of the panel.
| | 01:08 |
When I click that, it will add a new page
after whatever page is selected to the
| | 01:12 |
Pages panel.
Right now, both pages 20 and 21 are
| | 01:16 |
highlighted, that is they're selected in
the Pages panel.
| | 01:18 |
So, when I click this button, it'll add a
new page after that spread.
| | 01:22 |
There it is, my new blank page, page 22.
And all the other pages shuffle, so they
| | 01:28 |
stay in two page spreads.
That's because this is a facing pages document.
| | 01:33 |
Now, page 22 is selected.
That's the new page I just added, and I
| | 01:37 |
can click again to add a second page on
that spread.
| | 01:41 |
Of course, if I knew that I wanted two
pages to start with, I probably should
| | 01:44 |
have used the insert pages feature.
I can get that by going back to the Pages
| | 01:48 |
panel flyout menu and choose Insert
Pages.
| | 01:52 |
That gives me the Insert Pages dialogue
box and I can type in exactly how many
| | 01:56 |
pages I want right here.
For example, maybe I want to add one page
| | 02:00 |
after page 20.
Even though page 20's not selected in the
| | 02:03 |
Pages panel, I can say one page, after
page 20.
| | 02:07 |
You see that the Insert popup menu here
gives me several options.
| | 02:12 |
I can say after that page, before the
page, or at the start or end of the document.
| | 02:18 |
In this case, I'm just going to click OK,
and it adds a single blank page after
| | 02:21 |
page 20.
Another way to get a new page in InDesign
| | 02:25 |
is to duplicate one of the pages that you
already have.
| | 02:28 |
Now, I find this very useful when I'm
laying out pages quickly.
| | 02:31 |
Because I often, already have a page that
looks approximately like what I want.
| | 02:35 |
In this case, I want a duplicate of this
spread, pages 22 and 23.
| | 02:40 |
So, I'm going to select both those pages
by clicking on the numbers underneath the spread.
| | 02:45 |
Then, I'll hold down the Opt or the Alt
key on my keyboard and drag these numbers
| | 02:50 |
until I see a black line appear, or a
white line in the case of this dark UI.
| | 02:55 |
When I see that line appear, that means
put it here after the spread.
| | 02:59 |
And when I let go, InDesign makes a
duplicate of the spread right where I
| | 03:04 |
wanted it.
Of course, the Pages panel acts kind of
| | 03:06 |
like a slide tray.
If you have a bunch of images or slides
| | 03:09 |
in a tray, you can move them around
anywhere you want.
| | 03:12 |
Right?
So, if I want this spread to be somewhere
| | 03:15 |
else, all I have to do is click on it and
drag it.
| | 03:18 |
That moves it to where I want it to be.
For example, I'll put this all the way
| | 03:21 |
down at the end of the document.
Again, I'm looking for that vertical line
| | 03:25 |
to tell me where InDesign is going to
drop it.
| | 03:28 |
As soon as InDesign puts it into place,
all the pages reflow to keep the
| | 03:31 |
documents as facing pages.
There's another way to move pages too,
| | 03:35 |
and that's to choose move pages, from the
Pages panel menu.
| | 03:40 |
For example, I might want to move pages
23 and 24 to later, after page 25.
| | 03:45 |
So, I'll press page 23 to 24, that's just
a little hyphen in there to say 23 to 24.
| | 03:52 |
And then, I'm going to say after page 25.
Then, I'll click OK and you can see that
| | 03:57 |
those pages got moved.
And again, all the pages reflowed to take
| | 04:02 |
their place.
Finally, sometimes you find you need to
| | 04:05 |
delete pages and you can do that in the
Pages panel too.
| | 04:08 |
I'll select this second page in the
document just by clicking once on it.
| | 04:12 |
And I want to grab these other blank
pages I have too.
| | 04:15 |
So, I'm going to hold down the Cmd key or
the Ctrl key on Windows, and click on them.
| | 04:20 |
That lets me select Discontiguous Pages.
That means pages that are not next to
| | 04:25 |
each other.
Now, if you hold down the Shift key, you
| | 04:27 |
can actually select Continuous pages, a
range of pages.
| | 04:30 |
For example, I'll click on this first
page of the document.
| | 04:34 |
Page 20.
And then, I'll Shift click on the last
| | 04:36 |
page, page 30.
That selects all the pages from 20 to 30.
| | 04:41 |
But in this case, that's not actually
what I want, so let me click out here
| | 04:44 |
where there's no pages that deselects
them.
| | 04:46 |
And then, once again I'm going to click
on the first blank one, and then Cmd or
| | 04:49 |
Ctrl click on the other blank ones.
Now, to delete them, all I have to do is
| | 04:54 |
click on the little trashcan icon at the
bottom of the panel.
| | 04:58 |
Because those pages had nothing on them,
InDesign doesn't warn me, it just deletes them.
| | 05:02 |
But if I try and select this last page
and delete it, InDesign does give me a warning.
| | 05:07 |
It tells me that this page has objects on
it.
| | 05:09 |
Do I really want to delete it?
And I say yes, yes I do.
| | 05:13 |
I'll go ahead and click OK, and now it's
gone.
| | 05:17 |
Now, remember, even though these are all
called pages, and this is the Pages
| | 05:21 |
panel, it doesn't necessarily mean print
pages.
| | 05:24 |
A page in InDesign could be what you see
on a screen, like a slide presentation,
| | 05:29 |
or a magazine on a tablet.
A page, is a page, is a page.
| | 05:33 |
| | Collapse this transcript |
| Changing page size| 00:00 |
As we saw in an earlier chapter, you can
change a document's size by going to the
| | 00:04 |
File menu and choosing Document Setup.
When you do this it has the effect of
| | 00:09 |
changing every page in the document.
Even your master pages, which is a topic
| | 00:13 |
I'll cover later on in this chapter.
For example, let's go over here and
| | 00:17 |
change the height of this to something
larger.
| | 00:19 |
Maybe 12 inches.
When I click OK, you'll see that every
| | 00:23 |
page in the document got taller.
I'll press Cmd+Z or Ctrl+Z on Windows,
| | 00:27 |
and it goes back to the way it was.
Of course, in most documents, you want
| | 00:31 |
every page to be the same size.
But sometimes you need to alter the size
| | 00:35 |
of one or more pages.
For example, in this document, a brochure
| | 00:40 |
file from the exercise files folder, I
have a trifold, that is three panels,
| | 00:45 |
front and back.
There's three here, and if I look at the
| | 00:48 |
Pages panel, there's three more over
here.
| | 00:51 |
Now, this page on the right is the cover
of the brochure.
| | 00:55 |
And this panel over on the left, is the
inside.
| | 00:57 |
It's going to fold inside when it all
gets folded up.
| | 01:01 |
If all three panels were exactly the same
width, we would have a problem when we
| | 01:05 |
came to fold it.
Instead, we must make this panel the one
| | 01:09 |
over on the left a little bit narrower,
so that it folds inside the other two.
| | 01:14 |
Now, before I show you how to change the
size, I need to point out that this
| | 01:18 |
really is three different pages in a
single spread.
| | 01:21 |
You can see that over here in the Pages
panel, one, two, three, and then four,
| | 01:25 |
five, six, each of those spreads are made
up of three separate pages.
| | 01:29 |
It may not be obvious to you at first how
to get a three page spread, so let me
| | 01:33 |
show you.
First, in the Pages panel menu, I'll
| | 01:36 |
choose Insert Pages.
And I'm going to add three pages after
| | 01:40 |
the end of the document.
I'll click OK, and you can see that now I
| | 01:44 |
have three different pages each on it's
own spread.
| | 01:47 |
Now, in order to get them together onto a
single spread, I have to go to the Pages
| | 01:51 |
panel menu, and make sure that this
option is turned off.
| | 01:55 |
Allow document pages to shuffle.
When it's on, they're always going to be
| | 01:59 |
on their own spread.
When its off, I can put them together.
| | 02:03 |
So, I'll leave that turned off.
And then, I'm going to drag page eight
| | 02:06 |
over to the left, over to page seven.
And I'm going to drag it over until I see
| | 02:11 |
this little icon.
It looks like a little black arrow
| | 02:14 |
pointing to the right.
This indicates that the two pages are
| | 02:17 |
going to fit together.
Now, I'll do it to the third page.
| | 02:20 |
Drag this over until I see the same icon.
Let go, and now I have a two, three page spread.
| | 02:27 |
Now, for this brochure which is just
front and back, I obviously don't need a
| | 02:30 |
third spread.
So, I'll go ahead and select that, and
| | 02:33 |
then delete that by clicking the trashcan
icon.
| | 02:36 |
Okay, back to what I was talking about.
Now, once again, up on page one, let's go
| | 02:40 |
ahead and double-click on those numbers
to jump up to that first spread, I want
| | 02:44 |
this first page to be narrower.
To do that, I'm going to choose the Page tool.
| | 02:49 |
That's the third tool down in the Tool
panel.
| | 02:52 |
The Page tool is a little bit non-obvious
in how it works, so here's the trick.
| | 02:57 |
After you choose the Page tool, click on
the page that you're trying to affect.
| | 03:01 |
That could be a master page, or in this
case, a document page.
| | 03:05 |
I'll simply click on this page and you'll
see that it's highlighted.
| | 03:08 |
There are these weird little side handles
and corner handles around it.
| | 03:11 |
Now, you want to be careful when you're
doing this, you don't want to click on an
| | 03:15 |
object on the page that actually does
something slightly different.
| | 03:18 |
You want to click on the page itself.
If the whole page is covered with
| | 03:22 |
objects, you can take a shortcut and
click on the page in the Pages panel.
| | 03:27 |
Next, to change the size, I go up here to
the Control panel and I change the width.
| | 03:32 |
But before I change the width, I must,
must, must first go and make sure that
| | 03:38 |
the reference point on the left edge,
that's this little icon over on the left
| | 03:42 |
edge of the Control panel.
I have to make sure that that reference
| | 03:45 |
point is set up correctly.
The reference point tells me what part of
| | 03:49 |
this page is going to stay stationary,
what's locked.
| | 03:52 |
And everything else will move around that
point.
| | 03:56 |
I'm going to choose any one of these
points along the right edge of the
| | 03:59 |
reference point icon.
By doing that, I'm telling InDesign to
| | 04:02 |
keep the right edge where it is.
Then, I'll go to the width field, and
| | 04:06 |
I'll change this from 266 points just
down to let's say 260 points.
| | 04:12 |
You can see as soon as I hit Enter or
Return, that InDesign changes the width
| | 04:16 |
of that page.
And it did it based on the reference point.
| | 04:19 |
The right edge of the page, so that
doesn't move.
| | 04:22 |
Now, of course, this is a double sided
brochure, so I need to do the same thing
| | 04:26 |
on the next spread.
I'll double-click pages four to six, and
| | 04:29 |
I'll use the Page tool to click on the
right hand page.
| | 04:32 |
The right hand page is the opposite of
the left hand page on the first spread.
| | 04:36 |
Right?
They're two sides of the same panel in
| | 04:38 |
this brochure.
So, I'll click on that right page inside
| | 04:41 |
the brochure, and then I'll go up to the
Control panel.
| | 04:44 |
And again, before I change the width
field I want to make sure that the
| | 04:47 |
reference point is set up correctly.
Actually, let me show you what happened
| | 04:51 |
if I don't change the reference point.
I'm just going to go ahead and change
| | 04:54 |
this to 260 points.
It's a little bit tricky, but you can see
| | 04:58 |
that there's now a blank area between
these pages.
| | 05:02 |
The reference point was set to the right
side, so that page got narrower, but the
| | 05:06 |
right side stayed where it was.
That means I have a gap between these two
| | 05:10 |
pages, and that's obviously not what I
want.
| | 05:12 |
That would print completely incorrectly.
So, let me undo that, Cmd+Z or Ctrl+Z for
| | 05:17 |
Windows, and set the reference point
properly.
| | 05:20 |
I want the left side to stay where it is,
and then change the width to 260 points.
| | 05:26 |
There we go.
So, that page will now fold into the
| | 05:30 |
brochure properly and it'll end up in the
proper place and we won't have any
| | 05:34 |
problems when you're folding or binding.
Now, there are many other examples of
| | 05:38 |
when you might want to change individual
page sizes.
| | 05:40 |
For example, maybe you're creating
stationery for a client and one page of
| | 05:45 |
your document might be a letterhead, and
the next page could be an envelope, and
| | 05:48 |
the next, a business card.
You can mix and match all of that inside
| | 05:52 |
a single InDesign document, using the
Page tool.
| | 05:55 |
| | Collapse this transcript |
| Creating and applying master pages| 00:00 |
A master page is kind of like a template
for your pages.
| | 00:03 |
Anything that you put on a master page
will show up on your document pages.
| | 00:07 |
That's why you should use master pages
for things like page numbers, headers, or
| | 00:11 |
a logo that you want on all or most of
your pages.
| | 00:15 |
Every document has at least one master
page.
| | 00:17 |
And you can find that in the Pages panel.
I'll open up my Pages panel here in the
| | 00:21 |
dock, and I can see at the very top all
my master pages.
| | 00:25 |
Now this file, from the Exercise Files
folder, has just one master page called A_Master.
| | 00:30 |
To see that master page, I double-click
on it.
| | 00:35 |
Now because this is a facing-pages
document, that is, it has a left and a
| | 00:38 |
right-hand page, I can see that the
master page also has a left and a
| | 00:42 |
right-hand page.
So, anything I put on the right-hand page
| | 00:46 |
will show up only on the right-hand pages
of my document.
| | 00:50 |
Anything on the left-hand page of the
master page shows up on the left-hand
| | 00:53 |
pages of my document.
If this were a single sided document, a
| | 00:57 |
non-acing pages document, I would only
see one page.
| | 01:00 |
And anything I put on that page would
show up on all my document pages.
| | 01:04 |
Now, we're working with a book, and books
often have running headers and page numbers.
| | 01:09 |
I'm going to talk about how to add page
numbers that update automatically a
| | 01:12 |
little later on in this chapter.
But for right now, I'm going to add some
| | 01:16 |
running headers at the top of my page.
To do that, I'm going to grab the Type
| | 01:20 |
tool in the Tool panel.
Then, I'm going to use that tool to drag
| | 01:24 |
out a frame.
I'll start in this corner where the two
| | 01:26 |
guides intersect, and I'll drag out down
and to the right until I have my text frame.
| | 01:32 |
When I let go of the mouse button, the
text cursor starts flashing inside that
| | 01:36 |
text frame.
I'll type in the name of this book, The
| | 01:39 |
History of Art.
Looks good.
| | 01:42 |
The History of Art, okay.
Now, I'm going to apply some formatting
| | 01:45 |
to it.
I have some formatting in a paragraph
| | 01:48 |
style, that I'm going to apply to this.
And I talk about paragraph styles in a
| | 01:51 |
later chapter, but for now just follow
along and you'll get it.
| | 01:55 |
I'm going to go the Paragraph Styles
panel over here in the dock.
| | 01:58 |
I can see that because I have the
Advanced Workspace selected up here in
| | 02:02 |
the Application bar.
Inside the Paragraph Styles panel, I'm
| | 02:06 |
going to scroll down until I see the
paragraph style called Folio.
| | 02:10 |
Here it is.
While the text cursor is flashing in that
| | 02:14 |
paragraph, I'll click once on the
paragraph style, and it adds a bunch of
| | 02:18 |
formatting to that text.
Okay, now I need a running head on the
| | 02:21 |
right side of my page.
Instead of making a whole new frame, I'm
| | 02:25 |
just going to duplicate the one I made.
So I will choose the Selection tool, that
| | 02:30 |
Black Arrow tool in the Tool panel.
And I'm going to hold down the Option and
| | 02:34 |
Shift key, or Alt+Shift on Windows, and
drag this over to the right.
| | 02:40 |
Now what that does is it makes a
duplicate of this object and keeps it in
| | 02:44 |
perfect alignment.
The Option or Alt key makes a duplicate,
| | 02:48 |
the Shift key keeps it in alignment with
the original.
| | 02:51 |
Okay, in my new frame over here, I'm
going to delete that text.
| | 02:54 |
I'll switch to the Type tool in the Tool
panel.
| | 02:57 |
I'll come in here and click and delete
that text just by selecting it, and then
| | 03:01 |
pressing the Delete key on my keyboard.
And I'm going to put a running header in
| | 03:05 |
here instead that changes from one page
to the next based on the chapter name.
| | 03:10 |
To do that, I need a text variable.
So while the text cursor is flashing
| | 03:14 |
inside that frame, a little bit hard to
see, but there it is flashing inside that frame.
| | 03:18 |
I'm going to the Type menu, scroll down
to the Text Variable submenu, choose
| | 03:24 |
Insert Variable, and then choose Running
Header.
| | 03:28 |
Now I've already built this variable into
this template, this running header variable.
| | 03:32 |
And this running header variable
automatically picks up the name of the
| | 03:35 |
chapter and puts it up here into the
header.
| | 03:38 |
These kinds of variables are really
great.
| | 03:40 |
And I discuss how you can make them
yourself in my beyond the essentials
| | 03:44 |
title here in the online training
library.
| | 03:46 |
Anyway, now let's take a look at our
document pages to see if this worked.
| | 03:51 |
I'll open my Pages panel and I'll
double-click down here on pages 8 and 9
| | 03:56 |
to jump to that field.
I'll press Cmd+Option+0 or Ctrl+Alt+0 to
| | 04:00 |
fit that spread in the window, a little
easier to see.
| | 04:03 |
And we can see that The History of Art
was picked up from the master page and
| | 04:06 |
put on that left-hand page.
And the name of this chapter was picked
| | 04:10 |
up and put of the right side.
So, this is terrific because it means
| | 04:13 |
that I don't have to add headers manually
on every single spread throughout my
| | 04:17 |
document which would be really annoying.
The problem is that when I added that to
| | 04:21 |
my master page, it applied it to every
document page even my cover and front matter.
| | 04:26 |
Here, look I'm going to go back to pages
2 and 3 here in the front matter, and you
| | 04:30 |
can see that it shows up even here on
this blank page.
| | 04:34 |
And on the right side it added this line,
there was no chapter at this point so it
| | 04:39 |
leaves it blank.
But it did add that little underline and
| | 04:42 |
that's ugly, that's not what I want.
So, can I remove them?
| | 04:45 |
Absolutely.
What you have to do is apply a none
| | 04:49 |
master page.
You sort of remove the master page
| | 04:52 |
template from these particular document
pages and you can do that in the pages panel.
| | 04:57 |
There's a couple ways to do it.
One is to simply drag this none master
| | 05:00 |
page, which is at the very top of the
Pages panel down onto the page you want
| | 05:04 |
to apply it to.
If I drop it onto page 2, you see that on
| | 05:08 |
the left-hand page, the running head
disappeared.
| | 05:11 |
I could do the same thing to page 3 as
well.
| | 05:14 |
If I want to apply none to a number of
pages, for example, all the pages in the
| | 05:18 |
front matter.
All I have to do is select the first
| | 05:21 |
page, in this case the cover, and then
Shift-click on the last page.
| | 05:25 |
I'll say page 9.
And then, go to the Pages panel menu and
| | 05:30 |
choose Apply Master to Pages.
I'm going to say Apply Master None to all
| | 05:36 |
these pages, 1 through 9.
Because I've selected them in the Pages
| | 05:40 |
panel already, InDesign inserted them
into this field.
| | 05:43 |
So, good.
I'll click OK, and now InDesign has
| | 05:47 |
applied the none to all of these pages,
or you can also think of it as removing
| | 05:51 |
any master page from those pages.
Now, I can tell that no master page is
| | 05:55 |
applied to these because there's no a in
the upper corners of these pages.
| | 06:00 |
Let me click out here and you can see
there's no a.
| | 06:02 |
On page 10 and 11, you see that little a,
that means the master page a has been
| | 06:08 |
applied to those pages.
Also, if you hover over the page, you get
| | 06:12 |
a little tool tip that shows you what
master is applied to it.
| | 06:15 |
So, master pages are great.
But when you start using them, there's
| | 06:18 |
one little thing that is going to drive
you crazy.
| | 06:20 |
Let me jump to page 10 here and I'll show
you.
| | 06:23 |
I'll double-click on page 10 and I want
to change this header.
| | 06:27 |
Maybe I've decided I want to move it to
the left or right or something.
| | 06:30 |
So I'm going to grab my Selection tool,
the black arrow, and I'm going to try and
| | 06:34 |
click on it and drag it.
Can't do it.
| | 06:37 |
No matter how many times I click and
drag, nothing happens at all.
| | 06:40 |
I can't even select it.
Here's the reason.
| | 06:43 |
InDesign is keeping these master page
items away from you so that you don't
| | 06:47 |
accidentally mess up your design.
But in the next movie, I'm going to show
| | 06:51 |
you how to get past that safety net and
access those master page items directly
| | 06:55 |
on your document page.
| | 06:56 |
| | Collapse this transcript |
| Overriding master page items| 00:00 |
As I mentioned in the last movie,
InDesign protects master page items, when
| | 00:04 |
you're on a document page.
You can't move them, you can't delete
| | 00:07 |
them, you can't even select them.
I've opened this document from my
| | 00:11 |
exercise file folder.
It's B art history.
| | 00:14 |
And in this one, you can see that I
already have my running headers.
| | 00:18 |
I'm going to zoom in on this running
header, by holding down Cmd+space bar on
| | 00:21 |
the Mac or Ctrl+space bar on Windows.
And I'll drag the marquee around this area.
| | 00:25 |
That zooms in, so I can see it better.
You might notice something interesting
| | 00:29 |
about this running header.
It has a dotted line for a frame edge.
| | 00:34 |
Actually the dotted edge is covered up on
the left top and right because of those
| | 00:37 |
guides, but believe me, they really are
dotted lines.
| | 00:41 |
Now, those dotted frame edges indicate a
master page item.
| | 00:45 |
Master page items always have dotted
edges.
| | 00:48 |
But if I try and click on this with the
Selection tool, nothing happens.
| | 00:52 |
I can't edit it, I can't move it,
nothing.
| | 00:54 |
But I thought InDesign was all about
letting me express my creativity.
| | 00:58 |
What if I want to change it?
Why can't I?
| | 01:00 |
Well, you can, you just need to know the
trick.
| | 01:04 |
And the trick is, you have to hold down
two modifier keys on your keyboard.
| | 01:08 |
Cmd+Shift on the Mac.
Or, Ctrl+Shift on the Windows.
| | 01:12 |
And when you're hold those modifier keys
down, and then click, InDesign overrides
| | 01:18 |
that object.
It pulls it off the master page and the
| | 01:21 |
frame becomes a document page item.
You can see that because there is no
| | 01:25 |
longer a dotted line around it.
It becomes a real selectable object that
| | 01:29 |
I can move, I can edit it, I can do
anything I want.
| | 01:32 |
Now, I'm going to zoom out with a
Cmd+Option+0 or a Ctrl+Alt+0, so I can
| | 01:37 |
see the entire spread.
And I'm going to do the same thing to
| | 01:40 |
that running header on the right side.
Cmd+Shift or Ctrl+Shift click, that
| | 01:44 |
overrides it.
And now, I can just press the Delete key,
| | 01:47 |
and poof, they're gone.
But what if I didn't mean to delete them?
| | 01:51 |
What if that was a mistake?
Well, don't panic.
| | 01:54 |
You can always get master page items
back, and the way you do that is to open
| | 01:58 |
the Pages panel.
Make sure you have the pages selected
| | 02:02 |
that you want to affect.
In this case, I've got pages 10 and 11
| | 02:05 |
selected, those are highlighted, then
I'll go to the Pages panel menu.
| | 02:09 |
I'll go down to the Master Page's
sub-menu and I'll choose Remove All Local Overrides.
| | 02:15 |
It's kind of a double-negative there.
You're removing the overrides that you
| | 02:19 |
already made.
In other words, you're putting back
| | 02:21 |
everything that was on the master page,
setting it back to the way it was originally.
| | 02:26 |
Okay, so that's good.
But sometimes you'll open a document that
| | 02:29 |
somebody sends you and you'll find that
you still can't override master page items.
| | 02:33 |
It can be a real mystery.
For example, you'll be Cmd+Shift clicking
| | 02:37 |
or Ctrl+Shift clicking and nothing
happens at all.
| | 02:40 |
Let me show you what's going on.
I'm going to double-click on my master
| | 02:43 |
page to jump to it.
And then, I'm going to select those
| | 02:46 |
master page items by clicking on 1, and
then Shift clicking on the other, that
| | 02:49 |
selects both of them.
I'll go back to the Pages panel menu,
| | 02:53 |
scroll down and look inside the Master
Pages sub menu.
| | 02:57 |
And then, I'm going to turn off Allow
Master Item Overrides on Selection.
| | 03:01 |
That basically tells InDesign don't let
anybody change these master page items.
| | 03:06 |
In fact, if I go back to my documents
pages by double-clicking on them here.
| | 03:10 |
You'll see something interesting.
Let me zoom in, so you can see this better.
| | 03:15 |
I don't see a dotted line around this
frame.
| | 03:17 |
I don't see a solid line.
I don't see any line.
| | 03:20 |
That's my indication that this item
cannot be overridden.
| | 03:24 |
When it comes to building structured
documents such as books and magazines,
| | 03:27 |
Master Pages are a necessity for an
efficient workflow.
| | 03:31 |
And controlling each master page item is
key to making sure that your final
| | 03:35 |
document ends up just the way you wanted
it.
| | 03:37 |
| | Collapse this transcript |
| Adding page numbering| 00:00 |
You're working on a book or a magazine or
anything that has more than a few pages,
| | 00:04 |
you owe it to your readers to add page
numbers.
| | 00:07 |
But it's a hassle to add page numbers to
each and every page, right?
| | 00:11 |
Wrong.
InDesign makes page numbers a snap.
| | 00:14 |
Now we want the pages numbers on almost
every document page.
| | 00:17 |
So, where should we put them?
That's right, the master page.
| | 00:21 |
So I'm going to go over here, and open my
Pages panel, and I'll double-click on my
| | 00:24 |
master page A to jump to it.
I'd like my page numbers at the bottom of
| | 00:28 |
this page, so I'll grab my Type tool from
the Tool panel, and drag out a text frame
| | 00:33 |
at the bottom of this page.
When I let go, the text cursor is flashing.
| | 00:38 |
Now I can type my page number.
So what should I type?
| | 00:41 |
The actual page number?
No, you don't want to type real numbers here.
| | 00:44 |
Instead, you want a stand in, a marker, a
symbol, something that's going to change
| | 00:49 |
on every page.
So that special character can be found up
| | 00:53 |
here in the Type menu.
Scroll down to Insert Special Character,
| | 00:57 |
and then look inside the Markers submenu.
There it is, current page number.
| | 01:03 |
Now here on this page, it says A.
That's because we're on master page A,
| | 01:07 |
but don't worry, it'll change on the
document pages automatically.
| | 01:12 |
Now I'm going to apply some formatting to
this by going to my Paragraph Styles
| | 01:15 |
panel, and I'll scroll down until I see
my page number paragraph style and I'll
| | 01:20 |
click on it.
That looks pretty good, centered in there.
| | 01:23 |
Let's make it a little bit prettier.
I'm going to zoom in to 200% by pressing
| | 01:27 |
Cmd+2 or Ctrl+2 on Windows.
We can see it better that way.
| | 01:31 |
Then I'm going to type a space and I'm
going to put an em dash there.
| | 01:34 |
And you can get that from the Type menu,
too.
| | 01:37 |
Type menu > Insert Special Character, and
this one's going to be inside Hyphens and Dashes.
| | 01:43 |
Em dash.
That's handy if you don't know how to
| | 01:45 |
type an em dash yourself.
Then I'll put an em dash on the left
| | 01:48 |
side, as well.
Just simply by copying that and then
| | 01:51 |
pasting it over here.
And I'll follow it by another space.
| | 01:54 |
There we go.
That looks pretty good.
| | 01:56 |
Now I'm going to zoom out to fit the
whole spread in the window, by pressing
| | 01:59 |
Cmd+Option+0, or Ctrl+Alt+0.
And I'm going to duplicate that page
| | 02:03 |
number onto the right side.
So I'll switch to the black arrow
| | 02:07 |
Selection tool.
And then I'm going to hold down
| | 02:09 |
Option+Shift, or Alt+Shift, and drag that
object over to the right side until it
| | 02:15 |
snaps into place.
That duplicates it, and places it in
| | 02:19 |
exact alignment with the original.
There we go.
| | 02:22 |
I have fancy-looking numbers on both the
left and right pages of the document.
| | 02:26 |
So let's see if it's working.
I'll go back to my Pages panel and I'm
| | 02:30 |
going to double-click on pages 12 and 13
to jump to those pages.
| | 02:34 |
And we can see the page numbers at the
bottom here.
| | 02:37 |
Let's go ahead and zoom in here on 13.
With the Cmd+space bar or Ctrl+space bar+drag.
| | 02:43 |
Here it says 13.
On page 12 it said 12.
| | 02:46 |
On the next page, it's going to say 14
and so on!
| | 02:48 |
And the great thing about these automatic
page numbers is that if you later add
| | 02:52 |
pages or remove pages, they all
automatically update.
| | 02:56 |
So you never have to worry about it
again, which is awesome.
| | 03:00 |
| | Collapse this transcript |
| Changing page numbering with sections| 00:00 |
This InDesign document from the Exercise
file is called 4C, Art History, and it
| | 00:05 |
has 241 pages in it.
I can tell that by opening the Pages
| | 00:09 |
panel and looking at the lower left
corner.
| | 00:11 |
And right there, it says 241 pages in 121
spreads.
| | 00:16 |
Now, this document is a book, and it has
various sections in it.
| | 00:20 |
For example, the opening section is all
front matter, then there's an
| | 00:24 |
introduction, and then there's my
chapters.
| | 00:26 |
Now, my introduction should have page
numbers, but they should be roman
| | 00:30 |
numerals, different from the rest of the
book.
| | 00:33 |
Can I do that?
Absolutely.
| | 00:34 |
I can break my document up into sections
and change the page numbering of those
| | 00:38 |
sections by using the numbering and
section options dialog box.
| | 00:42 |
To do that, I first need to choose what
page I want to affect.
| | 00:46 |
In this case, it's page 9.
So, I'll double-click on that page to
| | 00:49 |
jump to it and select it in the Page
panel.
| | 00:51 |
Then, I'll go to the Pages panel menu and
I'll choose Numbering and Section options.
| | 00:57 |
This dialog box lets you change the page
numbers for the selected page.
| | 01:01 |
Right now, it's set to automatic page
numbering.
| | 01:04 |
That means continue the page numbering
from whatever the previous section was.
| | 01:08 |
But here, in this case, we want to
restart this at page 1.
| | 01:12 |
And we want that page one to be in roman
numerals.
| | 01:15 |
To do that, I go down here to the Style
Popup menu and choose lower case roman numerals.
| | 01:21 |
When I click OK, you won't see the page
number down here, because we don't have a
| | 01:25 |
page number.
But if I double-click on the next spread,
| | 01:28 |
we can see them.
There's page 2, ii, and there's page 3,
| | 01:32 |
iii, and so on.
Now sections go and go and go until you
| | 01:36 |
tell them to stop.
And in this case, I'm going to scroll
| | 01:38 |
down on the Pages panel until I see the
next chapter.
| | 01:42 |
I'm just looking at these little
thumbnail previews and I can see that
| | 01:45 |
here is the beginning of the next
chapter.
| | 01:48 |
I'll double-click on it, and you can see
that this is Chapter 1.
| | 01:51 |
I want that chapter to start with an
Arabic page one.
| | 01:55 |
So, now that it's selected, I can go back
to the Pages panel menu and choose
| | 01:59 |
Numbering and Section options.
I'll start this page truly at page 1, and
| | 02:04 |
I'm going to use Arabic numerals.
When I click OK, InDesign tells me that
| | 02:08 |
something is wrong.
Now, here's the problem.
| | 02:11 |
When you number a page, you're actually
naming it.
| | 02:15 |
I'm giving this page the name, page 1,
and this document already has a page
| | 02:20 |
named page 1, which is the first page in
the document.
| | 02:23 |
Now, I'm going to fix this in just a
moment.
| | 02:25 |
But for right now, I'm just going to say
fine, okay, don't panic.
| | 02:29 |
I'll click OK, and we can see that this
starts on page 1 now.
| | 02:34 |
I'll double-click on the next spread, and
you'll see that it goes two, and three,
| | 02:38 |
and so on.
Okay, now let's fix that problem.
| | 02:41 |
I'm going to scroll back to the top of
the document here in the Pages panel.
| | 02:45 |
I'll double-click on one.
And we can see that this is page 1, 2, 3,
| | 02:50 |
and so on.
And here in the Pages panel, you'll see
| | 02:52 |
this little triangle above page 1.
Every time you create a new section, you
| | 02:58 |
get one of those little triangles above
the page, here in the Pages panel.
| | 03:01 |
And, of course, you always get a new
section at the beginning of a document.
| | 03:05 |
So, you always have a triangle there.
Now here's a little shortcut.
| | 03:08 |
If you double-click on that triangle, up
comes the numbering and section dialog box.
| | 03:14 |
I need to change the numbering, or the
name of this section.
| | 03:17 |
So, I'm going to change that by going
over here and changing the style to ABCD.
| | 03:22 |
It actually doesn't matter what I choose
here, as long as it's not something
| | 03:26 |
that's used elsewhere in the document.
And actually, in this case, these pages
| | 03:30 |
don't even show page numbers, so it
really doesn't matter what I pick.
| | 03:34 |
Alright, I'll click OK, and you can see
that updates here in the Pages panel.
| | 03:39 |
Everything is good to go, but you might
encounter one more problem with page numbering.
| | 03:43 |
Let me show you.
I'll go to the Layout menu and click Go
| | 03:47 |
to Page or press Cmd+J or Ctrl+J on
Windows.
| | 03:51 |
And lets's say I want to jump to the
first page of the document.
| | 03:54 |
Ignore the fact that I'm already on the
first page of the document.
| | 03:56 |
Let's say I want to go to the first page
of the document, so I press one, right?
| | 04:00 |
And I'll click OK.
Did I go to the first page of the document?
| | 04:04 |
No.
I went all the way to the middle of my
| | 04:06 |
document to Chapter 1.
That's because this page is named page 1.
| | 04:11 |
So, in order to tell InDesign to jump to
the first page of my document, I don't
| | 04:16 |
say page 1.
I type something slightly different.
| | 04:19 |
So, go back to Layout > Go to Page, and
I'm going to say plus one.
| | 04:24 |
Now this plus sign has nothing to do with
addition.
| | 04:27 |
We're not doing math here.
It just means the first page of the
| | 04:30 |
document, like the absolute page one.
Plus two would mean the second page and
| | 04:35 |
so on.
You get the idea.
| | 04:37 |
Now, when I press Enter or Return, it
jumps to the first page.
| | 04:41 |
That little plus symbol turns out to be
really useful whenever you break your
| | 04:44 |
document up into sections and change your
page numbering.
| | 04:47 |
Now that you have your master pages and
your page numbering all set up, it's time
| | 04:51 |
to look at what else you need to do to
your document.
| | 04:53 |
Like formatting all your text and
graphics.
| | 04:56 |
| | Collapse this transcript |
|
|
5. TextUnderstanding text frames| 00:00 |
There are probably few people who use
InDesign for pictures only, but most of
| | 00:04 |
us need to put text on our pages.
Well you cannot have text without a text
| | 00:09 |
frame, but the good news is that there
are lots of ways to makes text frames in InDesign.
| | 00:13 |
The basic way for making a text frame is
to use the Type tool.
| | 00:17 |
You choose the type tool from the tool
panel, and then simply click and drag.
| | 00:21 |
Notice that as I'm dragging, I get the
measurements of that frame in a little
| | 00:26 |
field to the right of my cursor.
That helps me create just the size I want.
| | 00:31 |
When I let go of the mouse button, the
text cursor is flashing inside the text
| | 00:36 |
frame, ready for me to start typing.
Now there are several other tools for
| | 00:39 |
making frames as well.
Down the Tool panel a little bit, you'll
| | 00:43 |
see several other tools.
For example, the rectangle frame tool.
| | 00:46 |
And if I click and hold for a moment,
I'll see underneath that tool there's a
| | 00:50 |
Rectangle Frame tool, the Ellipse Frame
tool, and the Polygon Frame tool.
| | 00:54 |
These technically make graphic frames.
That is, if I choose this rectangle frame
| | 00:59 |
tool, and click and drag out an area, I
see a big x in it.
| | 01:02 |
And that means it's supposed to have a
graphic inside of it.
| | 01:06 |
But you know what, InDesign doesn't care.
You can easily change one kind of frame
| | 01:10 |
into another, simply by grabbing the Type
tool and then clicking on top of it.
| | 01:15 |
Now notice what happens to the cursor as
I move on top of the frame.
| | 01:19 |
Out here where there's no frame at all, I
get a kind of cursor that says, well I
| | 01:23 |
could make you a frame if you want.
But as soon as I move the cursor on top
| | 01:27 |
of this frame that's empty, I get a
different cursor.
| | 01:30 |
It's kind of a dotted line, kind of a
circle or almost parentheses around it.
| | 01:35 |
And that dotted line indicates that when
I right click it's going to turn this
| | 01:39 |
frame, this empty frame into a text
frame.
| | 01:42 |
So it's always a good idea to watch that
little cursor because it's going to tell
| | 01:46 |
you what's going to happen next.
When I click it changes into a text frame
| | 01:49 |
and then again, I can start typing.
Now there's also a set of tools down here
| | 01:54 |
that are technically unassigned frames.
Once again a rectangle, ellipse and a polygon.
| | 02:01 |
These are shapes, they're not really
designed to have text or graphics inside
| | 02:04 |
them, but once again, if I make one,
perhaps with this ellipse tool, drag it
| | 02:09 |
out I can turn that into a text frame by
switching back to the type tool and
| | 02:14 |
clicking inside of it.
Now I'm typing inside of an oval.
| | 02:18 |
Of course some people don't like it when
their graphic frames and their unassigned
| | 02:22 |
frames get turned into text frames so
easily.
| | 02:24 |
So the good news is that Adobe has given
us a preference, so that you can turn
| | 02:28 |
that off if you don't like it.
What you do is go to the InDesign menu on
| | 02:32 |
the Mac, or the Edit menu on Windows, and
you choose the Preferences sub-menu, then
| | 02:37 |
choose Type.
That takes you right to the Type pane of
| | 02:40 |
the Preferences dialog box.
The Type pane of the Preferences dialog
| | 02:44 |
box has a check box called Type tool
converts frames to text frames.
| | 02:49 |
If you turn that off then your graphic
frames and your unassigned frames will no
| | 02:53 |
longer change into text frames
accidentally.
| | 02:56 |
However I happen to like that feature, I
like that it turned into text frames so
| | 02:59 |
I'm going to leave it turned on.
It's completely up to you.
| | 03:03 |
I'll click okay and then I'm going to
clean up my paste board a little bit here
| | 03:06 |
by switching back to my selection tool,
dragging over all of these frames that I
| | 03:10 |
just made, and then pressing the Delete
key.
| | 03:13 |
Now there's one more way that you can
make a text frame in InDesign, and that
| | 03:17 |
is to import a text story like a Word
file or an RTF file.
| | 03:21 |
To do that, I'm going to go to the File
menu and choose Place.
| | 03:27 |
I'm going to go into much more detail
about placing stories later on in this
| | 03:31 |
chapter, but for right now, all I'm going
to do is select this Word document, and
| | 03:36 |
then click Open.
You'll see that it loads a Place cursor,
| | 03:40 |
with the story attached to it.
Now at this point I have two options.
| | 03:44 |
I could just click and InDesign will make
a frame for me and load the story into
| | 03:49 |
it., or, let me undo that, press command
z or control z on Windows, now reloads
| | 03:54 |
the place cursor and this time I'm going
to drag out of frame.
| | 03:57 |
And when I do that I can control exactly
how large the text frame should be.
| | 04:02 |
As soon as I let go of the mouse button,
InDesign places a story into that frame.
| | 04:06 |
Now that you know how to get a text
frame, let's take the next step, editing
| | 04:10 |
the text inside that frame.
| | 04:12 |
| | Collapse this transcript |
| Selecting and editing text| 00:00 |
I know people who have put away Microsoft
Word and they use InDesign as their word processor.
| | 00:05 |
Really.
That does seem a bit extreme to me.
| | 00:08 |
I mean, if you need an alternate word
processor that works well with InDesign,
| | 00:12 |
you should probably be using Adobe's
InCopy software.
| | 00:15 |
But that said, InDesign does let you type
and edit text pretty efficiently.
| | 00:19 |
Let me show you how.
I want to select some text over here on
| | 00:23 |
the right page, so I'm going to zoom in
with my Cmd+space bar or a Ctrl+space bar trick.
| | 00:28 |
Just in on that text, there we go.
And I'd like to place my text cursor
| | 00:32 |
inside this story.
But instead of going all the way over to
| | 00:36 |
the Tool panel to select my Type tool,
I'm going to use a shortcut.
| | 00:40 |
And this is a shortcut that you're going
to be using over and over again, so it's
| | 00:43 |
a good one to learn.
It's really easy, just double-click.
| | 00:47 |
That's all you need to do.
If you double-click with the Selection
| | 00:50 |
tool, it automatically switches to the
Type tool and it places the cursor
| | 00:54 |
exactly where you double-clicked.
So, for example, if I double-click here
| | 00:59 |
before this letter b, it switches to the
Type tool and places the cursor right
| | 01:03 |
there before the letter b.
It's really easy.
| | 01:06 |
So helpful to be able to do that quickly.
Now, since I'm talking about shortcuts, I
| | 01:11 |
do want to mention that you can go back
to the Selection tool easily, as well.
| | 01:15 |
All you have to do is press the Esc key
on the keyboard.
| | 01:18 |
When you press Esc, it goes back and
selects the text frame with a Selection tool.
| | 01:22 |
The tool actually changes up in the Tool
panel, as well.
| | 01:25 |
So, double-click to switch to the Type
tool and Esc to go back.
| | 01:30 |
Now, I just double-clicked again.
So, I'm inside the text frame and the
| | 01:33 |
cursor is flashing and everyone knows
that you can click and drag over some
| | 01:37 |
text to select it.
And you probably know that you can
| | 01:40 |
double-click on a word to select just
that one word.
| | 01:42 |
But in InDesign, you also have
triple-clicks a quadruple-clicks.
| | 01:47 |
A triple-click selects the entire line,
not a sentence, but that one line from
| | 01:52 |
the left margin to the right.
A quadruple-click selects the entire paragraph.
| | 01:57 |
You have to be a little bit coordinated
to do that.
| | 01:59 |
You go one, two, three, four.
There we go, the whole paragraph.
| | 02:04 |
There are also some keyboard shortcuts
that you should try and memorize when
| | 02:06 |
working with text.
First, Cmd+A or Ctrl+A on Windows,
| | 02:10 |
selects all the text in your story.
There we go.
| | 02:14 |
All the text is selected.
The opposite is Cmd+Shift+A or Ctrl+Shift+A.
| | 02:19 |
That deselects everything.
It even deselects the frame.
| | 02:23 |
Here's a couple of others.
I'll click back into the middle of the
| | 02:26 |
text here.
And then, the Home button on my keyboard
| | 02:29 |
goes to the beginning of the line, and
the End button jumps to the end of the line.
| | 02:35 |
But what I use most often is adding the
Cmd or the Ctrl key.
| | 02:38 |
So, Cmd+Home, or Ctrl+Home on Windows,
jumps to the beginning of the story, not
| | 02:44 |
just the line or the paragraph, but the
whole story.
| | 02:47 |
You can see that InDesign even moved my
Page view to show me where the cursor is,
| | 02:51 |
up here.
The opposite of course is Cmd or
| | 02:54 |
Ctrl+End, which takes me to the end of
the story, all the way down here.
| | 02:58 |
Editing text right on the document page
is acceptable, but it's not always very efficient.
| | 03:03 |
Later on in this chapter, we're going to
learn about the story editor feature,
| | 03:06 |
which often makes editing text much
simpler and it stills takes advantage of
| | 03:10 |
all these shortcuts.
| | 03:12 |
| | Collapse this transcript |
| Inserting special characters| 00:00 |
Quick, tell me what the keyboard shortcut
is to type the registered trademark symbol.
| | 00:04 |
Or how about an Em Dash?
If you don't use these characters very
| | 00:07 |
often, there's no reason to clutter your
head with trying to remember the shortcuts.
| | 00:11 |
InDesign has a couple of features that
make inserting special characters a breeze.
| | 00:16 |
I'm going to select this text frame on my
page and zoom into 400% by pressing Cmd+4
| | 00:22 |
on the Mac or Ctrl+4 on Windows.
Now, I'll double-click after the word
| | 00:26 |
Gallery here to switch to the Type tool
and place a cursor there.
| | 00:28 |
I'd like to add a certain special
character.
| | 00:32 |
And to find it, I'm going to go to the
Type menu, and I'm going to look almost
| | 00:36 |
all of the way down near the bottom at
this menu called Insert Special Character.
| | 00:41 |
Inside this Symbol submenu, we'll find
many of the characters that people often
| | 00:45 |
need such as bullets, copyrights,
ellipsis, the paragraph symbol.
| | 00:50 |
That's a little pilcrow symbol that's
kind of mysterious.
| | 00:53 |
And then finally, here's the one we're
looking for, the registered trademark symbol.
| | 00:57 |
As soon as I click that, InDesign types
the character for me.
| | 01:02 |
There are lot's of other special
characters hiding in there, too.
| | 01:04 |
So, for example, let's say I don't know
how to type this En Dash.
| | 01:08 |
You want to use an En Dash instead of a
normal dash or a hyphen when you're
| | 01:11 |
talking about a range of numbers or
dates.
| | 01:14 |
So, let's say I delete that.
I just press the Delete key.
| | 01:17 |
How would I get a new one?
No problem, go back to the Type menu.
| | 01:21 |
Go back to Insert Special Characters.
And then instead of a Symbol, I'm going
| | 01:25 |
to choose Hyphens and Dashes.
There it is, there's the En Dash.
| | 01:29 |
Click it and it places it.
Now, perhaps I don't like the amount of
| | 01:33 |
space there is between that six and the
En Dash.
| | 01:37 |
I can place my cursor between them,
simply by clicking there.
| | 01:40 |
And I can add a little bit of space with
a special wide space character.
| | 01:45 |
Down here, near the bottom of the Type
menu, I'm going to choose Insert Right Space.
| | 01:49 |
And inside this submenu, you'll find all
kinds of special spaces.
| | 01:53 |
For example, the very large Em Space,
it's always wide, it's always the size of
| | 01:58 |
your text, in fact.
So, in 12 point test, it's 12 points wide.
| | 02:02 |
Or you could choose the sort of medium
sized En Space which is half an Em, but
| | 02:07 |
we want a really tiny little space, so
I'm going to choose the Hair Space.
| | 02:12 |
When I choose that, InDesign actually
places a special width Hair Space between
| | 02:17 |
those two characters.
Now, there are all kinds of other ways to
| | 02:20 |
add and remove spaces between characters,
such as kerning.
| | 02:23 |
And I'm going to be talking about that in
a later chapter.
| | 02:25 |
But it's great to know that InDesign has
these special characters to use if you
| | 02:29 |
want to use them.
Of course, many of the font's you are
| | 02:32 |
using have special characters built into
them, ornaments and math symbols, and all
| | 02:37 |
kinds of stuff.
But you may not know how to type them.
| | 02:40 |
Fortunately, InDesign has a special
feature called the Glyphs panel and you
| | 02:44 |
can find that under the Window menu or
even easier under the Type menu.
| | 02:48 |
Just choose Glyphs.
The Glyphs panel shows me every character
| | 02:53 |
that's inside my current font, wherever
the cursor is.
| | 02:56 |
It's really quite incredible, you can
just scroll through this list and find
| | 03:00 |
all kinds of things.
In fact, I'm going to make this panel a
| | 03:03 |
little bit bigger, so we can see it
better.
| | 03:04 |
And then, I'll click this Zoom button to
make the characters even larger, too.
| | 03:10 |
You can scroll through this list and see
every different character inside of a
| | 03:13 |
font, and some of these things I would
have no idea how to type.
| | 03:17 |
I don't even know what some of these
characters are.
| | 03:19 |
Now, for this document, I'd like to place
a special ornament.
| | 03:22 |
Kind of a symbol before the P in this
word Pittinger.
| | 03:25 |
So, I'm going to click once before the
letter P.
| | 03:27 |
And now, I'm going to change the font
inside the Glyphs panel.
| | 03:31 |
Down here in the lower left corner, I can
select this font just by clicking it.
| | 03:36 |
And then, I'm going to change to
Wingdings.
| | 03:38 |
I'll just type win and InDesign guesses
that I want the font Wingdings.
| | 03:43 |
Now I'll hit Return or Enter, and you can
see all the different characters inside
| | 03:48 |
the Wingdings font.
I can scroll through here until I find
| | 03:52 |
just the character I want.
This one looks nice, so I'll double-click
| | 03:56 |
on it, and InDesign insert's that
character, where the cursor is.
| | 04:01 |
And notice that InDesign also placed that
character up here in the recently used area.
| | 04:06 |
And that's kind of cool because I might
want to use that same character over and
| | 04:10 |
over again.
For example, maybe I want to put that
| | 04:12 |
same glyph before the E in exhibit.
So, all I have to do is click once before
| | 04:17 |
the E, and you'll notice the Glyphs panel
has changed to reflect the cursor In this case.
| | 04:23 |
That E is set to Myriad Pro Bold, so the
Glyphs panel reflects that.
| | 04:27 |
But, it still keeps my recently used
glyph up here.
| | 04:31 |
So, all I have to do is double-click on
it and InDesign automatically adds it.
| | 04:35 |
Now, Wingdings and special fonts like
this, and many of the Pro fonts from
| | 04:39 |
Adobe, have a lot of special characters
in there.
| | 04:42 |
So, check them out.
Take a little time to go through and just
| | 04:45 |
scroll through the Glyphs panel.
See what kind of treasures are hiding in there.
| | 04:49 |
| | Collapse this transcript |
| Importing text| 00:00 |
Okay, let's say you have a text file such
as this Word document.
| | 00:04 |
Actually, I'm viewing it in the Apple
Pages app, but it actually is a Word file.
| | 00:07 |
Anyway, you need to get it into InDesign.
Now the easiest method is just to select
| | 00:12 |
some text and copy and paste it.
And while this often works just fine,
| | 00:16 |
especially for small amounts of simple,
un-formatted text, I really don't
| | 00:20 |
recommend it for anything more than a
paragraph or two.
| | 00:23 |
And I certainly wouldn't use copy and
paste for any text that was formatted or
| | 00:28 |
included foreign language or special
characters.
| | 00:30 |
I've just seen too many problems over the
years with text showing up totally wrong
| | 00:35 |
after pasting it.
Instead, I strongly recommend that you
| | 00:38 |
use the place command in InDesign.
It's far more reliable.
| | 00:41 |
Let me show you.
I'm going to switch back to InDesign and
| | 00:44 |
then I'll go to the File menu and choose
Place.
| | 00:47 |
Or I could press Cmd+D on Mac or Ctrl+D
on Windows.
| | 00:52 |
Now I'm going to select that text file.
Like I said this is simply a Word
| | 00:55 |
document but it could be a text or an RTF
file, and then I'll click Open.
| | 01:00 |
Because I did not have any frame selected
on my page, InDesign loads the place
| | 01:05 |
cursor with that story.
If I had an empty frame selected, the
| | 01:08 |
story would've gone right into it.
But here to place a story inside my
| | 01:13 |
InDesign document, I'm going to move my
cursor up to the left corner until I see
| | 01:17 |
a subtle but important change.
That black arrow turned to a white arrow.
| | 01:22 |
You may have to squint to see it but it's
there.
| | 01:25 |
That white cursor means that when I click
it's going to snap to the margin guides.
| | 01:29 |
So I'm going to get as close as I can to
those guides, but I don't need to worry
| | 01:33 |
too much about it.
Now I'll click and it'll make a text
| | 01:37 |
frame and flow the text into it.
Now notice that this document had no text
| | 01:41 |
frame on the page.
There's also no frame on the master page.
| | 01:44 |
It's just a blank document.
Also, if I open the pages panel you'll
| | 01:48 |
see that there's only one page in this
document.
| | 01:52 |
However, I happen to know that this is a
much longer story, this should have
| | 01:55 |
filled multiple pages.
I really wish I could get the entire
| | 01:59 |
document into InDesign.
Fortunately, you can.
| | 02:02 |
So, let me show you how.
I'll undo this with a Cmd+Z or Ctrl+Z on
| | 02:05 |
Windows and that reloads the place cursor
for me.
| | 02:09 |
And now I'm going to place this text file
again, but with a modifier key.
| | 02:12 |
I'm going to hold down the Shift key and
when you press the Shift key the cursor
| | 02:17 |
changes a little bit.
You get this kind of sneaky S shape in
| | 02:21 |
there and that indicates that when I
click it's going to flow all the text.
| | 02:26 |
So once again I'll move that cursor to
the upper left corner and I still have
| | 02:30 |
the Shift key held down.
And now I'll click.
| | 02:32 |
This time, InDesign not only imports just
that one page, but the whole text story
| | 02:38 |
and it created a bunch of pages for me.
And on each of those pages, it created a
| | 02:43 |
new text frame and then it threaded the
text from one page to the next automatically.
| | 02:48 |
So that Shift key modifier is really
important when you're importing a long story.
| | 02:53 |
Now, there's one more thing that I
want to point out, here.
| | 02:55 |
Look at the formatting in here.
It looks much nicer than it did in my
| | 02:59 |
word processing program, right?
Let me go back to pages and show you.
| | 03:02 |
There we go.
Here, it's all in Arial.
| | 03:05 |
Kind of clunky, and probably easy to
edit, but it's not very pretty.
| | 03:09 |
But here in Design, it looks different.
How did that happen?
| | 03:13 |
Well, I'm going to be talking about
paragraph styles and character styles in
| | 03:17 |
a later chapter.
But, I do want to point out right now
| | 03:20 |
that if the styles are named exactly the
same between Word and InDesign, then
| | 03:25 |
InDesign will throw away the original
boring formatting, and it'll use the
| | 03:29 |
formatting that's defined in the InDesign
document instead.
| | 03:32 |
In this case, if I look at the Paragraph
Styles panel over here, I can see that I
| | 03:37 |
have a lot of styles in here.
And they're named exactly the same as
| | 03:40 |
they were in Word.
Now this workflow is typically what you want.
| | 03:44 |
So it's really helpful to make sure that
you have the same names in your Word or
| | 03:48 |
Pages document and your InDesign
documents.
| | 03:51 |
Now a moment ago, I mentioned something
about threading.
| | 03:54 |
The fact that this story threads from
this page down to these other pages.
| | 04:00 |
Well what's that about?
How can you manually thread stories from
| | 04:03 |
one text frame to another?
Well that's what I'm going to cover in
| | 04:06 |
the next movie.
| | 04:07 |
| | Collapse this transcript |
| Threading text frames| 00:00 |
It's time to talk about threading text
frames together.
| | 00:03 |
Now, I've opened up this Roux article
file from the exercise folder and I'm
| | 00:07 |
going to just to the next spread by
clicking the Next Spread button in the
| | 00:11 |
lower left corner of the document window.
That's this little triangle down here.
| | 00:16 |
Next I'll use the command spacebar or
control spacebar trick to zoom in to the
| | 00:20 |
top of this page on the left.
I see here that I have two frames, one
| | 00:25 |
full and one empty.
This full one here on the left, down here
| | 00:30 |
in the lower right corner, I can see a
symbol, a little plus sign and that plus
| | 00:35 |
sign is an indicator that this text frame
is over set, there's more text in this
| | 00:40 |
story than can fit into this frame.
Now we could make the text frame bigger
| | 00:44 |
of course but in this case we want the
text to flow from this frame into the
| | 00:50 |
empty frame.
This is called threading.
| | 00:52 |
You thread from one text fame to another.
Now you'd think you would use the type
| | 00:57 |
tool to accomplish this, after all,
you're dealing with text, but in fact it
| | 01:00 |
won't work with a type tool.
Just a strange quirk of Indesign.
| | 01:04 |
You have to use the selection tool.
When you have the textframe selected with
| | 01:08 |
the Selection Tool, you'll notice in the
upper left corner, a little box.
| | 01:12 |
It's very similar to the one in the lower
right corner.
| | 01:15 |
I'm not talking about the corner handle,
I'm talking about the one right next to it.
| | 01:19 |
And those little squares are called the
ports.
| | 01:22 |
There's an inport and an outport.
All text flows into the inport on the
| | 01:27 |
left, and out from the outport on the
right.
| | 01:30 |
So to get text out of this text frame I'm
going to click on the outport with my
| | 01:35 |
selection tool.
Now notice that when I do that it loads
| | 01:39 |
the place cursor.
And this place cursor let's me thread
| | 01:41 |
from one frame into another.
Or it'll even let me create a new text frame.
| | 01:46 |
Now notice how the cursor changes
depending where I place it.
| | 01:49 |
Out here at the top of the page where
there's no frames at all, the cursor has
| | 01:53 |
a sharp edge like a corner.
That indicates that it's going to thread
| | 01:57 |
into a new frame, all I have to do is
click, or click and drag.
| | 02:00 |
It'll make a frame and thread the text
into it.
| | 02:03 |
But, if I move the cursor down just a
little bit.
| | 02:07 |
I get a completely different cursor.
This means it's going to thread from that
| | 02:11 |
frame into this empty frame here.
That's what I want.
| | 02:14 |
So I'm going to simply click and you'll
see the thread happen.
| | 02:18 |
Now this text story is threading from the
left frame into the right one but it's
| | 02:22 |
kind of hard to tell that.
There's no visual indicator so here's
| | 02:25 |
what I'm going to do.
I'll go to the View menu, go all the way
| | 02:28 |
down to Extras and then choose Show Text
Threads.
| | 02:34 |
When I do that I get this little colored
line that goes from one port to the next.
| | 02:38 |
In fact, if I move this text frame down
you'll be able to see that a lot better.
| | 02:42 |
Okay.
So we threaded these two frames together.
| | 02:44 |
But what if it was a mistake?
What if we didn't really want to have
| | 02:47 |
them threaded and we want to break it?
How can we do that?
| | 02:50 |
It's really easy.
All you have to do is double click on one
| | 02:54 |
of the ports.
Doesn't matter which, the inport or the outport.
| | 02:58 |
In this case, I'll just double click on
this inport in the upper left corner.
| | 03:02 |
When I do that, it breaks the link again.
And you can see that this text frame on
| | 03:06 |
the left is now over set, once more.
By the way, I should point out that some
| | 03:10 |
people call this linking text frames.
Which kind of makes sense, because the
| | 03:14 |
cursor looks like a chain link.
But linking actually means something
| | 03:18 |
different in InDesign.
Linking means maintaining a link to files
| | 03:21 |
on your hard drive so that if they change
InDesign changes too and I'll talk about
| | 03:26 |
that in much more detail in a later
chapter.
| | 03:29 |
So remember whenever you're talking about
text flowing from one frame to another
| | 03:33 |
always call it threading
| | 03:34 |
| | Collapse this transcript |
| Setting text frame columns| 00:00 |
You already know that you can change the
number of columns on a page, but the
| | 00:04 |
columns that we've seen so far are just
guides.
| | 00:07 |
There's another feature in InDesign that
actually forces text frames to break into
| | 00:11 |
multiple columns.
Let me show you how to do it.
| | 00:14 |
I've opened the roux article files from
the exercise files folder, and I'm going
| | 00:18 |
to jump to the next spread by pressing
Option+page down or Alt+page down.
| | 00:23 |
Now I'll zoom into the top part of this
page with the Cmd+space bar+drag or
| | 00:28 |
Ctrl+space bar+drag on Windows.
I can see that I have a text frame here
| | 00:32 |
with a single column.
I have another one over here, and I'm
| | 00:35 |
going to delete that for this lesson.
The key to making this frame here a
| | 00:40 |
multiple column text frame, is the Text
Frame Options dialog box.
| | 00:44 |
And I can get to that by going to the
Object menu and choosing Text Frame Options.
| | 00:49 |
Let's move this out of the way a little
bit, so that I can see my text frame.
| | 00:53 |
And I want to focus on this first section
at the top, called columns.
| | 00:57 |
Right now we have only one column, but if
I increase this to two or more, we can
| | 01:01 |
see that the text frame actually splits
into columns.
| | 01:04 |
Or we could, as soon as we turn on the
Preview check box.
| | 01:07 |
There we go.
The amount of space in between each of
| | 01:10 |
these columns is called the gutter, and
you can control that with this field.
| | 01:15 |
The third option here is Width.
Now, InDesign calculates that
| | 01:19 |
automatically and it tells me that this
is 126 points wide from one edge of the
| | 01:24 |
column to the other.
If my document were in centimeters or
| | 01:27 |
inches, it would show me in centimeters
and inches, of course.
| | 01:30 |
Now sometimes, when I'm working on a
document, the design calls for a very
| | 01:34 |
specific column width.
For example, maybe 12 picas.
| | 01:37 |
I can come up here and replace this width
with the amount that I want the column to be.
| | 01:42 |
I'll type 12p, and then I click OK,
because I want to show you a problem.
| | 01:48 |
I've specified a very specific width for
my column, and when I did that, I got
| | 01:52 |
what I wanted.
InDesign changed the width of my text
| | 01:55 |
frame for me to give me exactly what I
asked for.
| | 01:57 |
But if I come over here to the right side
handle and accidentally stretch this
| | 02:02 |
frame out?
Well, InDesign throws my requested width
| | 02:06 |
out the window.
I still have two columns, but they're the
| | 02:09 |
wrong width now.
Fortunately, InDesign has two features
| | 02:13 |
that will help with this.
I'm going to go back to the Text Frame
| | 02:15 |
Options dialog box, but this time I'm
going to use a shortcut.
| | 02:19 |
I could press Cmd+B or Ctrl+B on Windows,
but I'm going to use my favorite
| | 02:24 |
shortcut, simply Option+double-click or
Alt+double-click on Windows.
| | 02:29 |
When I do that, up comes the Text Frame
Options dialog box.
| | 02:32 |
And this time, I'm going to change the
columns popup menu right here at the top
| | 02:36 |
of the dialog box, from fixed number to
fixed width.
| | 02:39 |
Whenever your design calls for a specific
width, you probably want to change this
| | 02:43 |
to Fixed Width.
Now I'm going to go back and change the
| | 02:46 |
width again to 12 picas.
I'll press Tab to make InDesign apply the
| | 02:52 |
change without closing the dialog box.
And you'll see that now the fixed width
| | 02:56 |
size is 144 points.
Which is of course, 12 picas.
| | 03:00 |
Now I'll press Return or Enter to close
the dialog box, and we can see something
| | 03:04 |
different happen when I try and stretch
this out.
| | 03:06 |
I'll drag that side handle inward, and
nothing happens.
| | 03:12 |
I'm dragging, but it's not changing.
It won't let me make this frame any
| | 03:16 |
narrower, but now something else happens
if I drag it to the right.
| | 03:21 |
If I drag any farther to the right, it
forces there be a third column, and that
| | 03:26 |
column is always exactly the right width.
I'll make it smaller again, I'll drag all
| | 03:30 |
the way over into the second column and
it snaps down to two columns.
| | 03:34 |
Make it wider, and I get three columns
again.
| | 03:37 |
So if you have very precise, very
specific design requirements, that's
| | 03:41 |
probably what you want.
On the other hand, some designs are a
| | 03:43 |
little bit more flexible on how a wide
column could be, so I'll
| | 03:47 |
Option+double-click or Alt+double-click
again.
| | 03:50 |
And this time, I'm going to go to the
Columns pop up menu and choose Flexible Width.
| | 03:55 |
Flexible Width activates a new field here
called Maximum.
| | 03:59 |
And now we have a width and a maximum
width.
| | 04:02 |
So this lets me say, I want nominally the
column to be 12 picas, but I'm willing to
| | 04:07 |
let it go as high as say, 15 picas.
Change that maximum to 15p.
| | 04:12 |
I'll click OK, and I now have a slightly
different behavior.
| | 04:16 |
I can make this a little bit smaller, if
I want.
| | 04:18 |
Maybe a little bit smaller.
But at some point, when I make it small
| | 04:22 |
enough, it goes down to two columns.
I'll make it wider now, and it goes to
| | 04:26 |
three columns.
I can make it wider.
| | 04:28 |
In fact, I'll make it really wide, and
you can see that I get four columns.
| | 04:33 |
This fourth column is a little truncated
here, because I'm getting text wrap from
| | 04:37 |
that image.
I'll talk about text wrap in a later chapter.
| | 04:40 |
But you get the idea.
We actually have a little bit of
| | 04:42 |
flexibility in how many columns and how
wide those columns could be.
| | 04:47 |
As you can see, InDesign really tries to
help you strike the right balance between
| | 04:51 |
creativity, flexibility, and a tightly
controlled design.
| | 04:55 |
| | Collapse this transcript |
| Setting text inset and vertical justification| 00:00 |
If you've ever framed a photograph, you
know that it's all about managing where
| | 00:04 |
the image sits inside the frame, how far
from the edge, and so on.
| | 00:08 |
Well, text is the same way.
And you can control where InDesign
| | 00:11 |
positions text inside of a frame using
the Text Frame options dialog box.
| | 00:16 |
Let me show you.
I'm going to select this Text Frame
| | 00:19 |
inside my Rue Flyer file from my exercise
files folder, and I'm going to Zoom In on
| | 00:23 |
it by pressing Cmd+ or Ctrl+ a few times.
We can see that this text is actually
| | 00:29 |
pressed right up against the edge of the
frame, which is really ugly.
| | 00:32 |
So, we'd like to move it away from the
edge of the frame, just a little bit.
| | 00:36 |
To do that, I'm going to open up the Text
Frame options dialog box, by going to the
| | 00:40 |
Object menu, and choosing Text Frame
options, or you can press Cmd+B or Ctrl+B
| | 00:45 |
on Windows.
The inset spacing section in the middle
| | 00:48 |
of this dialog box lets us control how
much space there should be.
| | 00:52 |
It's sort of like padding or margins
between the edge of the frame and the text.
| | 00:56 |
If you want to have different amounts of
spacing on each of the four sides of this
| | 01:00 |
frame, then click this button to unlink
the fields.
| | 01:03 |
But in this case we actually want to have
the same amount of space on all four
| | 01:06 |
sides, so I'll leave it turned on.
I'm going to change this top inset
| | 01:10 |
spacing to nine points, 9pt.
And now when I hit Return or Enter, it'll
| | 01:16 |
close the dialog box and I'll see the
text is inset on all four sides of the frame.
| | 01:21 |
InDesign even shows you a faint blue line
to indicate where that text inset is.
| | 01:27 |
Unfortunately, the amount of space inside
this Text Frame was too small to fit all
| | 01:31 |
this text, so it became over-set.
I'm going to double-click inside this
| | 01:35 |
frame to switch to the Type tool and I'm
simply going to select some of this text
| | 01:39 |
and delete it.
That way I can see the rest of it.
| | 01:42 |
Wouldn't it be great if all edits were as
simple as that?
| | 01:44 |
If you could go just go in and delete the
text.
| | 01:46 |
Well, anyway, in this case now we have
too little text.
| | 01:50 |
It doesn't fill the whole frame.
We have a bunch of space at the bottom of
| | 01:54 |
the Text Frame.
So what are we going to do about that?
| | 01:57 |
Well, I'm going to open a Text Frame
options dialogue box again.
| | 01:59 |
By pressing Cmd+B or Ctrl+B in Windows.
Let's move this off to the side a little bit.
| | 02:05 |
And now I want to pay attention to
another section in this dialogue box
| | 02:07 |
called Vertical Justification.
The Vertical Justification setting lets
| | 02:12 |
us say where the text should be.
Right now it's aligned to the top.
| | 02:16 |
So the top of this text is aligned with
the inset at the top of the frame but if
| | 02:21 |
I change this to bottom then you can see
that the bottom of the text snaps to the
| | 02:25 |
bottom inset and all the extra space goes
to the top.
| | 02:29 |
We could also change this to center.
In that case, the text is all centered
| | 02:34 |
within the frame and the space is
distributed at the top and the bottom and
| | 02:38 |
the fourth option is Justify.
With Justify, the top line is pinned to
| | 02:43 |
the top of the frame.
The bottom line is pinned to the bottom
| | 02:46 |
of the frame and InDesign distributes the
space between each of the lines in the story.
| | 02:51 |
Now, sometimes it can add too much space
between lines within a single paragraph.
| | 02:56 |
Like up here, too much space, so you can
tell InDesign to only add space between
| | 03:01 |
paragraphs instead of individual lines.
To do that, change this paragraph spacing limit.
| | 03:07 |
I'm going to bump this up to something
large, like two inches.
| | 03:11 |
As soon as I hit tab, it'll convert that
to picas, because that's what this
| | 03:15 |
document is set to.
But the point is, that InDesign is now
| | 03:18 |
adding up to two inches or twelve picas
in between paragraphs.
| | 03:23 |
It will not add space in between lines
within a single paragraph.
| | 03:27 |
I'll click OK and now I'm going to use
the Vertical Alignment feature and one
| | 03:31 |
other frame in this document.
This one over here that's sitting on its side.
| | 03:35 |
I click that frame with either the Type
tool or the Selection tool, doesn't matter.
| | 03:39 |
And then I'll press Cmd+B or Ctrl+B to
open up the Text Frame options dialogue
| | 03:44 |
box for this frame.
I'm going to change the Vertical
| | 03:47 |
Justification here to center.
I'll click OK, and you can see that now
| | 03:51 |
the text is centered inside that frame.
Of course, as soon as you have your text
| | 03:56 |
just set right inside of the frame, your
client or boss is probably going to come
| | 03:59 |
in and tell you to edit it right?
Well, wouldn't it be cool if the Text
| | 04:04 |
Frame could actually get bigger or
smaller as you change the amount of text
| | 04:08 |
inside of it.
Well, that's what we're going to see next.
| | 04:10 |
| | Collapse this transcript |
| Allowing text frames to grow and shrink| 00:00 |
Text Frames never seem to be exactly the
size you want them to be.
| | 00:03 |
Especially when you need to add text at
the last minute.
| | 00:06 |
Fortunately InDesign offers some great
and easy ways to control the size of text
| | 00:11 |
frames quickly, even automatically.
In this roof layer document from the
| | 00:15 |
Exercise Files folder I can see that this
text frame, the one with the word Art in
| | 00:20 |
it, is slightly too large.
Now it doesn't technically matter that
| | 00:23 |
it's too large.
But maybe I'm trying to clean my document up.
| | 00:26 |
And I make this a little bit smaller.
Unfortunately, when I do that, the text
| | 00:31 |
becomes over set.
I just made it too small.
| | 00:33 |
So how big should this text frame be?
I'll go ahead and make this larger, again.
| | 00:38 |
And I'm going to use a feature that will
fit the frame exactly to the size of the text.
| | 00:43 |
While this text frame is selected, I'll
go to the Object menu and I'll choose
| | 00:46 |
from the Fitting sub-menu.
I'm going to choose Fit Frame to Content.
| | 00:51 |
You'll see there's even a keyboard
shortcut there that you could use.
| | 00:53 |
Cmd+Option+C on Mac, or Ctrl+Alt+C on
Windows.
| | 00:57 |
But honestly, I rarely use the menu item
or the keyboard shortcut.
| | 01:01 |
Instead, I use a really cool different
shortcut, let me click out here and I'll
| | 01:06 |
show you.
I'm going to double-click on a side
| | 01:08 |
handle or a corner handle of this frame.
That's all you need to do.
| | 01:12 |
Whenever you double-click on a corner
handle or a side handle, it automatically
| | 01:17 |
fits the frame exactly to the size of the
text.
| | 01:20 |
Let's see this in action in a different
way.
| | 01:22 |
I'm going to select this text frame in
the upper right corner of the page.
| | 01:25 |
And I'm going to Option double-click, or
Alt double-click on Windows to open the
| | 01:29 |
text frame options dialog box.
And I'm going to change the inset spacing
| | 01:32 |
of this to, say, nine points.
Click OK and you can see that now we have
| | 01:38 |
inset spacing.
But we also have an over-set frame.
| | 01:41 |
That's okay, I'll make it a little bit
larger by dragging this side handle down.
| | 01:46 |
Well now I have too much space at the
bottom of the frame.
| | 01:48 |
So how do I make sure that I have the
same amount of space at the top and the bottom?
| | 01:52 |
Easy, just double-click on that side
handle at the bottom.
| | 01:56 |
Do that and it snaps right up, so there's
exactly the right about of space to fit
| | 02:00 |
the text in, not too much, not too little
and now I'm sure that I have the same
| | 02:04 |
amount of space at the top and bottom of
the frame.
| | 02:07 |
Of course the problem is, is when I have
to go in there and edit the text.
| | 02:10 |
If I had to edit the text, I'd have to go
and change the size again, and then I'd
| | 02:15 |
edit the text some more, and have to
change the size again and so on.
| | 02:18 |
It's really tedious.
What I really want is for the text frame
| | 02:21 |
to grow or shrink accordingly, so that it
always fits the text inside of it.
| | 02:26 |
Fortunately, InDesign can do that.
It's a feature hiding inside the Text
| | 02:31 |
Frame Options dialog box.
So, I'm going to select that from the
| | 02:34 |
Object menu.
Text Frame Options, and now I'm going to
| | 02:37 |
choose the Auto-Size tab up here at the
top of the Text Frame Options dialog box.
| | 02:42 |
Right now auto-sizing is set to off, so
I'm going to change it to Height Only.
| | 02:48 |
That means it'll make the text frame
taller or shorter based on how much text
| | 02:52 |
it has in it.
Next, I need to tell InDesign what to
| | 02:55 |
anchor, what not to move within this text
frame.
| | 02:58 |
Right now it's set to the top, so the top
is going to stay where it is, and the
| | 03:02 |
bottom will move up or down based on how
much text I have in the frame.
| | 03:06 |
I'm going to do just the opposite.
I want to anchor the bottom and have the
| | 03:10 |
top of the text frame resize.
I can also choose a minimum height if I
| | 03:14 |
want to, by turning this checkbox on.
And that means, InDesign should never let
| | 03:18 |
this frame get smaller than a certain
height.
| | 03:20 |
I'm going to say ten picas.
I'll click OK, and it doesn't look like
| | 03:25 |
anything's changed.
But, if I double-click inside this frame,
| | 03:27 |
that changes to the Type tool, and now I
can start typing.
| | 03:31 |
I'll just hit Enter and start typing away
here and you'll see that the text frame
| | 03:36 |
grows automatically.
If I select this text and delete it, it
| | 03:40 |
shrinks again.
The text frame will grow and grow until
| | 03:43 |
it's pushed all the way off the paste
board and only then will I get over-set text.
| | 03:48 |
I'm going to do the same thing to this
text frame at the bottom.
| | 03:50 |
The one that says reinvented.
I'll click inside of it.
| | 03:53 |
Press Cmd+B or Ctrl+B to open the Text
Frame Options dialog box.
| | 03:57 |
Go to Auto-Size and this time I'm going
to set auto sizing to Width Only.
| | 04:02 |
That's because I don't want to change the
height in this case, I want to change the
| | 04:05 |
width and I'm going to say anchor it in
the center.
| | 04:09 |
Keep the center of the text frame where
it is and change the left and the right sides.
| | 04:13 |
I'll click OK and I'll click at the
beginning of this word and I'm going to
| | 04:16 |
put the word Super in here, and you can
see that both the left and the right
| | 04:21 |
sides of this text frame move and all the
text fits, it won't over-set.
| | 04:26 |
Whether you're trying to make your own
documents more flexible, or creating an
| | 04:29 |
InDesign template for someone else to
use, making good use of these auto-sized
| | 04:33 |
frames can be so helpful.
It minimizes the chance of over-set text,
| | 04:37 |
and it maximizes your efficiency.
| | 04:39 |
| | Collapse this transcript |
| Putting text on a path| 00:00 |
I get asked this question all the time.
How do I get text on a path, instead of
| | 00:05 |
inside it.
For example, this triangle at the top of
| | 00:07 |
my roux flyer document, from the exercise
folder.
| | 00:10 |
Let's go ahead and zoom in here.
I'll press Cmd + spacebar or Ctrl +
| | 00:13 |
spacebar in windows, and drag out a
marquee.
| | 00:16 |
I'll select this triangle, and I want to
put text on the outside of this triangle,
| | 00:21 |
not the inside.
Now I may be tempted to try using the
| | 00:24 |
Type Tool, but that won't work.
The Type Tool can only give me text
| | 00:29 |
inside of a frame, not on the outside.
Instead, you have to use the Type on a
| | 00:33 |
Path Tool, but where the heck is that
tool?
| | 00:36 |
Well it's hiding.
It's hiding underneath the Type Tool.
| | 00:40 |
To get it, you have to Click and Hold for
just a moment.
| | 00:43 |
Then you get this Pop-up menu, that lets
you choose either the Type Tool or the
| | 00:46 |
Type on a Path Tool.
That's the trick, right there.
| | 00:50 |
Type on a Path.
Now, I'm going to move the cursor over to
| | 00:53 |
the edge of my path, and when it's in the
right place you get this little plus sign.
| | 00:58 |
That's the indication, that if I click it
will put the text on the path.
| | 01:02 |
There we go.
Now I can start typing.
| | 01:05 |
I'll just type some random text there.
And as you can see, I'm typing dark text
| | 01:09 |
on a dark background, so that's not very
compelling.
| | 01:12 |
Let's go ahead and Delete that.
I'll press Cmd + A, to select all of it,
| | 01:16 |
or Ctrl + A on Windows, and hit Delete.
I just happen to have some texts that we
| | 01:20 |
can put on there.
It's out on the pasteboard.
| | 01:23 |
So I'm going to zoom back to fit in
window, with Cmd + 0, or Ctrl + 0, on Windows.
| | 01:28 |
And I'm going to use Option Spacebar, and
drag to use the Grabber Hand, just to go
| | 01:33 |
down a little bit.
There's we go, there's some text at the
| | 01:35 |
very bottom.
I'll click inside this frame, and press
| | 01:38 |
Cmd + A, or Ctrl A to select it all, and
then Cut it to the clipboard.
| | 01:43 |
Okay, now let's zoom back in on that
triangle, and I'm going to put that text
| | 01:47 |
on the edge of the frame.
At this point, because I've already
| | 01:50 |
converted this triangle into a text on a
path object, I don't have to use the Type
| | 01:55 |
on a Path Tool anymore.
I just needed to use the Type on a Path
| | 01:58 |
Tool, to make it a Type on a Path Object.
If I wanted to, I could go back and
| | 02:03 |
choose the regular Type Tool, doesn't
really matter.
| | 02:06 |
I'll move the cursor over the edge here,
and Click, and now I'm back into Editing
| | 02:10 |
the Type on a Path.
So, I'll Paste, Cmd + V, or Ctrl + V on Windows.
| | 02:15 |
And you can see that the text goes right
on the edge of the path.
| | 02:18 |
Now this blue triangle here, that I can
see on screen, won't actually appear in
| | 02:23 |
my final output.
There's not stroke or fill on it.
| | 02:26 |
I can see that by Deselecting everything.
I'll press Cmd + Shift +A, or Ctrl +
| | 02:30 |
Shift + A on Windows, and that Deselects
everything on my page.
| | 02:33 |
And then I'll press the W key to go into
Preview Mode.
| | 02:37 |
In Preview Mode, I can see that there's
no path there.
| | 02:39 |
You can't see it at all.
Just the text on the path.
| | 02:42 |
Okay.
Now, I'm going to come out of Preview
| | 02:44 |
Mode, by pressing W again, and this looks
pretty good but, I want to make a few tweaks.
| | 02:48 |
For example, I'd like to move the text
around, so that it fits on the triangle a
| | 02:52 |
little bit better.
I can change the positioning on the path
| | 02:56 |
in a couple of ways, but the basic way is
by selecting the triangle with the
| | 03:00 |
Selection Tool.
I'll choose the Selection Tool, and then
| | 03:04 |
click on the Triangle.
And when I do that, I can see these two
| | 03:07 |
lines appear right at the left edge of
the text.
| | 03:10 |
What is that about?
Well when you're thinking about text on a
| | 03:13 |
path, think about it this way.
It's kind of like having a text frame
| | 03:17 |
wrapped around the edge of the path, and
these two lines are the left and right
| | 03:21 |
edges of that frame.
And the cool part is, I can move those
| | 03:25 |
edges simply by Dragging them.
For example, I'm going to move my cursor
| | 03:28 |
over the right edge of the frame, which
is the one on the left here, the bottom one.
| | 03:33 |
And I'm going to Click and Drag that.
And when I do, I'm actually changing the
| | 03:38 |
position of the right edge of the frame,
that's wrapped around the triangle.
| | 03:41 |
Now, that doesn't change anything right
away.
| | 03:44 |
But now, the text will not go any farther
than that point.
| | 03:47 |
Now I'm going to change the left edge, by
Dragging this line.
| | 03:50 |
I'll just Click and Drag, and I'll bring
it down just a little bit.
| | 03:54 |
You can see by changing that, it actually
moves the text around.
| | 03:58 |
So I have a lot of control about where
that text is going to start and end on
| | 04:02 |
that path.
These white boxes by the way, those are
| | 04:05 |
the imports and the outports.
So that means I could thread from a frame
| | 04:10 |
to a text on a path, and from a text on a
path to a frame.
| | 04:13 |
Or even, from a text on a path, to other
text on a path.
| | 04:16 |
They're just like text frames.
Now, there's a few other things we can do
| | 04:19 |
here, with text on a path.
And to that, I'm going to go to the Type
| | 04:23 |
menu, and choose the Type on a Path sub
menu.
| | 04:27 |
Then I'll choose Options.
The Type on a Path Options Dialogue Box,
| | 04:31 |
lets me format that text on a path in all
kinds of really funky ways.
| | 04:35 |
For example, right now the Effect Pop-up
menu is set to rainbow.
| | 04:39 |
That means its going to follow the path
as it curves around.
| | 04:42 |
But if I change this to something else
like Skew, I get a really different effect.
| | 04:48 |
It skews all the text based on the angle
of the path.
| | 04:52 |
That's kind of cool looking.
Let me move this out of the way, so I can
| | 04:54 |
see it better.
I like that.
| | 04:56 |
Let's look at some of the other ones.
3D Ribbon, I don't know, that's kind of lacky.
| | 05:01 |
Each character gets skewed and rotated.
Stair Step, where each character is not
| | 05:07 |
skewed, but it's simply rotated so that
it's always upright.
| | 05:10 |
And the last one is Gravity.
Gravity always rotates and skews around
| | 05:15 |
the center of the object.
In this case, the center of that triangle.
| | 05:19 |
That is really cool.
I'm going to leave it set to that.
| | 05:22 |
We can also set what part of the text
aligns along the path.
| | 05:25 |
We do that from the Align Pop-up menu.
Right now it's set to the baseline of the text.
| | 05:29 |
But if I set this to Center, you'll see
that the center of the text is aligned on
| | 05:33 |
that path.
That's a little too squished up, so I'm
| | 05:36 |
going to set it back to Baseline.
I'll go ahead and click Okay.
| | 05:39 |
And we can see that looks pretty good.
And the last thing you need to know, is
| | 05:43 |
how to get rid of the text on a path.
How to just turn it back into a regular
| | 05:46 |
object, so that you don't have text on a
path anymore.
| | 05:49 |
To do that, you go back to the Type menu.
Choose from the Type on a Path sub-menu,
| | 05:53 |
and then you'll chose Delete Type From
Path.
| | 05:57 |
Now it's just a regular triangle again.
Setting text along a path, is a wonderful
| | 06:02 |
way to create all kinds of special
effects on your page.
| | 06:05 |
You can even Edit that text later.
But Editing along a path can be, well challenging.
| | 06:10 |
Fortunately in Design Story Editor comes
to the rescue.
| | 06:14 |
And that's what I'm going to talk about
in the next movie.
| | 06:16 |
| | Collapse this transcript |
| Using the Story Editor| 00:00 |
It's time for me to talk about one of my
favourite features in InDesign.
| | 00:03 |
It's not a particularly flashy feature,
but it's incredibly helpful to anyone who
| | 00:07 |
needs to write or edit text inside
InDesign.
| | 00:09 |
And that feature is Story Editor.
It's like having a little word processor
| | 00:14 |
built right into InDesign.
Here, let me show you.
| | 00:17 |
I have my Roux article file open from the
Exercise Files folder.
| | 00:20 |
And I'm going to jump down to the second
spread by pressing Option+Page Down or
| | 00:24 |
Alt+Page Down.
I want to edit some of the text in here,
| | 00:27 |
right inside this frame.
But instead of zooming in and trying to
| | 00:31 |
find the text, I'm simply going to select
the frame itself.
| | 00:34 |
Go to the Edit menu, and then choose Edit
in Story Editor, or you could press Cmd+Y
| | 00:40 |
on the Mac or Ctrl+Y in Windows.
When I do that, up comes a nice, neutral
| | 00:44 |
window, just like a text editor.
I'm not distracted by colors or drop caps
| | 00:49 |
or anything like that.
It's just a neutral window, and I can
| | 00:52 |
make this as wide as I want, and the text
just reflows.
| | 00:55 |
I will tell you the one thing that I
really dislike about story editor and
| | 00:59 |
that is the default font that it ships
with.
| | 01:01 |
Who wants to read that font?
It's crazy.
| | 01:04 |
I'd rather use a font that I can read
easily on screen.
| | 01:06 |
Unfortunately, you can change that by
going to the Story Editor Display pane
| | 01:10 |
inside the Preferences Design box.
Which you can find on the Mac under the
| | 01:14 |
InDesign menu, and in Windows.
Under the Edit menu, I'll choose Story
| | 01:19 |
Editor Display and then I'll change the
font.
| | 01:21 |
Right now, it's set to Letter Gothic.
I don't like that so I'm going to click
| | 01:25 |
there and change the font to something
that looks good to me.
| | 01:28 |
Let's try Georgia.
I'll press Tab and change the line
| | 01:32 |
spacing from single space to 150% space.
That gives a little bit of extra space
| | 01:37 |
between each line.
I'll also change the font size, I'll
| | 01:41 |
change it up to 16 points, something like
that, that looks better to me.
| | 01:45 |
There are many other things you can
change in here as well, like the theme.
| | 01:48 |
Right now, it's set to ink on paper.
But if you want to go crazy, you could
| | 01:52 |
choose something else like yellow on
black.
| | 01:54 |
It's difficult to read for me but
whatever you like.
| | 01:57 |
I'm going to set it back to ink on paper.
Just black text on a white background.
| | 02:01 |
The one thing I'm definitely going to
change here is the cursor option.
| | 02:05 |
I like Barbell.
You know how it's sometimes hard to see
| | 02:08 |
the cursor flashing on screen?
Well, Barbell takes care of that.
| | 02:11 |
You'll see in just a moment.
It makes it much easier to see.
| | 02:14 |
I'll click Okay, and there we go.
All of those changes are updated in the
| | 02:18 |
Story Editor window.
And there's my Barbell text cursor
| | 02:21 |
flashing away.
It's very easy to see, no matter where I click.
| | 02:25 |
Now, as I said, the Story Editor does not
show fonts, or size, or most other
| | 02:30 |
formatting of your text.
What it does show is Bold and Italic,
| | 02:34 |
like down here, this text that's in
Italic, it shows that.
| | 02:38 |
Now, I'm going to move this Story Editor
window over to the right so I can see
| | 02:41 |
both it and the text behind it.
And this text on the page is so small
| | 02:46 |
that it's going to be hard to see this,
but I'm going to just grab some text from
| | 02:49 |
up here.
I'll just grab some text here, in the
| | 02:51 |
story editor window and delete it.
You'll see a very slight pause.
| | 02:55 |
And then as soon as InDesign recognizes
that you've paused for a moment, it
| | 02:58 |
updates it on the document page behind.
Now, I mentioned earlier that you can use
| | 03:03 |
Cmd+Y or CtrlY to open the Story Editor.
You can also use the same thing to switch
| | 03:08 |
out of Story Editor to go back to the
document page.
| | 03:11 |
And that turns out to be very useful.
Because I can select some text inside the
| | 03:15 |
Story Editor.
And then, go back to the Document page by
| | 03:19 |
pressing Cmd+Y or Ctrl+Y, and it swaps
back and selects exactly the same text.
| | 03:25 |
It always synchronizes the selection.
That turns out to be a really useful thing.
| | 03:30 |
You'll see this the more you're using
story editor.
| | 03:32 |
Once again, I'll select some text down
here and I'll selectCmd+Y or Ctrl+Y, up
| | 03:37 |
comes the Story Editor, and the same
thing is selected.
| | 03:40 |
Story Editor is great whenever you need
to edit really tiny text or text on a path.
| | 03:46 |
Or maybe text that's in a text frame so
wide that its hard to see all the text at
| | 03:49 |
the same time.
But one of the best uses for Story Editor
| | 03:53 |
is when you have so much text that it
can't fit inside the frame.
| | 03:57 |
In this text frame the story is over set,
but I can see it in the story editor.
| | 04:01 |
Story editor knows no bounds.
If I just scroll down in the Story Editor
| | 04:06 |
window here, I can see that the text
that's over set show up in this window.
| | 04:11 |
All this stuff that has a red next to it,
that's the over set stuff.
| | 04:15 |
It doesn't fit inside the text frame.
But I can still edit it, copy it, paste
| | 04:19 |
it, delete it, whatever I need to do.
I can work with it inside the story editor.
| | 04:24 |
Now since I'm talking about an editorial
type feature, like story editor, I should
| | 04:28 |
also mention the Info panel.
I love the Infor panel.
| | 04:31 |
I'm going to go the Window menu and
choose Info, and up comes the Info panel.
| | 04:35 |
Move this off to the side a little bit.
To me, the most interesting part of the
| | 04:39 |
Info panel is the bottom down here where
it shows how much text I have selected.
| | 04:45 |
For example, if I select this sentence
down here the Info panel immediately
| | 04:48 |
shows me that 66 characters and 11 words
are selected.
| | 04:52 |
If I deselect the text so that the text
cursor is just flashing inside the story,
| | 04:56 |
it updates to show me all the text in the
story.
| | 04:59 |
That is the Info panel shows me that
there's 199 words plus 1233 words.
| | 05:06 |
What's that plus sign?
Well, that's how much text is over set.
| | 05:10 |
So, you know exactly what you're dealing
with, 199 words inside the frame and over
| | 05:15 |
1200 words over set.
If you do a lot of editorial work, you
| | 05:19 |
know that this kind of word count is
really useful.
| | 05:22 |
Ultimately, whether you're editing really
tiny four point text at the bottom of a
| | 05:26 |
legal contract or text on a path or a
long story, the story editor makes life
| | 05:31 |
so much easier.
| | 05:33 |
| | Collapse this transcript |
| Checking spelling| 00:00 |
Nobody spells everything right all the
time.
| | 00:02 |
I mean, hey, that's what spellchecking
features are for?
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And fortunately, there's quite a good one
built into InDesign.
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Now I have this flyer document open from
my Exercise Files folder.
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And it looks pretty good.
But before I send it to print, I'd better
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check the spelling.
I can do that by going to the Edit menu.
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And then, choosing the Spelling sub menu
and then clicking on Check Spelling.
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Or I can press Cmd+I on Mac or Ctrl+I on
Windows.
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As soon as I select that up, comes a
check spelling dialog box.
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And it immediately starts showing me the
suspect words.
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This first word looks like Elingsworth,
looks like someone to name, it's probably
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okay, I'm going to go ahead and skip it.
I'll click the Skip button.
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The next word it comes up with is Roux,
well Roux is the name of this company the
| | 00:46 |
flyer is for, so I used that a lot in
these documents.
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So, I have the chance to skip it once or
click Ignore All.
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Ignore All is like pressing Skip for
every instance that it finds.
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In fact, not just in this Check Spelling,
but every time I do a Check Spelling
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until I quit InDesign.
Now if I always want InDesign to think
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this word is spelled correctly, not just
this time, but tomorrow and next week and
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next month, then I want to add it to my
user dictionary.
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I can do that by clicking this Add button
down here.
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That's what I'm going to do.
I'll click Add and InDesign adds it to
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the user dictionary and then moves on to
the next word.
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All right.
Instead of checking one word at a time,
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there's another way to check my spelling.
I'm going to click the Done button to
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close that dialog box.
I'm going to go back to the Edit menu.
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Back to the Spelling submenu and I'm
going to turn on Dynamic Spelling.
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I like dynamic spelling because you can
see at a glance whether something is
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spelled incorrectly.
For example, I'm going to zoom in here by
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holding down Cmd+space bar or Ctrl+space
bar in Windows and just drag in and zoom
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in on that page a little bit.
And I can see all the words that InDesign
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thinks are mispelled, have this little
red zigzag line under them.
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That way I can very quickly pan around
looking for things that might be spelled wrong.
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Oh, look at this one over here.
Acdemy.
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That's totally wrong.
I better fix that.
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Now, I could change it manually.
I could just click in there and change
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it, or I can place my cursor on top of it
and then right-click or control-click
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with a one button mouse.
And up at the top of the Context menu, it
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shows me it's suggested words, what it
thinks we're trying to spell here.
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I'll choose Academy, and it fixes the
misspelling for me.
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Okay, now I'm going to switch over to my
Roux article file here in the tabs, and
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I'm going to do some spell checking here.
Because I chose Dynamic Spelling, it's
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going to stay on for all of my documents
that I have open.
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So, I'm going to switch to my next spread
by pressing Option+Page Down, or Alt+Page
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Down on Windows.
And then, I'm going to zoom in on this
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text frame over here.
And I can see a few possibly misspelled
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words But I also see a few other words
that have a green zigzag line.
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Green means they're not misspelled, but
there's something else wrong with them.
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For example, here it's obvious.
There's two words that are exactly the
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same right next to each other.
I'll double-click with the Type tool to
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select one of them, and then hit Delete,
and now the green zigzag goes away.
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Down here, InDesign's telling me that
something's wrong with the word trying.
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Well, it's supposed to be capitalized.
So, I'll replace that t with a T.
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You can control what InDesign considers
right and wrong in the Preferences dialog box.
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I'll press Cmd+K, or Ctrl+K on Windows,
to open the Preferences dialog box, and
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then I'll click on the Spelling pane over
here.
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You can see theres a number of things you
can change, misspelled words, repeated
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words, uncapitalized words, and
uncapitalized sentences.
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You can turn those on or off.
You can even change the color that
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InDesign uses on those little zigzag
lines.
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Alright.
I'm going to just click OK.
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I want to show you a couple more things.
I'm going to come down to the end of this
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paragraph and I'm going to type a word,
like Grazie.
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Grazie immediately shows up as
misspelled.
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But I know that it's not misspelled.
It's Italian.
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So, how do I tell InDesign that this word
is spelled correctly in a different language?
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The trick is to select it, and then up
here in the Control panel, make sure that
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it's set to the character mode.
That's this little a button at the very
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top left corner.
I'll click on that, and this changes to
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the character formatting mode.
I'm going to be talking about that in
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great detail in a later chapter.
But for right now out here in the middle
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of the Control panel, there's a popup
menu that shows all the different
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languages that InDesign knows about.
There's Dutch, and Estonian, and German,
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and so on.
And indeed, Italian.
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So if I choose Italian for this word, the
one that's selected, InDesign suddenly
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stops when something is misspelled.
It knows it's spelled correctly in that language.
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Okay.
Now, you know I love tips and tricks and
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I always want to give you the best.
So, I'm going to show you one more
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language trick that you should know
about.
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I'm going to come back to my Roux flyer.
And down here, I'm going to select this
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Roux Academy text.
You can see that Indesign thinks that's
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misspelled right.
Well, I know that's not misspelled but
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InDesign isn't so smart it can't
recognize the web address.
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So, these things almost always show up as
misspelled.
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What I can do is tell InDesign that its
null language.
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So, I'm going to select that URL, I'm
going to go back up to my Language menu
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in the Control panel.
And, at the very top of this list, you'll
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see no language.
When I choose that, InDesign stops trying
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to spell check it.
Anything set to no language will never
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show up as misspelled.
Of course, just performing a spell check
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won't guarantee that your text is all
correct.
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So, finding a proof reader is always a
good idea.
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But, do yourself and them a favor, and
run InDesign's spell checking features first.
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| Using Find/Change| 00:00 |
I'm old enough that I remember manually
searching through all the text in a
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document for a particular word and
replacing it with another.
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All by eye, one page at a time, hoping I
didn't miss any of them.
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And all I can say is thank goodness for
the Find Change feature which lets me do
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it all now in a single-click.
You can find the Find Change feature by
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going to the Edit menu and choosing Find
Change or press Cmd+F on the Mac or
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Ctrl+F on Windows.
Now, there are a lot of features in the
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Find Change dialogue box, but I'm
going to focus on just the basics here,
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Find what and Change to.
Let's say I want to search for the word Egypt.
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All I have to do is type the word Egypt
right in here, in the Find what field,
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then, I click Find.
InDesign finds the first instance of
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Egypt in my document.
It's down here.
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Let me move this out of the way a little
bit and zoom in on this.
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I'll hold down Cmd+space bar, and then
drag in.
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There we go.
Notice that I can zoom in and even edit
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this text while the Find Change dialogue
box is still open.
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That's really helpful.
Now, we can see that InDesign did in fact
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find the word Egypt, but inside of
another word, Egyptian.
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That's not what I was intending.
I just wanted to find the whole word Egypt.
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Fortunately, InDesign lets me change the
scope of what it's searching for.
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For example, I can come over here and
change the search popup menu from
| | 01:22 |
Document, meaning just this particular
document.
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To All Documents, that would search for
the word Egypt, in all the documents that
| | 01:29 |
I currently have open.
But I can also change the scope with
| | 01:32 |
these little buttons down here.
And I have to be honest with you, it's
| | 01:36 |
hard even for me to remember what those
buttons do.
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There's just too many of them.
So, here's what I do.
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I move my cursor on top of them until I
see that little tool tip show up.
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Okay, that one's for Locked Layers, this
one's for Locked Stories, it'll search
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inside locked stories or Hidden Layers.
Include Master Pages, so it'll search
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master pages as well.
This one is Footnotes, this one is case
| | 01:58 |
sensitive, that one could be useful at
sometime, but not for this case.
| | 02:02 |
And now, whole word, that's the one I'm
looking for.
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I want to find the whole word Egypt.
So, I'm going to click on that button,
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and try again.
I'll click Find and it jumps to the first
| | 02:14 |
instance of the whole word Egypt.
Of course, Find what is only half the
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equation, here.
Sometimes you want to find a word and
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change it to something else.
For example, I'm going to come up here
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and type two hyphens in the Find what
field.
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I want to find everywhere that the author
typed in two hyphens instead of a regular
| | 02:32 |
em dash.
And I'm going to change those hyphens
| | 02:35 |
into an em dash by typing an em dash in
the Change to field.
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I'll click there, and I need to type
either an em dash and also a special code
| | 02:43 |
for an em dash.
But what is that code?
| | 02:46 |
What if I don't remember how to type an
em dash?
| | 02:48 |
Well, that's where this little popup menu
over here on the right comes in.
| | 02:53 |
I don't know why adobe uses this at
symbol here, but whenever you see an at
| | 02:57 |
symbol popup menu, it means special
characters.
| | 03:00 |
And if I click on that, we can see all of
the different special characters.
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The invisible characters, the interesting
glyphs, and so on.
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All of those things that InDesign knows
about, that I may not know how to type.
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In this case, I'm looking for a hyphen or
a dash.
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So, I'm going to look in that submenu,
and there it is, an em dash.
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When I click on it, InDesign types a
special code, that I'm never going to
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remember myself.
But fortunately, it does the typing for me.
| | 03:26 |
And now, I can just click Change All and
it'll change all of them for me, right?
| | 03:30 |
oh, 0 replacements made.
Okay, remember just a moment ago we told
| | 03:35 |
InDesign what the scope of our search was
going to be.
| | 03:38 |
We told InDesign to find only whole
words.
| | 03:42 |
Let me click OK.
Well, there's no such thing as a whole
| | 03:45 |
word of two dashes, so I need to come
over here and turn off that button and
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now try it again.
Change All, and InDesign says eight
| | 03:54 |
replacements made in this document.
That's great.
| | 03:57 |
I'll click OK.
Now, here's another thing that I use Find
| | 04:00 |
Change all the time for.
I want to find all the instances where
| | 04:04 |
somebody typed two or more spaces, and I
want to replace those with a single space.
| | 04:09 |
Now, I could do that myself, but
sometimes people use weird spaces, you
| | 04:14 |
know, Adobe InDesign has all these kind
of strange spaces like thin spaces and
| | 04:18 |
quarter spaces and so on.
What if I want to find all of those?
| | 04:21 |
Well, fortunately InDesign comes with a
bunch of built-in Find Change queries.
| | 04:26 |
And they all live up here in the query
popup menu.
| | 04:30 |
There's a whole bunch of cool ones here
that InDesign ships with.
| | 04:33 |
And I'm going to use multiple space to
single space.
| | 04:37 |
When I choose that, InDesign adds all the
weird codes for all the different spaces
| | 04:42 |
that it knows about.
And it's going to look for, so I don't
| | 04:45 |
have to remember any of that stuff.
Now, I'm just going to click Change All,
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and InDesign says 0 replacements made.
Now what's the problem?
| | 04:54 |
Well, once again, it's all about scope.
I'll click OK.
| | 04:58 |
And I can see that the search popup menu
changed to selection.
| | 05:02 |
That means InDesign is only going to
search through the text that's currently selected.
| | 05:07 |
Just that word Egypt.
I need to come in here and change this
| | 05:10 |
back to Document.
That's just one of those many things that
| | 05:13 |
you need to pay attention to inside the
Find Change dialogue box.
| | 05:17 |
I'll click Change All, and now InDesign
found and changed 347 of these instances
| | 05:22 |
in just an instant.
I love that.
| | 05:25 |
Now, there's lots of other things you can
do in the Find Change dialogue box.
| | 05:29 |
For example, you could find text with
particular formatting and change it to
| | 05:33 |
other formatting.
I'm going to cover that in a later chapter.
| | 05:36 |
You can also do this thing called GREP
Find Change which is what InDesign used
| | 05:41 |
to find all of these multiple spaces.
I go into great detail about GREP and all
| | 05:45 |
the cool things you can do it with it in
another title in the lynda.com online
| | 05:49 |
training library.
It's called 10 Things to Know About GREP.
| | 05:52 |
The Glyph tab of the Find Change dialog
box lets you search for very particular
| | 05:57 |
characters in your document.
And the last one, Object Find Change,
| | 06:01 |
lets you find and change object
formatting.
| | 06:03 |
For example, you might want to change all
of your red frames into blue frames.
| | 06:08 |
You can do that with the Object
Formatting Find Change and I'm going to
| | 06:11 |
cover that in a later chapter too.
The Find Change dialog box is obviously
| | 06:15 |
an incredibly powerful when you take the
time to dial in exactly what you're
| | 06:19 |
looking for, and exactly what you want to
change it to.
| | 06:22 |
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|
|
6. GraphicsImporting graphics| 00:00 |
It's time to start talking about using
pictures in InDesign.
| | 00:04 |
Let's start at the beginning.
How to get images onto our InDesign page?
| | 00:08 |
Fortunately, InDesign makes it really
easy and I'm going to show you about four
| | 00:11 |
or five different ways to do it, each
with its own benefits.
| | 00:15 |
The basic method for importing an image
is to use the place command, which you
| | 00:19 |
can find under the File menu.
Or you could press Cmd+D on the Mac or
| | 00:23 |
Ctrl+D on Windows.
When you choose place, InDesign shows you
| | 00:27 |
a list of all the images or files that I
could place right now.
| | 00:30 |
I'm going to go into my exercise folder,
and then go down to my links folder.
| | 00:36 |
I want to import the Roux Academy logo,
which I'm going to find probably at the
| | 00:40 |
very bottom of this list.
There it is.
| | 00:43 |
Roux academy logo.ai.
Now, that's an ai file, which is a native
| | 00:48 |
Adobe Illustrator file.
And InDesign can import it.
| | 00:51 |
When I click Open, InDesign loads that
image up onto my Place cursor.
| | 00:56 |
Now, it's very important to pay attention
to the Place cursor before you click.
| | 01:01 |
This Place cursor tells me information
about what's about to happen.
| | 01:04 |
Right now, I see the little twirly,
spirally icon that shows me that this is
| | 01:08 |
an Acrobat file or an Illustrator file.
They look the same.
| | 01:11 |
The edge of the Place cursor is two
dotted straight lines.
| | 01:15 |
And that indicates that if I click right
now, InDesign is going to create a new frame.
| | 01:21 |
But if I move the place cursor over here,
where I actually want the logo, those
| | 01:25 |
lines change.
They turn into kind of a curved kind of parenthesis.
| | 01:29 |
And that indicates that it's going to
place this image into a frame.
| | 01:33 |
That's because there's an empty frame in
the background.
| | 01:36 |
Now that's not what I want to do.
I don't want to click right now.
| | 01:38 |
Instead, I click and drag.
When I click and drag, it creates a new
| | 01:44 |
frame and then places the image into it.
Now with the Selection tool selected in
| | 01:49 |
the Tool panel, I can simply drag this
into position.
| | 01:51 |
Perfect.
Now, let's bring in that image one more
| | 01:55 |
time and put it elsewhere on my page.
I could just duplicate this one of
| | 01:59 |
course, but instead, I'm going to go back
to the File menu, choose Place, and then
| | 02:04 |
choose that image again.
I'm doing it this way because I want to
| | 02:08 |
point out something.
I always want to check to see if the
| | 02:11 |
Replace Selected Item check box is turned
on.
| | 02:14 |
Replace selected item tells InDesign
whether or not you want this image to go
| | 02:18 |
into any frame that you currently have
selected on your page.
| | 02:22 |
In this case, if I move the Place dialog
box out of the way, you can see I
| | 02:25 |
actually do have a frame selected.
So because this check box is on, my image
| | 02:30 |
will go into this frame, not where I'm
going to want to put it.
| | 02:34 |
So, I go turn off that check box, then
click Open, and InDesign loads the Place
| | 02:39 |
cursor instead of putting inside that
frame.
| | 02:41 |
I'm going to place it down here, and you
can see that the cursor tells me it's
| | 02:44 |
going to create a new frame, not put it
inside the frame there, because there's
| | 02:48 |
no empty frame behind it.
So I'll simply click, and InDesign
| | 02:52 |
creates a frame for me and drops the
image into it.
| | 02:55 |
All right.
Now I'm going to place another image, but
| | 02:58 |
this time, I'm going to use a totally
different method.
| | 03:00 |
I'm going to drag it right out of a
folder on my desktop.
| | 03:03 |
I'll switch back to the Finder, or
Windows Explorer, depending on your
| | 03:06 |
operating system, by pressing Cmd+Tab on
the Mac or Alt+Tab on Windows.
| | 03:11 |
I have that same links folder open from
the exercise files, and I'm going to grab
| | 03:15 |
the image that I want and drag it in.
I'm simply going to grab it and drag it
| | 03:20 |
on top of the InDesign window.
When I let go of the mouse button, it
| | 03:23 |
doesn't look like anything happened, but
as soon as I switch back to InDesign, you
| | 03:27 |
can see that the place cursor has been
loaded.
| | 03:30 |
That's the image that I had selected on
the desktop.
| | 03:32 |
Now I can simply click and drag.
And you'll notice that as I'm dragging, I
| | 03:37 |
can't make any size frame I want.
It stays height and width proportional to
| | 03:42 |
the image itself.
That's really helpful.
| | 03:45 |
Now, I'm going to drag this out, and
finally let go.
| | 03:48 |
In comes the image.
All right.
| | 03:50 |
Now let's bring some more images into my
second spread.
| | 03:53 |
I'll press Option+page down, or Alt+page
down to jump to the second spread.
| | 03:56 |
And here, you can see that I have several
frames that are empty, just waiting for images.
| | 04:01 |
In this case, I'm going to bring in all
three images at the same time.
| | 04:04 |
To do that, I'll go back to the Place
dialog box by pressing Cmd+D or Ctrl+D on Windows.
| | 04:10 |
And I'm going to select three images that
I want right now, all three of them.
| | 04:13 |
To do that, I click once on the first
image that I want, then I'll hold down
| | 04:18 |
the Cmd key on the Mac, or Ctrl key on
Windows, and click on the second image
| | 04:22 |
that I want.
There's two, now let's scroll down a
| | 04:24 |
little bit and get the third that I'm
looking for.
| | 04:30 |
There it is.
I'll hold down the Cmd key or the Ctrl
| | 04:32 |
key and click on it.
And now all three images are selected
| | 04:35 |
inside this dialog box.
So I'll click Open, and you'll see that
| | 04:39 |
all three images get loaded up onto the
Place cursor.
| | 04:42 |
I can tell that there are three, because
there's a little blue three inside
| | 04:46 |
parentheses next to the cursor.
In fact, I can actually move through
| | 04:49 |
those one at a time by pressing the left
or right arrow keys on my keyboard.
| | 04:54 |
When I press the right arrow, you'll see
it switches to the next image.
| | 04:57 |
Press it again, and it goes to the third
image.
| | 04:59 |
I can move through here until I find just
the image that I want right now, and then
| | 05:03 |
when I'm ready, I can click.
I clicked on top of an empty frame, and
| | 05:07 |
InDesign placed that image into the
frame.
| | 05:10 |
Now the cursor changed, because I only
have two more images in there.
| | 05:13 |
And I can click and then click again.
Okay, I'd like to bring some images down
| | 05:19 |
here into this blank area on the third
pane of this brochure.
| | 05:22 |
I'm going to grab four images this time,
and I'm going to put them all in a grid automatically.
| | 05:27 |
Here's how it works.
First, I'll go back to the Place dialog
| | 05:30 |
box with my Cmd+D or Ctrl+D, and I'll
select four images.
| | 05:35 |
I actually have no idea what these images
are, I'm just grabbing them randomly
| | 05:39 |
here, and then I'm going to click Open.
It loaded all four images into my Place cursor.
| | 05:46 |
And now I'm going to start dragging with
this Place cursor.
| | 05:48 |
I'll click and drag and I'm not really
paying attention to the width right now.
| | 05:52 |
I'm just looking at about how high it is.
Now, here's the trick.
| | 05:56 |
While the mouse button is still being
held down, I'm going to press the up
| | 06:00 |
arrow key on my keyboard.
I press once and it breaks into a grid of
| | 06:04 |
two frames.
Press two more times and it breaks into a
| | 06:08 |
grid of four in a stack.
I'm only pressing the up arrow keys to
| | 06:12 |
add frames vertically.
This is a single column.
| | 06:15 |
If I press the right arrow, it would
break into two columns.
| | 06:19 |
But I'm not going to do that.
I'm going to press the left arrow to go
| | 06:21 |
back to a single column.
Then, when I let go of the mouse button
| | 06:25 |
at last, it makes four frames and fills
those with the images.
| | 06:30 |
I'll talk about how to scale these images
properly later on in this chapter, but
| | 06:33 |
right now, I'm going to show you one more
technique for importing images.
| | 06:37 |
I'll click over here in this blank area
just to deselect everything on the page.
| | 06:41 |
Then I'll go back to the File menu and
choose Place.
| | 06:43 |
Now I'm going to choose an Illustrator
file that's down at the bottom of my list.
| | 06:47 |
It's called, roux_artboards.ai.
I happen to know that this Illustrator
| | 06:51 |
file has multiple artboards built into
it, but this same technique would also
| | 06:55 |
work with a PDF file that has multiple
pages.
| | 06:59 |
When you have a file that has multiple
pages or multiple artboards, you need to
| | 07:02 |
tell InDesign which page or artboard you
actually want to import.
| | 07:06 |
To do that, you can turn on the Show
Import Options check box here in the
| | 07:10 |
Place dialog box.
Show import options tells InDesign that
| | 07:14 |
when you click the Open, button it should
open a new dialog box.
| | 07:18 |
One that gives you some options.
Here we can see that there are three
| | 07:21 |
total pages or artboards in this
document, and we can move through them
| | 07:25 |
one at a time to preview them.
I'm going to go ahead and bring that
| | 07:30 |
first one in.
Just number one.
| | 07:31 |
But I should point out that I could
actually bring all of them in if I want
| | 07:35 |
to, by clicking the All button here.
Or even just a range.
| | 07:38 |
Maybe I just wanted the first and the
second.
| | 07:40 |
If you bring in more than one page, each
one is loaded up into the Place cursor as
| | 07:44 |
a separate image.
You can also tell InDesign how to crop
| | 07:48 |
this image.
Right now it's set to Bounding Box,
| | 07:51 |
visible layers only.
That means it's only going to bring in
| | 07:54 |
the size of the artwork itself.
Pretty much the same as this Art option,
| | 07:58 |
but if I change this to something
different like Media, I get a very
| | 08:02 |
different effect.
You can see that previewed over here.
| | 08:05 |
In this case, InDesign would bring in, in
the entire page, all the way out to the edge.
| | 08:10 |
Or in this case, all the way out to the
edge of the artboard.
| | 08:12 |
Now in some cases, you might find you
need that if you're trying to get the
| | 08:15 |
whole page.
But in this case, all I want is to go out
| | 08:18 |
to the edge of the art.
Finally, I'll click OK and InDesign loads
| | 08:22 |
it up into the Place cursor.
And I can come out here and click and drag.
| | 08:27 |
Now, note that I'm not talking about how
to copy and paste images from one
| | 08:31 |
application to another.
While you technically can copy and paste
| | 08:35 |
some vector artwork between InDesign and
Illustrator, I strongly urge you not to
| | 08:39 |
copy images from Photoshop or any other
program other than Illustrator.
| | 08:43 |
There are a number of technical reasons
for this, and I discuss them all in
| | 08:46 |
detail in my Beyond the Essentials title,
here on the online training library.
| | 08:50 |
However you choose to import your images,
InDesign tries to be as flexible as possible.
| | 08:55 |
And this is especially true when it comes
to what file formats you can use.
| | 08:59 |
InDesign supports all the regulars.
TIFF, JPEG, PDF, and so on.
| | 09:04 |
But it also supports native PSD files,
that's Photoshop files, and most native
| | 09:09 |
Illustrator files.
Later in this chapter, I'll talk about
| | 09:12 |
some of the advantages of using those
native file formats.
| | 09:15 |
| | Collapse this transcript |
| Using the Links panel| 00:00 |
When you import a picture into InDesign
using place or by dragging in a file from
| | 00:04 |
disk, InDesign doesn't actually imbed the
image into your document.
| | 00:09 |
Instead, you get a thumbnail preview of
the image and a link to the file on disk.
| | 00:14 |
This happens with any image file whether
you import a PDF or a JPG or TIFF or whatever.
| | 00:19 |
And that's why when I open this document
from the exercise folder called draft2
| | 00:24 |
InDesign gives me this alert.
And the alert says that there are two
| | 00:28 |
missing, and one modified links.
When I opened the document, InDesign went
| | 00:32 |
looking for all the images, and it found
two of them were missing.
| | 00:35 |
It just couldn't find them.
And one of them had been modified.
| | 00:38 |
It was changed since the last time I had
opened it.
| | 00:41 |
So InDesign's asking me what I wanted to
do.
| | 00:44 |
If I click update links, it will update
all the modified ones.
| | 00:48 |
It doesn't know what to do about the
missing ones, but in this case, I'm
| | 00:51 |
actually not going to do that.
I'm going to click don't update links
| | 00:55 |
because I want to show you how to do it
manually.
| | 00:57 |
Whenever there have been missing or
modified links, up comes the Links panel
| | 01:01 |
over here in the dock.
The Links panel is like the control
| | 01:04 |
central for all your linked graphics, all
the linked images that you have in your
| | 01:08 |
document will show up here in the Links
panel and it gives you information about
| | 01:12 |
those links as well.
For example, up here we can see an alert icon.
| | 01:16 |
I'm going to drag this gray bar in the
middle of this panel down and that gives
| | 01:20 |
me more space at the top of the panel and
less at the bottom.
| | 01:23 |
There we go.
There's my second alert.
| | 01:26 |
The modified one.
The red one with a question mark says
| | 01:29 |
it's missing, the yellow one says it's
modified.
| | 01:32 |
If there's no alert icon at all, like all
these other ones, it means that's okay.
| | 01:36 |
It knows where to find those files and
they're up to date.
| | 01:39 |
Now the links panel can actually tell you
other information about your linked
| | 01:42 |
images as well.
For example, if I click on this JPEG
| | 01:46 |
image here, it'll show me down at the
bottom of the panel, a whole bunch of
| | 01:49 |
information about it.
It shows me it's a JPEG image.
| | 01:52 |
It's an RGB image.
It shows me the resolution of the image,
| | 01:56 |
and more.
It's a good idea to scroll through and
| | 01:59 |
look at all this link info to get a sense
of what the images are inside your document.
| | 02:03 |
By the way, if you don't see this link
info at the bottom, you may need to click
| | 02:07 |
this little twirly triangle thing at the
bottom left corner of the Links panel.
| | 02:11 |
I clicked it once and it closes, click it
again and it opens again.
| | 02:14 |
Now there are a couple more things I want
to show you about the Links panel, before
| | 02:18 |
we fix those image problems.
First of all we'll see that all our
| | 02:22 |
images up here are in chronological
order, that is the page order, from
| | 02:26 |
beginning of the document to the end.
And I can tell that because at the very
| | 02:30 |
top of the Links panel, there's this
little page icon there.
| | 02:33 |
This is the Page column, and the Page
column has a little triangle next to it.
| | 02:38 |
That indicates that it's currently sorted
by page, from first to last.
| | 02:43 |
If I click on this, it'll reverse it.
Now it's going from the last page to the beginning.
| | 02:49 |
Now I can sort this Links panel in other
ways.
| | 02:51 |
For example, I'll click on the alert icon
at the top of this column.
| | 02:54 |
And now it's sorted by the alert status.
I'll click again, and now that puts all
| | 02:59 |
of the alerts, the missing and the
modified ones, at the top of the list.
| | 03:03 |
If you have a lot of missing and modified
images that you're dealing with, that's
| | 03:06 |
often a good way to clump them all
together.
| | 03:08 |
So you can see them faster.
Or you could click on the Name column, to
| | 03:12 |
put them in alphabetical order.
In my Beyond the Essentials title here on
| | 03:16 |
the online training library, I go into
more details about these columns and how
| | 03:20 |
you can even customize this panel to add
your own columns.
| | 03:23 |
For now, I'm just going to go ahead and
click on Page Order again.
| | 03:27 |
I find that useful.
And now, let's go ahead and fix those problems.
| | 03:30 |
I'm going to start with a modified one.
The one that's been changed, it's this
| | 03:35 |
pencil image over here.
I may not know where in my document this
| | 03:39 |
image is right now, so I can click on
this little underlined four right there,
| | 03:43 |
and that takes me right to the image.
It even selects the image inside the frame.
| | 03:48 |
Let's go ahead and zoom into 200% by
pressing Cmd 2 or Ctrl 2 on Windows, and
| | 03:53 |
we can see that there's my pencil image
that's been modified.
| | 03:57 |
You'll notice that in the upper right
corner of this frame, I see the same
| | 04:00 |
modified icon.
It's really helpful to have this icon
| | 04:03 |
right here on the image itself.
Once again, this modified icon means that
| | 04:07 |
somebody has changed this image since the
last time I imported it into this document.
| | 04:11 |
If I want to see the new version, I have
several different choices.
| | 04:15 |
I could go to the Links panel and choose
Update link from the Links panel menu.
| | 04:19 |
Or I'll click off there.
I could click the update link button at
| | 04:24 |
the bottom of the Links panel here.
Or I could double click on this modified
| | 04:28 |
icon in the Links panel but I'm going to
do it the fastest coolest way which is
| | 04:33 |
simply to come over here to the frame and
click once on that modified icon.
| | 04:38 |
As soon as I click on it, it updates the
image.
| | 04:40 |
Somebody made that pencil blue.
Okay let's go take care of the missing images.
| | 04:45 |
Here in the Links Panel, I can see that
this image is missing.
| | 04:48 |
But there's no page number next to it.
That's because there's a little triangle
| | 04:53 |
in the left column.
And if I click on that triangle, you can
| | 04:56 |
see that it expands.
It shows me that this image has been used
| | 05:00 |
more than once in my document.
I can see now that this image was used on
| | 05:05 |
page two and three.
It's my job to tell InDesign where this
| | 05:09 |
image lives now so we can re-import it
and have a good link.
| | 05:12 |
So let's go ahead and look for it first.
I'll click on this two and it takes me
| | 05:16 |
right to that image.
Then I'll zoom in to 200% again with a
| | 05:20 |
Cmd 2, or a Ctrl 2 on Windows, and I can
see that there is another missing icon
| | 05:25 |
right there attached to the upper left
corner of the frame.
| | 05:29 |
Now again there is multiple ways to
relink this to a new image.
| | 05:32 |
I could click on the Relink button at the
bottom of the Links panel, go to the
| | 05:36 |
Links panel player menu but in this case
once again I'm simply going to click once
| | 05:40 |
on that icon on the frame.
Now InDesign asked me where I should find
| | 05:45 |
this image?
I'll go look for it.
| | 05:47 |
It's in the Exercise folder in the Links
folder.
| | 05:50 |
So I'm going to go up a level, go look in
my links folder and it's gotta be in here somewhere.
| | 05:56 |
There's a little helpful clue here that
you should pay attention to.
| | 05:58 |
Up here at the top of this dialog box
InDesign shows me the name of the file
| | 06:03 |
that I'm looking for.
I can see that it's looking for something
| | 06:06 |
called Roux Academy Logo draft.
So I'm going to scroll all the way down
| | 06:10 |
to the bottom of my list here.
And I can see that it doesn't exist at all.
| | 06:15 |
Of course, it's missing.
But that draft file, that was a draft
| | 06:19 |
version that I threw away a long time
ago.
| | 06:20 |
I'm never going to find it.
But I can replace it with new version.
| | 06:24 |
That's the roux academy logo.ai.
That's the final version.
| | 06:29 |
And I click open and because I have the
Show Import options check box turned on,
| | 06:34 |
it's going to show me this Options dialog
box.
| | 06:36 |
I'll click OK.
And now it throws away the old version
| | 06:40 |
and it puts the new version in its place.
But look back in the Links panel.
| | 06:44 |
I still have another alert.
What's going on?
| | 06:47 |
Well in this case I only change that one
image, the one on this page.
| | 06:52 |
The other one is still missing.
So let me undo that with a Cmd Z on the
| | 06:56 |
Mac or Ctrl Z on Windows.
That puts it back to the way it was.
| | 06:59 |
And instead of clicking on the icon here
on the page, I'm going to come over here
| | 07:03 |
and do it slightly differently from the
Links panel.
| | 07:07 |
In this case I'm not going to select any
of the individual images that have been placed.
| | 07:11 |
I'm going to select this one at the top,
the Master file.
| | 07:14 |
The one that surrounds all of them.
And I'm going to double click on the icon
| | 07:17 |
next to it.
Once again it gives me the opportunity to
| | 07:20 |
find the image, and I'm going to link on
my new version.
| | 07:23 |
I'll turn off Show Import options this
time, and then click Open.
| | 07:27 |
Now, all those images have been updated.
Okay, I'm going to show you one more
| | 07:31 |
links trick, because I find this really
useful.
| | 07:33 |
Sometimes, I need to find an image on
disk.
| | 07:36 |
I know where it is on my document, but I
don't know where that image is on my hard
| | 07:40 |
drive, or on the server.
Well, here's what I could do.
| | 07:42 |
I could select the image.
For example, I'll choose this psd file,
| | 07:46 |
this Photoshop file.
And if I hover over it, the tooltip shows
| | 07:50 |
me the path to where it is on disk, so
that's kind of neat, but I'm going to
| | 07:54 |
take it one further.
I'll go to the Links panel menu and then
| | 07:58 |
choose Reveal in Finder, where on Windows
it would be Reveal in Windows Explorer.
| | 08:02 |
When I choose that, InDesign switches
back to the desktop, opens the folder,
| | 08:07 |
and selects the image for me.
I want to be clear about this, it's
| | 08:10 |
important that your images, all be
up-to-date in the Links panel, not
| | 08:14 |
missing or modified, before you print or
export your documents or else InDesign
| | 08:19 |
will only be able to use the low
resolution preview and your output may
| | 08:22 |
not look right.
| | 08:23 |
| | Collapse this transcript |
| Editing graphics in their original application| 00:00 |
What happens after you put an image on
your page, and then realize you need to
| | 00:04 |
edit the image somehow?
For example, I'll zoom in on this image
| | 00:07 |
down here in this exercise folder, this
logo in the lower right corner, and I can
| | 00:11 |
see that the text is white.
I'd like it to be blue.
| | 00:14 |
Well, I could switch to Illustrator, and
then open the logo, assuming I know where
| | 00:19 |
it's saved on disc.
But since I'm looking at it here in
| | 00:22 |
InDesign, it's far easier to use a
feature right in InDesign called Edit Original.
| | 00:27 |
Now, I can find Edit Original by first
selecting this image, and then going to
| | 00:32 |
the Edit menu and choosing Edit Original.
But honestly, there's a lot faster ways
| | 00:37 |
to do it.
Instead of choosing it from the menu, I
| | 00:39 |
could go to the Links panel.
And then, click on this little pencil icon.
| | 00:44 |
That pencil icon is the Edit Original
button.
| | 00:46 |
But the fastest way to get to Edit
Original is just to Option+double-click
| | 00:50 |
or Alt+double-click on your image.
That's all you need to do.
| | 00:53 |
If I Option+double-click or
Alt+double-click on this image, it
| | 00:56 |
suddenly launches Illustrator and opens
that graphic.
| | 00:59 |
I'll zoom in here, so you can see this
artwork a little bit better.
| | 01:02 |
And I can't see that text right now,
because it's white on white.
| | 01:05 |
But I know it's there.
Now, this image is in a group, so I'm
| | 01:09 |
going to double-click on it to go into
Illustrator's Isolation mode.
| | 01:12 |
And now, I can select the text on the
outside of this path.
| | 01:15 |
I'll just click on it here.
Now, I can change the text color to blue.
| | 01:19 |
Now, at this point, all I need to do is
save this document and close it.
| | 01:24 |
So, I'll click out here, click File Save,
and then close this document.
| | 01:29 |
And as soon as I go back to InDesign,
you'll see that it updates.
| | 01:32 |
Now, I don't even have to go to the Links
panel and choose Update.
| | 01:36 |
Why?
Because when you choose Edit Original,
| | 01:38 |
InDesign knows you're going to be editing
it.
| | 01:40 |
It's just watching the image, just
sitting there waiting for you to make a change.
| | 01:45 |
As soon as you save it and come back to
InDesign, it updates automatically.
| | 01:49 |
Not only that, but if I zoom back out to
fit the whole spread in window, with the
| | 01:52 |
Cmd+Option+0, or Ctrl+Alt+0, you can see
that it's updated everywhere in this document.
| | 01:58 |
Including this logo up here.
Now, by the way, InDesign actually has no
| | 02:02 |
idea what the original application is for
these images.
| | 02:06 |
It depends entirely on a Mac or Windows
operating system for this information.
| | 02:10 |
Basically, Edit Original is the same
thing as double-clicking on the image in
| | 02:15 |
a folder, and that means that sometimes
it opens up in the wrong program.
| | 02:19 |
For example, let me go to the next spread
by pressing Option+Page Down or Alt+Page Down.
| | 02:24 |
Now, I'm going to try to edit this image
in the upper right corner, so I select
| | 02:28 |
it, and then I Option or Alt+double-click
on it.
| | 02:31 |
You'll see it that it opens up here in
Preview on the Mac instead.
| | 02:35 |
That's not what I wanted.
I wanted it in Photoshop.
| | 02:38 |
The same thing can happen in Windows.
It can open in completely the wrong program.
| | 02:42 |
Fortunately, you can force InDesign to
open it in a particular program.
| | 02:47 |
So, I'll close this and go back to
InDesign.
| | 02:48 |
And this time, instead of using Edit
Original, I'm going to go back to the
| | 02:53 |
Edit menu, but I won't use Edit Original,
I'll use the next feature down, Edit With.
| | 02:58 |
Edit With lets me choose exactly which
program I want to open the image with.
| | 03:02 |
In this case, Adobe Photoshop.
Now, it's easy for me to make a change.
| | 03:08 |
I'll just go the Image menu and use
Brightness Contrast.
| | 03:11 |
Maybe bump this up a little bit.
Click OK.
| | 03:14 |
Then, I'll save it with a Cmd+S or Ctrl+S
on Windows.
| | 03:17 |
Switch back to InDesign and you'll see
that it updates immediately.
| | 03:21 |
There's my brighter version.
Getting efficient with InDesign isn't
| | 03:25 |
just about InDesign, it's about getting
all these programs working together as
| | 03:28 |
smoothly as possible.
The Edit Original and Edit With features
| | 03:32 |
are a big part of making that happen.
| | 03:34 |
| | Collapse this transcript |
| Fitting graphics to the frame| 00:00 |
When you import an image it often doesn't
appear at the correct size on your page.
| | 00:04 |
For example I'll go over here and select
the rectangular graphic frame tool and
| | 00:09 |
draw out a frame.
Now I'm going to place an image into it.
| | 00:13 |
So I'll go to File > Place and choose an
image.
| | 00:17 |
I'm in my links folder from the exercise
files folder and I'm going to scroll to
| | 00:20 |
the very bottom here and choose this
image here.
| | 00:23 |
The Rue Spirals Illustrator file.
Now I'll click inside this frame and it
| | 00:29 |
places the image into it.
Now I can tell immediately that, that is
| | 00:33 |
not what I was hoping for.
I wanted to fit the image inside this frame.
| | 00:37 |
Now it's important to remember that the
frame is not the same as the image.
| | 00:41 |
They're two separate things, one inside
the other.
| | 00:44 |
If I come back here and choose the
selection tool, and then double click on
| | 00:47 |
this frame, you can see that I've
selected the image inside the frame.
| | 00:51 |
And I can see that the edge of this image
is huge.
| | 00:54 |
It's much larger than the frame.
We're going to explore scaling in the
| | 00:58 |
chapter on transforming objects later,
but let me quickly show you one feature
| | 01:02 |
which really comes in handy when you're
trying to fit images.
| | 01:05 |
In fact, the name of the feature itself
is Fitting, and you can find it under the
| | 01:10 |
Object menu, down here in the Fitting
submenu.
| | 01:13 |
There are five different features here,
in fact.
| | 01:16 |
Fill Frame Proportionally means makes
sure that the image fills the frame even
| | 01:20 |
if some of the image is cropped out a
little bit.
| | 01:23 |
It fills the frame.
Fit content proportionally means scale
| | 01:27 |
the image up or down until it fits inside
the frame but make sure none of it gets
| | 01:31 |
cropped out.
Fit frame to content is kind of the opposite.
| | 01:35 |
It changes the size of the frame so that
it matches the current size of the image
| | 01:39 |
and in this case the frame would get much
bigger.
| | 01:42 |
The Fit content to frame scales the image
inside the frame to fit even if it means
| | 01:47 |
scaling it disproportionately, I almost
never use that.
| | 01:50 |
And Center content is obvious, it just
centers the image inside the frame.
| | 01:54 |
Now in this case, I'm want to make sure I
get that whole image, so I'm going to
| | 01:57 |
choose Fit content proportionally.
So once again, this scaled the image to
| | 02:02 |
fit inside that frame so that none of
that got cropped out.
| | 02:05 |
Even if it means that there's some blank
areas to the left and right of it.
| | 02:09 |
And, in fact, that is the case.
Let's Zoom into 400% here by pressing
| | 02:13 |
Cmd+4 or Ctrl+4 on Windows and you can
see that indeed the image is smaller than
| | 02:18 |
the frame.
Now to make the frame the same size as
| | 02:21 |
the image, I'm going to choose the Fit
frame to content feature.
| | 02:24 |
But instead of going to the Object menu,
I'm going to click one of these buttons
| | 02:28 |
up here in the control panel.
That's just faster and easier.
| | 02:31 |
Now, if you can't tell which of these
buttons does what, all you need to do is
| | 02:35 |
hover the cursor over them for a moment
until you see the Tool Tip.
| | 02:38 |
The first one is Fill Frame.
The second one is Fit Content Proportionally.
| | 02:42 |
And we can move along here until we see
the one we want.
| | 02:46 |
In this case, Fit Frame to Content.
I click it, it fits it and that looks great.
| | 02:51 |
By the way, I should point out that
sometimes if you're working quickly
| | 02:54 |
you'll find yourself moving images inside
the frames accidentally, so that they're
| | 02:58 |
sitting outside the frame.
Well, that's no good but, that's where
| | 03:02 |
Center Image and Frame comes in handy.
That's the last button up here.
| | 03:05 |
I'll just click that and it re-centers it
in the frame.
| | 03:09 |
Okay, let me show you another example of
fitting.
| | 03:11 |
I'm going to Zoom back to fit the whole
spread in the window with Cmd+0, or
| | 03:14 |
Ctrl+Alt+0, and I'm going to import a new
image inside of a frame.
| | 03:18 |
So, let me go get a frame.
I'll put it out here on my paste board,
| | 03:22 |
just so it'll be a little easier to see
here, and now I'm going to place an image
| | 03:25 |
into it.
Go to the File menu, choose > Place, and
| | 03:28 |
I'm going to grab my photographer image
down at the bottom of my links folder,
| | 03:32 |
there it is, photographer.
I'll turn on Replace Selected Item just
| | 03:35 |
so it automatically goes into that frame.
Now in comes the image, but once again,
| | 03:40 |
it's not the right size.
Now in this case, I know that I want to
| | 03:44 |
scale the image down to fill the frame,
even if it means that some of the image
| | 03:48 |
is going to get cropped out.
So, I'll switch back to the selection
| | 03:51 |
tool and then I'm going to come over to
these buttons in the control panel and
| | 03:54 |
I'll click on the first one, that's Fill
frame proportionally.
| | 03:58 |
That fills the frame, even though some of
the image is cropped out, in this case
| | 04:03 |
the top and the bottom.
I'll double click on this image to select
| | 04:06 |
the image inside the frame, and you can
see that some of it's cropped out above
| | 04:09 |
and below.
Now, this looks good but what would
| | 04:11 |
happen if I put a different image into
this frame?
| | 04:14 |
Well, I have to go back and click the
button again.
| | 04:16 |
Or what would happen if I come over here,
and just resize this frame?
| | 04:20 |
I'll double-click again, to select the
frame rather than the image.
| | 04:23 |
And then, I will resize this.
Suddenly, I have to go back and click the
| | 04:27 |
button again.
It's just really frustrating to have to
| | 04:30 |
keep going back and clicking those
buttons.
| | 04:33 |
So, let me undo that.
I'm going to press Cmd+Z, or Ctrl+Z on
| | 04:36 |
Windows, and instead I'm going to use a
feature that InDesign has called Auto-Fit.
| | 04:41 |
It's this little check box up in the
control panel right here.
| | 04:43 |
Now that Auto-Fit is turned on you can
see that every time I change this frame,
| | 04:48 |
it automatically updates.
I'll make it a little wider, and it updates.
| | 04:52 |
Make it taller, and it updates.
It always applies whatever the last
| | 04:57 |
fitting option I used was.
In this case, because I used Fill Frame
| | 05:00 |
Proportionally, it's going to apply the
Fill Frame Proportionally every time I
| | 05:04 |
change the frame.
Even if I replace this with a completely
| | 05:07 |
different image.
By going to the File menu and choosing Place.
| | 05:10 |
And then I'll pick just some random
picture in here and click Open.
| | 05:14 |
You'll see that it automatically fills
the frame proportionally.
| | 05:17 |
That image would have come in much
larger, but it scaled it down to fill the frame.
| | 05:22 |
Now you certainly don't have to make your
images fill your frames, or your frames
| | 05:26 |
fit your images, but it's often helpful.
Especially when you're trying to lay out
| | 05:30 |
a document or template quickly.
Now let's get back to the images
| | 05:33 |
themselves, and specifically using images
that have transparent areas or clipping pads
| | 05:38 |
| | Collapse this transcript |
| Taking advantage of transparency and clipping paths| 00:00 |
What if you need an area of an image to
be transparent?
| | 00:03 |
For example, I'm going to bring my
photographer image in here by placing it
| | 00:07 |
inside of this frame.
I'll select the frame, go to File Place,
| | 00:11 |
and then scroll down my list of links
until I see photographer.psd.
| | 00:17 |
I'll select it, click Open and it will
place the image into the frame.
| | 00:20 |
But I don't want this background behind
him.
| | 00:23 |
I just want the photographer himself.
I just want the background to be transparent.
| | 00:27 |
Now, in the past, this effect was
typically created using a Clipping Path.
| | 00:31 |
But InDesign can also see and manage
native transparency in images too which
| | 00:36 |
often leads to much better results.
First, I'm going to show you how to do it
| | 00:39 |
the old way with Clipping Paths.
I'm going to Option+double-click, or
| | 00:43 |
Alt+double-click, on this image to invoke
edit original, and open it in Photoshop.
| | 00:48 |
Now, if I head over to the Paths panel, I
can see there's a path in here.
| | 00:51 |
And if I click on that and zoom in,
you'll see that somebody actually drew a
| | 00:55 |
path around this shape.
The camera, the hand, the head, and so on.
| | 01:00 |
I can even click on that with the Arrow
tool and see the points.
| | 01:04 |
That's a real bezier path and it's been
drawn in Photoshop, and the cool thing is
| | 01:08 |
that InDesign can see that path inside
the image.
| | 01:11 |
Now, I don't need to do anything here, I
just wanted to show you that path.
| | 01:15 |
I'm going to switch back to InDesign and
show you how to make InDesign see it.
| | 01:19 |
While this frame is selected, I'll go to
the Object menu and choose the Clipping
| | 01:24 |
Path sub-menu, then I'll choose Options.
From inside the Clipping Path dialogue
| | 01:28 |
box, I'll choose Type, and then choose
Photoshop path.
| | 01:33 |
Now, this is where I can tell InDesign
which path I should use within the
| | 01:36 |
Photoshop file.
Because you could actually have multiple
| | 01:39 |
paths, and then choose which one you want
to use as a Clipping Path.
| | 01:42 |
But in this case, there's just one.
So, it chooses it for me, then I can
| | 01:47 |
click OK.
Immediately you can see that the
| | 01:49 |
background is completely knocked out.
You can also see the Clipping Path
| | 01:53 |
itself, that bezier line, because we've
been switched to the Direct Selection
| | 01:57 |
tool in the Tool panel.
I'm going to choose the selection tool
| | 02:00 |
again, and then click out here to
deselect that frame.
| | 02:03 |
Now, Clipping Paths can be great if you
already have one, but I have to tell you,
| | 02:08 |
I hate making Clipping Paths.
They are such a hassle to draw in
| | 02:11 |
Photoshop and worse, they're always very
sharp lines.
| | 02:14 |
For example, if I zoom way in here, you
can see that this is a very sharp line.
| | 02:19 |
It doesn't blend in naturally from the
face or the jacket into the background.
| | 02:23 |
So, Clipping Paths tend to look somewhat
artificial.
| | 02:26 |
And because of that, I like using a
different technique.
| | 02:29 |
I like using Actual Native Transparency.
Now first, I need to turn off this
| | 02:34 |
Clipping Path.
So, I'll select the graphic, then go to
| | 02:36 |
the Object menu, and choose Clipping Path
> Options.
| | 02:40 |
I'll set Type back to None, because I
don't want to have a Clipping Path and transparency.
| | 02:44 |
That would be bad.
Now, I'm going to to Option+double-click
| | 02:47 |
one more time to open this in Photoshop,
or Alt+double-click on Windows.
| | 02:51 |
It takes me back to Photoshop.
And I'm going to use a channel, instead.
| | 02:55 |
When I look in my channels panel, I see
that I have one built for me already
| | 02:58 |
called Alpha 1.
I'm going to load that up as a selection
| | 03:01 |
by dragging that channel over the load
selection button at the bottom of the
| | 03:05 |
Channels panel.
Now, I'll go to the Layers panel and I'll
| | 03:08 |
turn that selection into a mask, a nice
soft edge mask.
| | 03:12 |
And I'll do that by clicking the Add
Layer Mask button at the bottom of the panel.
| | 03:16 |
Now, if you've done any work at all in
Photoshop you're familiar with that checkerboard.
| | 03:21 |
The checkerboard means it's transparent.
You can just see right through it to
| | 03:25 |
whatever's behind and that's what I want.
I want it to be transparent.
| | 03:29 |
I can still see the path there, that
bezier path.
| | 03:31 |
That's no big deal.
It's just there because I had it selected
| | 03:34 |
in the Paths panel.
So now, I just have to save this document
| | 03:37 |
and I'll do that with a Cmd+S on a Mac or
a Ctrl+S on windows.
| | 03:41 |
And then, I'll head back to InDesign and
see what I get.
| | 03:44 |
Now, this looks pretty similar to the
Clipping Path.
| | 03:46 |
But when I zoom in again, you'll see
something change.
| | 03:49 |
I'll press Cmd+Plus or Ctrl+Plus on
Windows and you'll see that we now have a
| | 03:53 |
soft edge.
It's no longer a sharp edge.
| | 03:57 |
I'll scroll over to the right here and
you'll see that I have a very soft blend
| | 04:00 |
between the face and the jacket and the
background.
| | 04:03 |
It's truly anti-aliased using real
transparency.
| | 04:06 |
It's a much more natural look.
And that's why I like using Native
| | 04:09 |
Transparency much more than Clipping
Paths.
| | 04:12 |
Now, there is one thing I should point
out, however.
| | 04:14 |
In general, it's a good idea to put text
above transparency effects, rather than
| | 04:18 |
below it.
For example, I'll go back to 200% here,
| | 04:21 |
by pressing Cmd+2 or Ctrl+2 on Windows.
And then, I'm going to head over and
| | 04:25 |
choose my black arrow selection tool, and
click on this text frame in the background.
| | 04:29 |
I want to move this above the image, so
I'll go to the Object menu, and choose
| | 04:33 |
Arrange > Bring to Front.
There we go.
| | 04:37 |
Now, the reason I want to have the text
on top of the transparency, besides the
| | 04:41 |
fact that I want to be able to read it,
is that sometimes the text around
| | 04:44 |
transparency, if it's underneath it, can
get kind of thicker, more bold.
| | 04:49 |
So, to be safe, we want to put the text
on top of the transparent images.
| | 04:53 |
And that way, it won't get bulked up
around the edges of this guy's shoulder.
| | 04:57 |
The good news is that InDesign can read
native transparency in PhotoShop PSD
| | 05:01 |
files, also PDF files, and even Adobe
Illustrator files.
| | 05:05 |
Transparency has become a huge part of
why people use InDesign.
| | 05:09 |
It just makes it so easy to lay out a
beautiful looking page, quickly.
| | 05:13 |
| | Collapse this transcript |
| Inserting QR codes and barcodes| 00:00 |
QR codes are a kind of square barcode
that have become increasingly popular
| | 00:04 |
over the past few years.
You've probably seen them in ads, in
| | 00:07 |
magazines, even on some people's business
cards.
| | 00:10 |
Now the cool thing about a QR code, is
that if you have the right software on
| | 00:14 |
your smartphone, you can point the phone
camera at the code and it does something.
| | 00:19 |
Typically jumps to a webpage or displays
a secret message, or sends an email.
| | 00:24 |
Something like that.
InDesign lets you make QR codes directly
| | 00:27 |
on your InDesign pages, and it's really
easy.
| | 00:30 |
I'd like to add a QR code here in this
brochure, down at the bottom of the page.
| | 00:34 |
I'm going to make it point to a webpage,
and I have the URL of that webpage right
| | 00:39 |
down here in this text frame.
I'll double-click to switch the Type
| | 00:42 |
tool, select that URL, and then copy it
to the clipboard with a Cmd+C or Ctrl+C
| | 00:47 |
on Windows.
Then, I'll deselect everything on my page
| | 00:50 |
with a Cmd+Shift+A or Ctrl+Shift+A.
I want to deselect everything on my page,
| | 00:55 |
because when I make the QR code, it's
going to place the QR code inside any
| | 00:59 |
frame that I have selected.
I don't want that.
| | 01:02 |
I want to make a new frame.
So I deselect everything.
| | 01:05 |
Then I go to the Object menu, and choose
Generate QR Code.
| | 01:09 |
The Type pop up menu inside the Generate
QR Code dialog box gives me a bunch of
| | 01:13 |
different QR code options.
I could encode some plain text in here,
| | 01:17 |
make it send a text message or send an
email.
| | 01:20 |
I could even put a business card inside
this QR code.
| | 01:23 |
But what I'm going to do is make a web
hyperlink, and I'm going to type that URL
| | 01:26 |
in here.
I'll take http:// and then paste in the
| | 01:31 |
URL address that I had copied.
Now I'll just click OK.
| | 01:37 |
InDesign makes the QR code and loads it
up on my Place cursor.
| | 01:40 |
If I already have a frame that I want to
place the code into, I could just click.
| | 01:45 |
But in this case, I need to make a new
frame, so I'm going to click and drag
| | 01:48 |
down here at the bottom of this page.
That makes a frame and places the QR code
| | 01:53 |
into it.
Let's go ahead and zoom in here with a
| | 01:56 |
Cmd+2 or a Ctrl+2 on Windows, and we can
see the code pretty well.
| | 02:00 |
Now that might work okay, but the
background is a little distracting, so
| | 02:03 |
I'm going to put a white fill inside that
frame.
| | 02:06 |
I'll do that by going to the Swatches
panel and then just filling this with paper.
| | 02:12 |
Of course, now I can't read the
background text frame here, so I'm
| | 02:14 |
going to go back to my Selection tool,
select that text frame, and just drag
| | 02:18 |
this down a little bit on this corner
handle.
| | 02:21 |
There we go.
Now I need to point out that QR codes are
| | 02:24 |
actually images inside of a frame, and
just like an image, I can double-click on
| | 02:29 |
it to select the image inside the frame,
and then I can move it in the frame if I
| | 02:32 |
want to.
Of course, I don't want to do that, so
| | 02:35 |
let me undo that with a Cmd+Z or a Ctrl+Z
on Windows.
| | 02:38 |
What I may want to do is edit this QR
code.
| | 02:41 |
Maybe the web address is wrong.
Well, I'll double-click on this to go
| | 02:44 |
back to the frame.
Go to the Object menu, and now I can
| | 02:48 |
choose Edit QR Code.
Here I could update the URL.
| | 02:52 |
For example, I'll change this to
rouxacademy.com.
| | 02:55 |
There we go, something like that.
I could even change the color if I want to.
| | 03:00 |
I'll click on the Color tab inside this
dialog box, and then make this a
| | 03:04 |
different color.
Maybe green.
| | 03:06 |
Click OK, and you can see that now the
color is green, and if you were really
| | 03:10 |
paying attention, you'll see that the QR
code is actually slightly different now.
| | 03:13 |
It's a different URL.
By the way, I mentioned that these QR
| | 03:17 |
codes are images, but the funny thing is,
they do not show up in the Links panel.
| | 03:22 |
You can scroll all day up and down here
and you won't see them.
| | 03:25 |
There's some kind of secret embedded
image that don't show up in the Links panel.
| | 03:29 |
Just something you need to know.
Now some people think QR codes are just a
| | 03:33 |
fad, but I don't think so.
They're a great way to provide
| | 03:36 |
interactivity or additional information
in a very small space.
| | 03:40 |
They're not for everyone, but if you need
one, it's nice to know that it's just a
| | 03:44 |
menu click away.
| | 03:45 |
| | Collapse this transcript |
|
|
7. Formatting ObjectsSelecting objects| 00:00 |
You've seen me selecting objects on pages
throughout all the earlier movies.
| | 00:04 |
But let's take a moment to really look at
the details of selecting objects.
| | 00:08 |
Because there are some subtle, and
sometimes confusing aspects to this
| | 00:11 |
seemingly simple task.
The basic tools to select objects on our
| | 00:15 |
page are, as you know, the Selection
tool, otherwise known as the Black Arrow
| | 00:19 |
tool and the White Arrow Direct Selection
tool.
| | 00:22 |
We can do almost everything we need with
the Black Arrow Selection tool, so let's
| | 00:26 |
start there.
You know that you can select objects just
| | 00:30 |
by clicking on them, and you know that
you can select more than one object at a
| | 00:33 |
time by Shift-clicking on more.
You can also select objects by dragging
| | 00:38 |
over an area.
I'm going to click out here on the Paste
| | 00:41 |
board, and then I'll drag out a Marquee
over these objects.
| | 00:45 |
Anything that this Marquee touches is
selected.
| | 00:47 |
Now in some cases, objects get a solid
line with corner handles, but in other
| | 00:53 |
cases selected objects get a dashed line.
The dash line means that these are groups
| | 00:59 |
of objects and I'm going to be covering
groups in a later chapter.
| | 01:02 |
I can select everything on my spread by
pressing Cmd+A or Ctrl+A on Windows.
| | 01:07 |
This selects all the objects on the
spread.
| | 01:09 |
And you'll notice that some of these
objects are colored red, and some are
| | 01:13 |
colored blue.
These colors reflect what layer they're
| | 01:16 |
on, and layers, too, is a subject that
I'm going to be covering in a later chapter.
| | 01:20 |
Now, if you want to deselect everything
on your page, you could click some place
| | 01:24 |
where there's no objects or you could
press Cmd+Shift+A or Ctrl+Shift+A on Windows.
| | 01:29 |
That's one you should definitely get into
your hands.
| | 01:32 |
Just do it a few times and get used to
it.
| | 01:34 |
It's a really handy one.
That ability to deselect everything on
| | 01:37 |
your spread with one keyboard shortcut.
Okay, now here's something that confuses
| | 01:42 |
a lot of InDesign users.
If I click on this graphic on the lower
| | 01:45 |
right corner, it selects it, right?
But what if what I was really trying to
| | 01:49 |
do is select what's behind that logo, a
different image?
| | 01:53 |
Well, you can select through one object
to an object behind it by holding down
| | 01:58 |
the Cmd key on the Mac or the Ctrl key on
Windows.
| | 02:01 |
And then clicking.
I Cmd or Ctrl-click once, and it selected
| | 02:06 |
through that object to the next object
down.
| | 02:08 |
That's the big group that takes up most
of the right side of the page.
| | 02:11 |
I'll Cmd or Ctrl-click again, and it
selects another object behind that.
| | 02:16 |
That image that runs along the bottom of
this spread.
| | 02:18 |
The I'll Cmd or Ctrl-click one more time,
and it re-selects that top object.
| | 02:23 |
That's because there's no more objects
behind it.
| | 02:26 |
Okay, I've mentioned in earlier movies
the ability to double click to go inside
| | 02:30 |
an object.
For example, if I click once on this
| | 02:32 |
graphic, it selects the frame.
Double-click on it, and it selects the
| | 02:36 |
image inside the frame.
Double-click again, and it goes back to
| | 02:40 |
selecting the frame.
Same thing with text.
| | 02:43 |
If I double-click on this text frame over
here, it goes inside that text frame by
| | 02:48 |
switching to the Type tool and placing
the cursor right where I double-clicked.
| | 02:52 |
Now, in this case, I can't double-click
to get out again.
| | 02:54 |
Because, of course, that will just select
a word.
| | 02:56 |
So instead, I hit the Esc key on my
keyboard.
| | 02:59 |
The Esc key switches back to the
Selection tool and the frame is selected.
| | 03:04 |
That double-click trick also works for
groups, I'll click over here in this
| | 03:08 |
black area, and I can see that I've
selected a group.
| | 03:11 |
I'm not sure how many objects there are
in that group.
| | 03:13 |
But, do know that I can go inside the
group by double-clicking.
| | 03:17 |
Now, one object inside that group is
selected.
| | 03:20 |
Then, when I want to go back and select
the entire group again, I just
| | 03:23 |
double-click again, or I could press Esc.
I should point out that sometimes you can
| | 03:29 |
change objects on your page even without
selecting them.
| | 03:32 |
For example, I have the Selection tool
selected right now, and I'm going to roll
| | 03:36 |
over this image, and then I'm going to
click and drag.
| | 03:40 |
You can see that actually moved them
image inside the frame, even though I
| | 03:43 |
never selected the image or the frame.
That's because I clicked and dragged in
| | 03:48 |
front of the content grabber.
That's the little thing that looks like a
| | 03:51 |
bagel or a lifesaver candy.
It's right in the middle of graphic frames.
| | 03:56 |
If you click and drag on that content
grabber, it will move and grab even
| | 04:01 |
without selecting it.
And that's kind of a cool feature, but I
| | 04:04 |
have to tell you, it drives me crazy.
Because I'm always accidentally moving
| | 04:08 |
images when I don't mean to.
So, I'm going to undo that by pressing
| | 04:12 |
Cmd+Z or Ctrl+Z on Windows.
And I'm going to go turn off that Content Grabber.
| | 04:17 |
To do that, I'll go to the View menu,
choose Extras, and then select Hide
| | 04:22 |
Content Grabber.
Now when I move my Selection tool over a
| | 04:25 |
graphic, I no longer see that little
bagel and I can't accidentally move it.
| | 04:29 |
I could still move the image because as I
just mentioned, double-click choose the
| | 04:33 |
image inside the frame, and then I can
move it around.
| | 04:37 |
Then, I could double-click to select the
frame again, or the Esc key trick works
| | 04:40 |
as well.
There we go.
| | 04:42 |
Now the other Selection tool that you
need to know about is the Direct
| | 04:45 |
Selection tool, the White Arrow tool.
The White Arrow Direct Selection tool
| | 04:50 |
lets you select inside objects in a
different way.
| | 04:53 |
In this case, I can choose a single point
on a path.
| | 04:57 |
You see what happens why hover over this
frame,all the points on the path
| | 05:01 |
highlight, and now I can click and drag.
And I'm just moving that one point on the frame.
| | 05:07 |
I can also move segments, that is the
lines between points.
| | 05:11 |
If I move my cursor on top of the
segment, like this, the cursor changes a
| | 05:15 |
little bit.
That indicates that it's going to move
| | 05:18 |
the segment, not the points.
I'll click and drag, and you'll see that
| | 05:22 |
that segment moves.
Well, now that you've got the hang of
| | 05:24 |
selecting objects in your documents,
let's explore how to format those objects.
| | 05:29 |
Starting with how to assign a fill or a
stroke color.
| | 05:32 |
| | Collapse this transcript |
| Applying basic strokes and fills| 00:00 |
Need to set the color of an object?
Well, do you want to color its background
| | 00:04 |
fill, or its stroke, what some people
would call its border?
| | 00:07 |
InDesign, just like Illustrator, lets you
apply a fill or a stroke color to any
| | 00:12 |
object on your page, even text.
I have my brochure document opened from
| | 00:17 |
my Exercise Files folder.
And I'm going to zoom in on this logo
| | 00:20 |
down here in the lower right corner.
I'll press Cmd+space bar or Ctrl+space
| | 00:24 |
bar in Windows and drag an area over
there.
| | 00:27 |
Now, I'll select this graphic frame.
And I want to put a stroke around it,
| | 00:32 |
right on the edge of that graphic frame.
To do that, I'm going to come up here to
| | 00:36 |
the Control panel.
And right in the middle of the Control
| | 00:38 |
panel are two popup menus.
The one on the top is the fill, and the
| | 00:42 |
one on the bottom is stroke.
Let's go ahead and fill that first.
| | 00:46 |
I'll click on the fill popup menu and up
comes the Swatches panel.
| | 00:50 |
I can fill this with paper for example.
That's what InDesign calls white.
| | 00:54 |
Then, to close that popup menu, I could
press the Esc key or just click anywhere
| | 00:58 |
else on the screen.
Now, let's change its stroke.
| | 01:01 |
I'm going to give this a big black
stroke.
| | 01:03 |
First, I'll apply the black color.
And then, I'm going to come over here and
| | 01:06 |
change the size of this to something
large, like 6 points.
| | 01:10 |
That's a solid black stroke, I could
change the style by choosing the style
| | 01:14 |
popup menu right underneath the size.
There's all kinds of options in here, I'm
| | 01:18 |
just going to pick this one on the top
called Thick, Thick.
| | 01:22 |
The Control panel is the fastest way to
make these kinds of changes, but you can
| | 01:25 |
also make them over in the Swatches panel
too.
| | 01:28 |
I'll click the Swatches panel in the
dock, and up comes the Swatches panel.
| | 01:32 |
And it gives me the same kinds of
controls.
| | 01:34 |
In fact, it looks almost exactly like the
one we saw in the Control panel, but
| | 01:38 |
there's one big difference.
And that is, the control over fill and stroke.
| | 01:42 |
It's this little, tiny icon in the upper
left corner, just like Adobe Illustrator.
| | 01:47 |
Whichever icon is on top is the one that
you're changing.
| | 01:50 |
So, right now, the stroke icon is on top,
so I'm going to change the color of my stroke.
| | 01:55 |
If I wanted to change the color of the
fill, I would have to click on that icon
| | 01:59 |
to bring it to the front.
So, now I can change the fill color, I
| | 02:03 |
could make it red, or yellow, or let's
say, green.
| | 02:07 |
I can also change the tint of this color.
I'm going to come up here and click on
| | 02:10 |
the word tint.
That's just a shortcut for selecting all
| | 02:14 |
the text inside that field, and I'm
going to type 50, 5 0, and then hit
| | 02:18 |
Return or Enter to make it take effect.
There we go, we've got a 50% green color
| | 02:23 |
for the background fill.
I'm going to cover colors and how to
| | 02:26 |
create new color swatches in great detail
in a later chapter.
| | 02:30 |
By the way, if you squint, you'll see
another tiny little icon in the upper
| | 02:34 |
left corner here.
It's a double headed arrow.
| | 02:36 |
You'll see the same thing at the bottom
of the Tool panel way over here.
| | 02:40 |
That double headed arrow means swap the
fill in stroke colors.
| | 02:44 |
If you click on that, it literally
switches the colors.
| | 02:48 |
So, what was the fill color becomes the
stroke color and vice versa.
| | 02:52 |
I don't like that black.
I'm going to change the fill to something
| | 02:54 |
else, let's say red.
That's really in your face.
| | 02:57 |
All right.
Now, as I'm looking at my beautiful
| | 03:00 |
masterpiece here, I noticed that
something is strange.
| | 03:03 |
Something's wrong here.
The red fill kind of sneaks out past this
| | 03:07 |
green line into the middle part.
This is called the gap of the stroke.
| | 03:12 |
And right now, the gap is set to None, or
transparent, so I can see through it to
| | 03:16 |
the edge of that little bit of red
sticking out.
| | 03:18 |
I don't like that, so I'm going to change
it.
| | 03:20 |
And the way you fine-tune your strokes is
with the Stroke panel.
| | 03:24 |
So, I'm going to come over here and click
on the Stroke panel in the dock.
| | 03:28 |
And I can see that the type popup menu is
set to that thick, thick stroke.
| | 03:32 |
And there's a gap color set to None.
I can change this gap color to any of my
| | 03:36 |
color swatches.
In this case, I'm going to choose Paper.
| | 03:40 |
That looks okay, but actually, let's set
it back to None for a minute.
| | 03:43 |
Let me show you a different way I could
do this.
| | 03:45 |
Instead of changing the gap color, I
could change the alignment, in other
| | 03:49 |
words where does this stroke sit on the
path itself.
| | 03:52 |
And right now, I can see that the
alignment is set to the center of the
| | 03:56 |
path, that is one of those lines goes on
the outside and the other one goes on the inside.
| | 04:01 |
But if I click on this third button in
the align stroke area, I get a very
| | 04:04 |
different effect.
The stroke is aligned to the outside of
| | 04:07 |
the path.
I think that looks much better.
| | 04:10 |
By the way, if you ever need to make
arrowheads, the Stroke panel is also
| | 04:14 |
where you do that.
For example, I'm going to come over here
| | 04:16 |
and grab the Line tool in the Tool panel
and I'm just going to drag out a line here.
| | 04:20 |
I'm holding down the Shift key to keep it
horizontal.
| | 04:24 |
Let's go ahead and make this thicker up
in the Control panel, I'll make it
| | 04:27 |
something like 6 points.
And I'll also change the color.
| | 04:31 |
Let's make it blue.
Then, to add my arrowhead, I go to the
| | 04:35 |
Start and End popup menus inside the
Stroke panel.
| | 04:38 |
In this case, I'm going to choose End.
And then, I'll choose the Barbed arrowhead.
| | 04:42 |
There we go.
That looks much better.
| | 04:44 |
Now, as I mentioned at the beginning of
this movie, you can also apply fills and
| | 04:48 |
strokes to text.
Let me show you how.
| | 04:50 |
I'm going to zoom back to fit the spread
in the window with a Cmd+0 or Ctrl+0, and
| | 04:55 |
then jump to the next spread by pressing
Option+Page Down or Alt+Page Down.
| | 05:00 |
Now, this purple text in the upper left
corner looks pretty good, but I'd rather
| | 05:03 |
have it stroked with purple, not filled.
To do that, I'm going to select it with
| | 05:07 |
the Type tool.
I'll simply drag over it with the Type tool.
| | 05:10 |
And then, I'm going to zoom in to 400%
with a Cmd+4 or Ctrl+4 on Windows.
| | 05:15 |
And remember how earlier I said you could
swap the feel and the stroke?
| | 05:19 |
Well, why don't we just do that, that's
an easy way to get the effect that I want.
| | 05:23 |
Down here at the bottom of the Tool
panel, I'll click that little double
| | 05:26 |
headed arrow.
And now, I've got a purple stroke with a
| | 05:28 |
None fill.
You could literally see right through it
| | 05:31 |
if it had a background.
Now, this is still fully editable text.
| | 05:34 |
For example, I could select a letter
there and change its color to something different.
| | 05:39 |
Let's make that one blue.
Or, I could even come in here and just
| | 05:42 |
delete it and type something different.
There's so much more that you can do with
| | 05:47 |
fills and strokes.
And I'm going to be covering much more of
| | 05:50 |
this later in the chapter.
But first, I need to talk about coloring
| | 05:53 |
a different kind of thing.
Images.
| | 05:55 |
| | Collapse this transcript |
| Colorizing images| 00:00 |
Sometimes you need to colorize an image.
That is, apply a color to an imported image.
| | 00:04 |
And you can do this in InDesign, but
there are conditions.
| | 00:07 |
It has to be a pixel-based image, like
something from Photoshop, no illustrator
| | 00:12 |
Vector files.
The image has to be saved in grayscale
| | 00:16 |
mode and already be color.
And there can be no transparency in the image.
| | 00:20 |
That means, it has to be a flattened,
gray scale image kind of like a TIFF or a JPEG.
| | 00:24 |
Maybe a PSD file.
Let me show you how it works.
| | 00:27 |
First, I'm going to import an image, I'll
use my Graphic Frame tool to draw out a
| | 00:31 |
frame over this whole left side of this
brochure.
| | 00:35 |
Then, I'll go to the File menu and choose
Place.
| | 00:39 |
I'm looking at the Links folder from
inside the Exercise Files folders, and
| | 00:42 |
I'm going to scroll down here until I
find the image I want.
| | 00:45 |
There it is, it has the word gray in it.
It's a JPEG.
| | 00:48 |
I'll click Open, and InDesign places that
image into that frame.
| | 00:52 |
It's not filling the whole frame so I'm
going to come up here to the Control
| | 00:55 |
panel and click the Fill Frame
Proportionally button.
| | 00:58 |
There we go, that looks a lot better.
Now to apply the color to that image, you
| | 01:03 |
might be tempted to come over here.
Choose a Selection tool, and then go to
| | 01:07 |
the Swatches panel.
Make sure I've got fill on top, and click
| | 01:11 |
a color.
But that does something different.
| | 01:13 |
That actually fills the frame with that
color.
| | 01:16 |
It doesn't change the color of the image.
Now, I've got a grey scale image sitting
| | 01:21 |
on top of a bright pink frame.
That's not what I was trying to do.
| | 01:24 |
I was trying to colorize the image
itself.
| | 01:26 |
So let me undo that with a Cmd+Z, or
Ctrl+Z on Windows.
| | 01:30 |
And instead, I need to select the image
inside the frame.
| | 01:34 |
Remember, the image and the frame are two
separate things.
| | 01:37 |
So, I'll double-click on this image to
select the image inside the frame.
| | 01:41 |
And now, I can go the Swatches panel and
pick a color.
| | 01:45 |
Depending on what effect I'm trying to
get, I'll choose a different color.
| | 01:48 |
Let's try this blue down here.
That looks nice.
| | 01:51 |
Of course, this image is overlapping my
other images.
| | 01:54 |
So, I need to send it behind.
To do that, I'm going to press the Esc
| | 01:57 |
key or I could've double-clicked on it to
choose the frame instead of the image.
| | 02:01 |
And then, I'll go to the Object menu and
choose from the Arrange submenu.
| | 02:05 |
Send it back.
That looks much better.
| | 02:08 |
I can't tell you how many people have
emailed me saying they can't figure out
| | 02:12 |
how to achieve this effect.
Well, now you know.
| | 02:15 |
| | Collapse this transcript |
| Adjusting transparency| 00:00 |
What's the number one coolest most
amazing feature in InDesign?
| | 00:04 |
Well, XML of course.
No, no, no I'm just kidding, it's transparency.
| | 00:08 |
And we've already looked at how InDesign
can import images with transparency.
| | 00:13 |
Now let's take a step farther and look at
how you can apply transparency effects to
| | 00:16 |
any object in InDesign.
I have my Rue Flyer document open from my
| | 00:20 |
Exercise files folder and I'd like to
apply an interesting transparency effect
| | 00:24 |
to this word, art.
So I'll select it and then Zoom into 200%
| | 00:29 |
by pressing Cmd+2 on the Mac or Ctrl+2 on
Windows.
| | 00:33 |
Now I'm going to open my control central
for all transparency effects, that is,
| | 00:37 |
the Effects panel.
I have it over here in my doc, so I'll
| | 00:40 |
just click on it.
If you don't see it in your doc, then
| | 00:43 |
either switch to your workspace to
advanced or go to the Window menu and
| | 00:47 |
choose Effects.
You can apply a transparency effect to
| | 00:51 |
any object on your page, whether it's a
graphic frame, a text frame, a line or whatever.
| | 00:55 |
The first thing we're going to do here is
change the opacity, here in the upper
| | 01:00 |
right corner.
That's how transparent this object should be.
| | 01:03 |
Right now it's set to 100%, so you can't
see through it at all.
| | 01:07 |
But, if I click here on the word opacity,
that selects that field.
| | 01:10 |
So I can type 50, and then return or
enter.
| | 01:13 |
And now, all the text, the whole object,
is 50% opaque or 50% transparent.
| | 01:19 |
I can also use this little slider to the
right of the field to increase or
| | 01:23 |
decrease the opacity.
Now the second transparency effect you
| | 01:26 |
can apply here is the Blending mode.
That's the popup menu over here on the left.
| | 01:31 |
Right now, the Blending mode is set to
normal, but you can see that we have a
| | 01:35 |
lot of different options here.
Almost all the options from Photoshop and
| | 01:39 |
Illustrator show up here.
So for example, we could change this to multiply.
| | 01:43 |
That kind of burns the effect in.
Or we could choose Screen.
| | 01:48 |
Screen is just the opposite of Multiply.
It's kind of like shining lights on a screen.
| | 01:52 |
Multiply always makes the effect darker.
Screen always makes it lighter.
| | 01:56 |
I should point out that if you want to
see your transparency effects as best as
| | 02:00 |
possible, you should go to the View menu,
choose the Display Performance sub-menu,
| | 02:04 |
and then choose High-Quality Display.
That way you can see the high resolution
| | 02:09 |
images and high quality transparency
effects.
| | 02:12 |
It won't affect how it's going to print
out but it does make them look better on screen.
| | 02:16 |
Alright, that's looking pretty good.
Now I want to pay attention to this white
| | 02:20 |
box up here.
I'll select that and then I'll press Cmd-
| | 02:24 |
on my keyboard or Ctrl- a couple of
times.
| | 02:27 |
When I do that it Zooms Out and centers
it on the screen.
| | 02:29 |
This white frame with all this black text
in it looks pretty good but, I'd like to
| | 02:34 |
see through the white a little bit.
Now, I could select this and then go to
| | 02:38 |
my Effects panel and change the opacity
to say 70%, but the problem with this is
| | 02:43 |
that it makes the entire object 70%
opaque.
| | 02:46 |
That is, I can see through the background
but I can also see through the text.
| | 02:50 |
It made that black text kind of gray
text.
| | 02:53 |
I don't want to do that so let's go ahead
and set that back to 100%.
| | 02:57 |
Instead what I want to do is change the
opacity of the background fill but not
| | 03:02 |
the text.
Fortunately the Effects panel let's me do that.
| | 03:05 |
It all has to do with what is selected in
this list.
| | 03:09 |
Right now Object is selected which means
that the opacity and blending modes are
| | 03:12 |
going to be applied to the entire object.
But in this case I'm going to choose Fill.
| | 03:17 |
Now any change I make in the Effects
panel will only affect the Fill of this object.
| | 03:22 |
So again, I'll change this to 70%.
You might not see such a big difference
| | 03:27 |
here on the screen, but believe me it
makes a big difference.
| | 03:30 |
The background fill is transparent but
the text is nice and solid.
| | 03:34 |
By the way, you don't have to open the
Effects panel to do all of these things.
| | 03:38 |
Even if the Effects panel were closed,
you can still get to many of those
| | 03:41 |
effects up here in the Control panel.
It's this area over here.
| | 03:45 |
For example, I could change the
transparency from 70% up to 80%.
| | 03:51 |
That makes it a little bit less
transparent.
| | 03:53 |
I can also tell InDesign what part of the
object to effect in this popup menu over here.
| | 03:58 |
That's the same thing as selecting one of
those items from the list inside the
| | 04:02 |
Effects panel.
Changing the opacity or blending mode of
| | 04:05 |
an object is cool, but it's just the
beginning when it comes to InDesign's
| | 04:09 |
transparency features.
In the next few movies, we'll look at
| | 04:12 |
some of the most common transparency
effects, starting with everyone's
| | 04:15 |
favorite, the Drop Shadow.
| | 04:17 |
| | Collapse this transcript |
| Adding drop shadows| 00:00 |
Drop shadows, the effect that everyone
hates to love.
| | 00:03 |
But it's true.
Everyone loves drop shadows, because they
| | 00:06 |
give a sense of depth to a page.
They make things pop.
| | 00:10 |
Let's see how you can make a drop shadow
in InDesign.
| | 00:13 |
I'm going to select this image here, this
photographer, and I'm going to put a drop
| | 00:17 |
shadow behind him.
You can apply a drop shadow to any object
| | 00:20 |
on your page.
Images, text frames, lines, doesn't matter.
| | 00:23 |
But in this case, I'm going to do it to a
graphic.
| | 00:26 |
You can apply a drop shadow in one click
by going up to the control panel and
| | 00:30 |
clicking on this kind of fuzzy icon right
here in the middle.
| | 00:33 |
The problem is, when you do it that way,
you almost always get a too big, clunky,
| | 00:38 |
yucky shadow.
I don't like to do it that way.
| | 00:40 |
I want to have more control over my drop
shadow.
| | 00:43 |
So, I'm going to turn that off by
clicking again.
| | 00:45 |
And instead, I'm going to go to this
other pop up menu, just to the right.
| | 00:49 |
The Effects pop up menu.
And I can choose Drop Shadow here.
| | 00:52 |
Or if I have the Effects panel open, I
can get to exactly the same pop up menu
| | 00:57 |
down at the bottom.
There it is, there's the Effects panel.
| | 01:00 |
When I choose any of these effects, up
comes the Effects dialogue box.
| | 01:05 |
And this gives me a lot of control over
exactly where this drop shadow will sit
| | 01:08 |
and how it looks.
I'd better move it out of the way a
| | 01:11 |
little bit so I can see my image.
And now I can change the color, the
| | 01:15 |
blending mode, the opacity, you know, how
dense it is.
| | 01:18 |
Let me bring this down a little bit,
perhaps 60% instead, and I'll turned the
| | 01:22 |
preview check box on, so I can see what
I'm doing.
| | 01:25 |
I can also change its position, right now
it's kind of far away from the image, I'm
| | 01:29 |
going to make it smaller.
Maybe four points.
| | 01:33 |
I'll hit Tab to apply that change and
then I'm just going to tab down to the
| | 01:37 |
size field.
I can change the size, maybe make it a
| | 01:40 |
little bit bigger.
How about eight points?
| | 01:43 |
That kind of blurs it out a little bit.
Makes it a little bit more subtle.
| | 01:46 |
And the last thing I'm going to do is
change the noise.
| | 01:49 |
I always like adding a little bit of
noise.
| | 01:52 |
Just 3 or 4%.
You don't need very much, but it makes it
| | 01:55 |
significantly more natural looking.
Now I'll click OK, and I can see my drop
| | 02:00 |
shadow behind the guy.
Now I know there's a transparency effect
| | 02:03 |
applied to that, this drop shadow, not
just because I can see it on screen, but
| | 02:07 |
also because I'm looking at the Effects
panel and I can see a little effects icon
| | 02:11 |
in here.
If I hover over that effects icon, it
| | 02:14 |
actually tells me there's a drop shadow
here.
| | 02:16 |
That effects icon is not just an
indicator that there's some effect
| | 02:20 |
applied to this object.
It's also a tool, a feature.
| | 02:23 |
I can use it for something.
Let me show you.
| | 02:25 |
I can actually drag that little effects
icon out of this panel and on top of
| | 02:29 |
another object.
For example, I'm going to drag it on top
| | 02:32 |
of this logo here.
And when I let go of the mouse, you'll
| | 02:35 |
see the drop shadow was applied, even
though I didn't have that object selected
| | 02:39 |
on the page.
I'll select it now, and I'll zoom into
| | 02:42 |
400% with Cmd+4, or Ctrl+4 on Windows,
and you can really see it now.
| | 02:47 |
But the effect is a little bit too
diffuse, too subtle for me.
| | 02:50 |
I want to make it a little bit sharper.
Now I could go back to the Effects pop up
| | 02:54 |
menu and choose Drop Shadow again, but in
this case, all I need to do is double
| | 02:58 |
click on the effects icon.
That brings up the Effects dialog box
| | 03:01 |
again, and now I can change it.
Now I'm just changing this object,
| | 03:05 |
whatever object on the page is selected,
not that photographer guy.
| | 03:08 |
I'm going to make this a little bit
darker.
| | 03:10 |
Maybe make it 80% instead.
And I'll make this a little bit smaller,
| | 03:14 |
as well, maybe three points.
And I'll tab down here and make this size
| | 03:18 |
three points, as well.
That still seems like the distance is too far.
| | 03:21 |
Why don't we change this to maybe one and
a half points?
| | 03:24 |
There we go.
That's better.
| | 03:26 |
Now I still see my noise, so that's good,
and I click OK and I can see the drop
| | 03:30 |
shadow looks pretty nice now.
Now drop shadows are cool but there's no
| | 03:34 |
doubt that they can be overused and end
up making your document look hackneyed so
| | 03:38 |
proceed with caution.
| | 03:40 |
| | Collapse this transcript |
| Using other transparency effects| 00:00 |
Drop shadows are nifty keen, aren't they?
Yes, I actually said that.
| | 00:04 |
I actually used the word nifty keen.
But there are even niftier, keener
| | 00:08 |
effects in InDesign.
All kinds of special Photoshop-like
| | 00:11 |
effects that you can apply to any object.
Let me show where you can find them.
| | 00:15 |
I want to place a little bit of a glow
behind this object, this logo in the middle.
| | 00:19 |
I'm going to select it, zoom to 400% with
Cmd+4 or Ctrl+4.
| | 00:24 |
And then, I'm going to go to the View
menu, choose Display Performance, and
| | 00:27 |
turn on High Quality Display.
That way I can see the quality of both
| | 00:31 |
the artwork and the transparency effect
much better.
| | 00:34 |
Now, I'll open my Effects panel and I'm
going to apply an effect called Outer Glow.
| | 00:39 |
I'll choose that right out of this little
effects pop up box.
| | 00:42 |
That's pretty cool, it give it a kind of
ethereal look.
| | 00:45 |
As you can see, there are many other
effects that you can apply to objects
| | 00:49 |
inside this dialog box.
I'm just going to hit enter or return and
| | 00:52 |
close that dialog box, and let's go apply
another one.
| | 00:56 |
I'll zoom out to fit this spreadened
window with Cmd+Option+0 or Ctrl+Alt+0.
| | 01:00 |
And I'm going to select this image, at
the bottom part of my screen, this graphic.
| | 01:05 |
Now, the effects panel tells me there's
already an effect applied to this.
| | 01:08 |
And if I hover on top of this Effects
icon, it tells me there's an effect
| | 01:12 |
called Gradient Feather.
There are actually three kinds of
| | 01:15 |
feathers in InDesign.
Basic feather, directional feather or
| | 01:18 |
gradient feather.
And each of those controls how objects
| | 01:21 |
blend out or fade from opaque to
transparent the gradient, but the fact is
| | 01:26 |
the most powerful of all three.
Let me show you.
| | 01:29 |
I'll double-click on the Effects icon and
up comes the Effects dialog box.
| | 01:34 |
The gradient feather actually gives you
gradient stops and a gradient ramp.
| | 01:38 |
And you can control exactly how
transparent the objects should be at each point.
| | 01:42 |
Per instance, this gradient stopped right
here, which I just clicked on because
| | 01:46 |
it's 100% opaque.
That means there's no transparency.
| | 01:50 |
But on the other end of it, click on this
one, you can see that is a 0% opaque, is
| | 01:55 |
fully transparent.
And up above, there's a little diamond
| | 01:59 |
that you can brag back and forth that
lets you control how quickly it moves
| | 02:04 |
from one to the other.
Because the Preview check box is turned
| | 02:07 |
on in this dialog box, I can actually see
what's going on right on my page.
| | 02:11 |
Over here, it's mostly opaque.
But if I drag it to the left, it's mostly transparent.
| | 02:16 |
I could even change the angle of this
feather by dragging this line around.
| | 02:20 |
Or adjusting the value in this field, I'm
going to set this back to 90 because I
| | 02:25 |
just think it looks better that way.
Now, you may notice that as I'm making
| | 02:28 |
these changes, it's affecting the side,
the left side of the image but not this
| | 02:32 |
part over here.
That's because these are actually
| | 02:35 |
different images, completely different
graphic frames, they just look like
| | 02:39 |
they're connected.
Alright, I'm going to click OK.
| | 02:41 |
I'm going to press Option+Page Down or
Alt+Page Down on Windows, and we'll go to
| | 02:46 |
the next spread and apply a couple more
transparency effects.
| | 02:49 |
How about to this text in the upper left
corner here?
| | 02:52 |
Remember, you can apply a transparency
effect to any object, whether it's a text
| | 02:57 |
frame, graphics, lines, anything.
You can not apply transparency to
| | 03:01 |
individual bits of text.
Like one word inside of a text frame,
| | 03:05 |
just the whole object, the whole frame
itself, and all the text inside it.
| | 03:09 |
I'm going to zoom in to 400% with a Cmd+4
or Ctrl+4 on Windows, and I'm going to
| | 03:13 |
apply kind of a 3D look to this.
So while this is selected, I'll choose
| | 03:18 |
Bevel and Emboss out of my Effects panel.
I better move this dialog box out of the
| | 03:23 |
way a little bit more.
But right away, I can see that this is
| | 03:26 |
too strong.
It's too big.
| | 03:28 |
You can barely see the effect at all.
But when I change this size down to about
| | 03:32 |
two points and I'll hit Tab, you can see
that it looks much better.
| | 03:37 |
I'll click OK, and now I'm going to move
down to the lower right corner of this spread.
| | 03:43 |
I'll do that by holding down the
Option+Space bar or Alt+Space bar on Windows.
| | 03:47 |
And then, I'll click and hold for a
moment, and that puts me into Power Zoom mode.
| | 03:52 |
Then, I'll just drag over to the right
and down a little bit, there we go.
| | 03:56 |
And then, let go of the Mouse button, and
that zooms me back into 400%.
| | 04:00 |
I still have the Selection tool selected,
so I'm going to drag over these two
| | 04:04 |
frames to select them.
This time, I'm going to apply an Inner Shadow.
| | 04:08 |
I'll do it from up here in the Control
panel, just to change things up a little bit.
| | 04:12 |
I'll choose Inner Shadow, and up comes
the Effects dialog box, and now I'm going
| | 04:16 |
to change these values just a little bit.
Maybe I'll give it an opacity of
| | 04:20 |
something darker, like 85%, and hit Tab.
You can already start to see a little bit
| | 04:25 |
of darkening in the upper left corner of
each of these images.
| | 04:28 |
That gives it a little bit of a 3D
effect, almost as though it's inset into
| | 04:32 |
the page.
I'll change the distance to something
| | 04:35 |
smaller, maybe four points.
Let's go ahead and leave the size alone.
| | 04:38 |
I'm just tabbing through these fields,
but what I will do is change the Choke value.
| | 04:43 |
The Choke value let's you control how
quickly the effect fades out.
| | 04:47 |
As I increase this value, maybe setting
to 20% or so, you'll see that it gets
| | 04:52 |
darker more intense.
I can also use a slider to do it interactively.
| | 04:56 |
If I bring it way in, it gets crazy dark.
So, I'm going to just bring this back
| | 05:01 |
again just a little bit to make it a
little bit more intense.
| | 05:04 |
I'll click OK, and that looks pretty
good.
| | 05:07 |
But there's one last thing I need to tell
you about transparency.
| | 05:10 |
And this is an important one.
It's how to get rid of it.
| | 05:13 |
How to delete the transparency effect.
And there's two ways to do that.
| | 05:17 |
First, while the objects are selected, I
could drag that little Effects icon down
| | 05:22 |
into the Trashcan at the bottom of the
panel.
| | 05:24 |
Or I could go to the Effects Panel menu
and choose Clear All Effects.
| | 05:29 |
That clears all the effects that applied
to these objects.
| | 05:33 |
Obviously, the options for cool effects
in InDesign are endless.
| | 05:36 |
In fact, if you want to see amazing
effects that anyone can learn how to do
| | 05:40 |
in InDesign, check out Mike Rankin's
title called InDesign FX.
| | 05:44 |
It's here on the Lynda.com online
training library.
| | 05:47 |
Sometimes, it takes a little work to
build these effects.
| | 05:49 |
But fortunately, once you find an effect
that you like, you can easily copy it to
| | 05:54 |
other objects.
One way to do that we saw earlier, that's
| | 05:57 |
to drag that little Effects icon.
Another way is to create an object style,
| | 06:01 |
which I'm going to show you how to do in
a later chapter.
| | 06:04 |
In the next movie though, we'll focus on
a third feature that lets you copy
| | 06:07 |
formatting, the Eye Dropper tool.
| | 06:09 |
| | Collapse this transcript |
| Copying formatting with the Eyedropper tool| 00:00 |
When you're laying out a document, you
often find yourself needing to copy
| | 00:04 |
formatting from one place to another.
Now, one way to do that is styles,
| | 00:08 |
paragraph styles, object styles, and so
on.
| | 00:10 |
And I'm going to talk about those in a
later chapter.
| | 00:13 |
But another sometimes faster way is to
use the Eyedropper tool.
| | 00:16 |
Now, there are two ways to use the
Eyedropper tool in the Tool panel.
| | 00:20 |
And most people find it's a little bit
non intuitive.
| | 00:23 |
So pay attention, you'll catch on.
The first way to use the Eyedropper tool,
| | 00:27 |
is with an object or some text selected.
In this case, I'm going to select this
| | 00:31 |
text down in the lower left corner by
double clicking on it and yhen selecting it.
| | 00:36 |
Now, I'll choose the Eyedropper from the
Tool panel.
| | 00:40 |
I'm going to use the Eyedropper tool to
apply some formatting to whatever is
| | 00:44 |
selected by clicking on some other text
with this eyedropper tool.
| | 00:47 |
In this case, I'm going to pull out the
formatting from this text, way up here.
| | 00:52 |
When I click on it, it automatically
sucks up all of this formatting and
| | 00:56 |
applies it to whatever was currently
selected on the page, in this case, the text.
| | 01:01 |
You'll notice too that the Eyedropper
icon has changed.
| | 01:04 |
It was a white empty icon which indicated
that it was ready to copy the formatting
| | 01:09 |
but now it's a black full Eyedropper.
That means I can apply that formatting
| | 01:14 |
where ever I want to use it.
Now in this case that was the only place
| | 01:17 |
I wanted to use the formatting but let's
go look at another example.
| | 01:21 |
This person's name, in the upper right
corner, has some special formatting
| | 01:24 |
applied to it.
I'd like to use that formatting in other
| | 01:27 |
places in my document.
Let's go ahead and zoom in on this.
| | 01:31 |
Command spacebar drag or Ctrl spacebar
drag.
| | 01:34 |
And that zooms in on that text frame.
So, here's the second way to use the Eyedropper.
| | 01:39 |
While nothing is selected on my page, I'm
going to grab the Eyedropper tool and
| | 01:43 |
click on this text.
I'll press Cmd>Shift>A or Ctrl>Shift>A on
| | 01:47 |
Windows and that makes sure that
everything's deselected.
| | 01:49 |
Now, to turn that full eyedropper into an
empty eyedropper so that I can pick up
| | 01:54 |
that formatting, I can either hold down
the Opt or Alt key or I could just go
| | 01:58 |
back over and click on the Eyedropper
tool again.
| | 02:01 |
So, once again, nothing is selected on my
page and I'm going to move my Eyedropper
| | 02:05 |
on top of that text and click.
That loads that formatting into the
| | 02:09 |
Eyedropper tool.
Now it's ready to start applying the
| | 02:12 |
formatting wherever I click.
But here I'm not going to click.
| | 02:16 |
I'm going to click and drag.
And that applies the formatting to any
| | 02:19 |
text that I drag over.
For example, I can simply click and drag
| | 02:23 |
on this word, Pegasus.
Let's do it some more.
| | 02:26 |
I'll click on this word Roux.
And in this word environment, whatever I
| | 02:32 |
drag over gets that formatting.
So you can see that I can apply this same
| | 02:36 |
formatting very quickly using that full
Eyedropper and it doesn't have to be
| | 02:40 |
copying the formatting into the same
story.
| | 02:42 |
I could copy that formatting into a
different story too.
| | 02:45 |
For example, I'll hold down
Option+spacebar or Alt+spacebar so I can
| | 02:50 |
drag over here, scroll over to the other
side of the page, and I can just drag
| | 02:54 |
over some text in this frame here.
Now, it did apply it to that one word,
| | 02:58 |
but it applied something else to the rest
of the paragraph.
| | 03:01 |
Why did it do that?
Why did it apply so much formatting to
| | 03:04 |
the entire paragraph?
Well, by default, the Eyedropper tool
| | 03:08 |
picks up all the formatting that we
clicked on, including the font and size.
| | 03:12 |
But also the underlying paragraph
formatting.
| | 03:15 |
You can control that however.
Let me undo this with a Cmd+Z, or a
| | 03:19 |
Ctrl+Z on Windows, and I'm going to
double click on the Eyedropper tool.
| | 03:24 |
When you double click on the tool it
opens the Eyedropper options dialogue box
| | 03:28 |
and now we can turn off the parts that we
don't want to copy.
| | 03:32 |
I don't care about stroke or fill or
paragraph or object settings.
| | 03:36 |
In this case I'm only caring about the
character settings.
| | 03:39 |
Now I'll click OK and I can click on some
text down here.
| | 03:42 |
That stuff I want to copy.
This word environment will do.
| | 03:45 |
I'll click on that and it loads the
cursor.
| | 03:47 |
Now when I drag over this word, it only
applies the character formatting.
| | 03:52 |
Now, it did change the leading, the
amount of space from one line to the
| | 03:55 |
next, and that's because leading is a
character attribute, I'll talk about that
| | 03:59 |
in a later chapter.
Okay, the Eyedropper tool works great for
| | 04:03 |
text, but it's not just for text, it
works for objects too.
| | 04:06 |
For example I'm going to choose the
Selection tool and then I'm going to pan
| | 04:10 |
up here to the top of my page.
I have kind of an interesting effect
| | 04:13 |
applied around the border of this image,
and also an inner shadow effect, and I'd
| | 04:17 |
like to take that same formatting and
apply it to these other three images on
| | 04:21 |
the page, and once again there are two
ways to use the Eyedropper tool.
| | 04:25 |
The first way is to select all three of
these images.
| | 04:29 |
Then I'll choose the Eyedropper tool, and
click on the edge of this image over here.
| | 04:34 |
I have to click on the edge of the
objects because I'm trying to pull up the
| | 04:37 |
formatting of the frame, not the image
inside the frame.
| | 04:40 |
So I'll click here and nothing happens.
The Eyedropper filled, but nothing was
| | 04:46 |
applied to those other frames.
Why?
| | 04:48 |
Well, remember I just changed the
Eyedropper options a moment ago.
| | 04:52 |
I'd better go back and change them to
pick up the object formatting.
| | 04:55 |
Double click on the tool, turn on all
these check boxes, I don't really care
| | 04:59 |
about the text formatting, but I might as
well leave them on.
| | 05:02 |
I'll click OK, and now let's try it
again.
| | 05:05 |
Those objects are selected, and one more
time I click right on the edge of this
| | 05:09 |
frame up here, and now it applies it to
all of those other objects.
| | 05:14 |
So that's one way I can use the
Eyedropper tool.
| | 05:16 |
The other way is to not select any of
those objects, let me undo this with a
| | 05:19 |
Cmd+Z or Ctrl +Z on Windows, and now I'm
going to press Cmd Shift A or Ctrl+ Shift
| | 05:25 |
A to deselect everything on my page.
Finally I'm going to reselect the
| | 05:29 |
formatting from this object by holding
down the Option or the Alt key, which
| | 05:34 |
turns it into the empty eyedropper and
I'll click on the edge of this frame, and
| | 05:38 |
it fills it up.
Now I can start applying that formatting
| | 05:41 |
wherever I want to.
I'll click on this frame edge and then
| | 05:45 |
this frame edge.
You get the idea.
| | 05:48 |
I could now go to any frame in my
document and apply that same formatting.
| | 05:52 |
The Eyedropper tool is great for the
quick formatting pick up from here to
| | 05:56 |
there, but honestly, if you need to apply
a lot of formatting throughout a
| | 05:59 |
document, styles are a much better way to
go.
| | 06:03 |
As I said, I'll explore those in a later
chapter.
| | 06:06 |
But there is one other way to apply
formatting quickly throughout your whole
| | 06:09 |
document, and that's the find change
dialog box.
| | 06:12 |
And that's where we're headed next.
| | 06:13 |
| | Collapse this transcript |
| Finding and changing object formatting| 00:00 |
When I'm working on designing or laying
out a document, I don't want to be
| | 00:04 |
bothered by mind-numbing tasks.
For example, can you imagine working on a
| | 00:08 |
200 page document like this.
And then your client or art director said
| | 00:11 |
something like, hey, can you make all
these graphics over here have a different
| | 00:16 |
colored background and change the stroke
around them?
| | 00:18 |
Oh man, this kind of thing would make me
scream if I didn't have the find change
| | 00:22 |
feature to do it for me.
But I do, and it lives just where you'd
| | 00:26 |
expect, the Find Change dialog box.
I'm going to open the Find Change dialog
| | 00:30 |
box by going to the Edit menu and
choosing Find Change.
| | 00:33 |
Or you could press Cmd+App or a Ctrl+App
on Windows.
| | 00:36 |
Now right now, it's set to the Text tab.
I want to change it to the Object tab.
| | 00:41 |
The Object tab lets me search and replace
object formatting, like strokes and
| | 00:46 |
fills, and all that kind of object
formatting stuff.
| | 00:48 |
I'll move this dialog box out of the way
a little bit so I can see my graphic
| | 00:52 |
frame and I can see that all my graphic
frames have a black stroke around them.
| | 00:57 |
So, I'm going to go search for graphic
frames with a black stroke.
| | 01:00 |
To do that, I'm going to click in this
blank area in the Find Object Format section.
| | 01:05 |
That opens up the Find Option Format
options dialog box.
| | 01:09 |
This let's me dial in exactly what we're
looking for.
| | 01:12 |
In this case, I'm going to click on the
File pane and then say I want it to have
| | 01:15 |
a fill of none.
Then, I'll click on the Stroke pane and
| | 01:19 |
say, it has a stroke of black.
Now I could make this even more precise
| | 01:24 |
by saying only find objects that have a
stroke of one-point black, if I wanted to.
| | 01:28 |
But in this case, I'm going to leave it
blank.
| | 01:30 |
That way it's more flexibile.
In other words, it'll find any frame that
| | 01:34 |
has a stroke of black, not just one-point
strokes.
| | 01:37 |
I'll click OK, and you can see that
InDesign fills all of that in here.
| | 01:40 |
Now, I'm going to click in the blank area
in the Change Object Format section.
| | 01:44 |
So, what do I want to change it to?
Let's say I'll fill this with cyan, maybe
| | 01:50 |
a tint of cyan.
How about 15%?
| | 01:53 |
And I'll stroke this one, too.
How about we say a stroke of something
| | 01:56 |
different, maybe magenta.
That'll be crazy.
| | 01:59 |
Let's make this really big like six
points.
| | 02:02 |
And how about we set the type to
something like Japanese dots?
| | 02:05 |
I don't know why.
Maybe that's what my client wants.
| | 02:07 |
Okay, let's try it out.
I'll click OK, and it loads all of that
| | 02:12 |
in here.
Now, there's one more thing that I want
| | 02:14 |
to change here, and that's the scope of
what it's looking for.
| | 02:18 |
I can tell it to search all the
documents, that means all the documents
| | 02:21 |
that are open right now, or just this
document.
| | 02:24 |
I can also tell it what kind of frames to
look for.
| | 02:27 |
I don't want it to search for any frame.
In this case, I only want it to search
| | 02:31 |
for graphic frames.
So, I'll specify that here.
| | 02:34 |
Alright, I'm ready to go.
Let's try it out.
| | 02:37 |
I'll click Change All, and it goes
through and finds 11 objects in this chapter.
| | 02:41 |
Now honestly, this could have been 1,100
objects and it would've gone just as fast.
| | 02:45 |
I'll click OK, and then I'll press Esc or
Cmd+F or Ctrl+F on Windows to close the
| | 02:51 |
Find Change dialog box again.
That same keyboard shortcut opens and
| | 02:54 |
closes it.
Now, I'm going to go through my document
| | 02:57 |
and make sure they're all changed by
pressing Option+Page Down or Alt+Page
| | 03:01 |
Down to go one spread at a time.
As you can see, it's gone through and
| | 03:05 |
changed each of these.
Looks pretty good.
| | 03:08 |
Alright, let's do one more.
I'm going to press that Cmd+F or Ctrl-F
| | 03:12 |
to open the Find Change dialog box.
I'll go back to the object tab and I'm
| | 03:16 |
going to clear out all of this formatting
and I'll do that by clicking on this
| | 03:19 |
little Trash Can icon.
That just clears out the formatting.
| | 03:23 |
Now, this time I'm going to search for
all of the text frames in my document.
| | 03:27 |
So, I'm going to change the type to text
frames and I'm going to leave the find
| | 03:30 |
object format blank.
I don't really care what the formatting is.
| | 03:33 |
I'm just looking for all text frames.
But when it finds a text frame, I want it
| | 03:38 |
to apply some formatting.
So, I'm going to click down here in this
| | 03:41 |
blank area and I'm going to say, let's go
ahead and give this a stroke again.
| | 03:45 |
How about a black stroke?
Not quite so crazy this time.
| | 03:48 |
How about just two points?
And let's make it solid.
| | 03:52 |
Then, I'll go to the Text Frame general
options, and I'll give it a couple
| | 03:55 |
columns in here.
A two-column with a 14 point gutter.
| | 04:01 |
Let's go ahead and give it some text
inset as well, about 9 point, and I'll
| | 04:05 |
click on this little icon to make all
those fields the same.
| | 04:08 |
You get the idea.
You dial in exactly the way you want
| | 04:11 |
these things to look, and then you click
OK.
| | 04:14 |
Now, as soon as I click Change All,
InDesign goes through the entire document.
| | 04:18 |
Finds all of my text frames, and turns
them into two column text frames and puts
| | 04:23 |
that stroke around them.
I'll click OK.
| | 04:25 |
Close that dialog box, and then I'll
press W to go into Preview mode.
| | 04:29 |
Now, we can see they all have strokes and
they look just the way we wanted them to look.
| | 04:33 |
Now, I'm not saying that it looks good or
that you should do this.
| | 04:37 |
I'm just saying that's what my art
director asked for.
| | 04:40 |
Now, I happen know a bunch of people on
the InDesign Engineering Team and they
| | 04:43 |
all say the same thing.
Their aim in life is to make mind numbing
| | 04:47 |
painful tasks easy and automated so that
you can focus on what you do best, making
| | 04:52 |
great looking pages.
This Find Change feature is a great
| | 04:56 |
example of how they're really succeeding.
| | 04:58 |
| | Collapse this transcript |
|
|
8. ColorCreating color swatches| 00:00 |
The Swatches panel, over here in the
dock, is central headquarters for your
| | 00:04 |
documents colors.
And as we saw in an earlier movie, you
| | 00:07 |
can use it to apply fill and stroke
colors to any object or text on your page.
| | 00:12 |
But what if you get tired of the colors
listed here?
| | 00:14 |
What if you want something more?
Well, let's look at how you can create a
| | 00:18 |
new color swatch for your document.
When you want to create a new color
| | 00:22 |
swatch, open the Swatches Panel menu in
the upper right corner and choose New
| | 00:26 |
Color Swatch.
In the New Color Swatch dialog box, the
| | 00:30 |
first thing you need to decide is what
color type to choose.
| | 00:33 |
There's two options, Process or Spot.
Spot should only be used if you're going
| | 00:39 |
to be printing on a printing press and
you know that your printer is using
| | 00:42 |
special pantone inks, those are spot inks
or varnishes, things like that.
| | 00:48 |
If you want to make a spot color, choose
Spot and then choose from the Color Mode
| | 00:52 |
popup menu.
You can choose one of these Pantone Plus
| | 00:55 |
Color Libraries.
For example, Pantone plus Solid Coated.
| | 01:00 |
You can type the Pantone number in here.
For example, I like 286.
| | 01:05 |
I'll type the 286 and it jumps right to
it.
| | 01:08 |
Now I have a choice.
If I click OK, it'll add that swatch to
| | 01:11 |
the swatches library and close the
dialogue box.
| | 01:14 |
But in this case, I'm going to click Add.
That adds it to the swatches library but
| | 01:19 |
keeps the dialogue box open.
Now in the vast majority of cases you're
| | 01:22 |
going to be creating process colors not
spot.
| | 01:25 |
So I'll try one of those.
I'll change the color mode back to CMYK
| | 01:30 |
and then I'll change the color type to
process.
| | 01:33 |
Generally you want your process colors to
be either CMYK or RGB.
| | 01:37 |
If your document is going to be printed
you almost certainly want them to be CMYK.
| | 01:42 |
But if its mostly for on screen viewing,
then an RGB color swatch is fine.
| | 01:47 |
In this case, I'm going to leave it set
to CMYK, and from here we can define our color.
| | 01:52 |
I'll change this.
Add a little yellow.
| | 01:54 |
Pull out the magenta.
Get this kind of green color.
| | 01:56 |
And let's go ahead and name it.
There's two options for naming.
| | 02:00 |
You can either type your own name.
For example, I can call this happy green color.
| | 02:05 |
Or you could choose name with a color
value.
| | 02:08 |
I'm just going to leave this set to happy
green color, for now, and click add.
| | 02:12 |
Let's go ahead and pick some other color,
here too.
| | 02:14 |
Let's just pick some random color, here,
kind of make it a interesting dark purple.
| | 02:19 |
And this time, I'm going to turn on name
with color value.
| | 02:23 |
And you can see that InDesign types in
the CMYK settings for me.
| | 02:27 |
I'll click OK and InDesign adds that to
the Swatches panel, as well.
| | 02:31 |
So, I now have three new color swatches
in the Swatches panel.
| | 02:34 |
Now, a very big warning.
If any object had been selected on my
| | 02:39 |
page when I created those color swatches
the last color I created would have been
| | 02:43 |
applied to that object, and that's the
reason I recommend that you deselect
| | 02:47 |
everything on your page before you create
color swatches.
| | 02:50 |
Okay, now let's go ahead and apply those
color swatches to objects on our page.
| | 02:55 |
In this document, this Roux catelog from
the exercise files folder.
| | 02:59 |
This happens to be one big group.
So I have to double click to actually
| | 03:03 |
select an object inside that group.
I'm going to double click to grab that
| | 03:07 |
orange object.
And I'll apply this green color.
| | 03:10 |
Down at the bottom there's happy green.
Let's go ahead and make the Swatches
| | 03:16 |
panel little taller, so I can see all my
colors at the same time.
| | 03:19 |
Now, I'm going to click on this blue
object down here, and I'll apply the
| | 03:23 |
purple color.
All right.
| | 03:24 |
That's looking kind of dramatic.
But what if I want to edit those colors?
| | 03:28 |
What if I didn't get that green just
right, for example.
| | 03:31 |
What do I do?
Well, I've got two choices.
| | 03:33 |
I could double click the happy green
color right here.
| | 03:37 |
But that would not only edit it it would
also apply that green to anything I have
| | 03:41 |
selected on my page so that's a little
dangerous.
| | 03:44 |
So instead of double clicking I'm going
to Right click, or Control click with a
| | 03:49 |
one button mouse and then I get a Context
menu and I can choose Swatch Options.
| | 03:53 |
This really should have been called Edit
color, and that's what it is.
| | 03:56 |
It lets you edit the color.
I'm going to come in here and change the
| | 03:59 |
color to something else, maybe make it a
little brighter, something like that.
| | 04:03 |
Looks pretty good.
And then, I'll click OK.
| | 04:06 |
When I do that, you can see that not only
was this color changed in the Swatches
| | 04:10 |
panel, but any object that was filled or
stroked with that color throughout the
| | 04:14 |
whole document is also changed.
Okay here's another challenge.
| | 04:18 |
What do you do if you want to get the
same colors into a new document.
| | 04:22 |
Well once again you've got a couple of
choices.
| | 04:24 |
One option is to copy some objects that
have the colors applied to them.
| | 04:29 |
For example this purple object is
selected right now and I'll Shift click
| | 04:32 |
on the green object to select that too.
Now, I'll go to the Edit menu and copy it.
| | 04:37 |
I'll create a new document by going to
the File menu, New Document, and I'll
| | 04:42 |
just use my default values here and click
OK, and then I'll paste.
| | 04:47 |
When I paste those objects into the new
document, the colors come along for the ride.
| | 04:52 |
There they are, down here at the bottom
of the Swatches panel.
| | 04:54 |
I can delete these objects off the page
if I want to.
| | 04:57 |
I'll just press the delete key, but the
swatches stick around.
| | 05:00 |
There's another way to get colors from
one document to another, and that is in
| | 05:04 |
the Swatches panel menu, you can choose
Load Swatches.
| | 05:09 |
Load swatches lets me pull in colors from
any InDesign document on disk.
| | 05:13 |
Or, I could also tell it to load colors
from an ASE file saved to disk.
| | 05:18 |
That's the Adobe Swatch Exchange format.
I can create those out of Photoshop or Illustrator.
| | 05:23 |
So the Swatches panel is one way to
create and apply colors InDesign.
| | 05:27 |
There's another way, too.
It's called the Colors panel.
| | 05:29 |
And in the next movie, I'm going to show
you how to use that, and why you might do
| | 05:34 |
or might not want to.
| | 05:35 |
| | Collapse this transcript |
| Understanding the danger (and power) of unnamed colors| 00:00 |
Some people spec all their colors, far
ahead of ever applying them in their documents.
| | 00:05 |
Others like working more interactively,
playing with colors as they lay out a page.
| | 00:09 |
And you can work either way in InDesign,
but if you're in the play as you go
| | 00:13 |
corner, you're probably going to like
using the Colors panel.
| | 00:16 |
You can find the Colors panel by going to
the Window menu, choosing the Color
| | 00:20 |
submenu, and then choosing Color.
You can also find a version of the Color
| | 00:24 |
panel hiding inside the Control panel.
You know, normally when you click on
| | 00:28 |
these little buttons up here for fill and
stroke, you get the Swatches panel.
| | 00:32 |
But if you hold down the Shift key when
you click instead, you get the Color panel.
| | 00:37 |
So that's kind of cool.
Just a little-known fact.
| | 00:39 |
But I'm going to hide that, and I'm
going to use the floating color panel instead.
| | 00:43 |
Because it's easier to see, easier to
demo with.
| | 00:46 |
I'm going to create and apply a color on
the next spread of this document.
| | 00:49 |
So I'll press Option+page down or
Alt+page down to jump there.
| | 00:53 |
And let's move this Color panel off to
the side a little bit.
| | 00:56 |
I'd like to apply a color to this word,
Roux.
| | 00:59 |
So I select it with the Selection tool,
and normally, you'd think that you'd have
| | 01:03 |
to select that text with the Type tool
first.
| | 01:05 |
Well, you don't have to.
I've selected it with the Selection tool,
| | 01:09 |
and now I'm going to go up here to the
Color panel and I'm going to click on
| | 01:12 |
this little T button.
That T means apply the color to the text
| | 01:17 |
inside the frame, not the frame itself.
The little box next to it meansn apply it
| | 01:21 |
to the frame.
But the T means apply it to the text
| | 01:24 |
inside the frame.
And you can see those same buttons in the
| | 01:27 |
Swatches panel over here.
There's the box and the T.
| | 01:30 |
And at the bottom of the Tool panel,
there's the box and the T.
| | 01:35 |
So anyway, we're going to apply this to
the T, the text inside the frame.
| | 01:39 |
That way, we can see the color being
applied to the text instead of having to
| | 01:43 |
pay attention to all the highlighting
around the text.
| | 01:45 |
It's just easier.
When I select any object on my page that
| | 01:48 |
already has color applied to it, the
Color panel displays a tint ramp.
| | 01:52 |
The tint ramp lets me change the tint of
the color, not the color itself.
| | 01:57 |
But you can see, when I'm on top of this
tint ramp, that the cursor changes into
| | 02:01 |
an eye dropper.
Then I can click on this tint ramp and
| | 02:03 |
actually change the tint.
Or I could come up here and change this
| | 02:08 |
little slider, or even type this in
numerically in this field.
| | 02:12 |
Now in this case, I don't want a tint.
I want a different color entirely.
| | 02:15 |
So I'm going to set this back to 100%,
and then I'm going to go to the fly-out menu.
| | 02:21 |
This little menu inside the Color panel,
and I'm going to change this to either
| | 02:25 |
CMYK or RGB.
I'll use RGB if it's an onscreen
| | 02:29 |
document, but in this case, I'm going to
choose CMYK.
| | 02:32 |
Now from here, I could dial in the colors
exactly the way I want them, or I could
| | 02:37 |
click in this color ramp down in the
bottom.
| | 02:40 |
And whatever I click on is applied to
that text.
| | 02:43 |
Now as I've said before, you need to be
very careful when choosing colors from
| | 02:47 |
the screen.
Because unless you've done a lot of work
| | 02:49 |
to set up your color management
environment, the colors that you see
| | 02:52 |
onscreen may not match what you see in
print.
| | 02:55 |
Believe me, I've been burned by that one
myself.
| | 02:58 |
It's better to pick your colors from a
printed swatchbook, such as the true
| | 03:01 |
match or pantone books.
Unfortunately, there are two other
| | 03:05 |
problems with using the Color panel, even
if you're typing colors in from a swatchbook.
| | 03:09 |
First, if I handed this document to
somebody else and they selected this text
| | 03:13 |
frame, they would not know if that color
is a CMYK color or an RGB color.
| | 03:18 |
And that's because it doesn't show up
anywhere in the Swatches panel.
| | 03:22 |
And second, the fact that it doesn't show
up in the Swatches panel makes it really
| | 03:26 |
difficult to apply that same color
elsewhere in my document.
| | 03:29 |
So if I care about consistency throughout
my document, and I want the same color on
| | 03:34 |
multiple pieces of text or multiple
objects, that's a big problem.
| | 03:38 |
So here's what you do.
It's really important.
| | 03:41 |
If you're going to use the Color panel to
make these kinds of colors, and they're
| | 03:45 |
called, unnamed colors, then you really
should go to the Swatches panel menu and
| | 03:49 |
choose Add Unnamed Colors.
The add unnamed colors feature goes
| | 03:54 |
through your whole document, finds all
the unnamed colors.
| | 03:57 |
All the ones that you have created with
the Color panel for example, and it adds
| | 04:01 |
them to the Swatches panel, and it links
them.
| | 04:04 |
So if I change this new color swatch in
the Swatches panel, this text would
| | 04:08 |
change, as well.
That's good.
| | 04:10 |
Okay.
If you like working on the fly and you
| | 04:12 |
like this Color panel thing, there are
two other ways of making colors that I
| | 04:16 |
want to point out to you.
One is the Color Picker.
| | 04:19 |
The Color Picker you can find by
double-clicking on either the fill or
| | 04:22 |
stroke icons in the Color panel.
Or the fill in stroke icons at the bottom
| | 04:26 |
of the Tool panel.
Just double-click and up comes the Color Picker.
| | 04:30 |
And some people really like this, maybe
because it kind of reminds them of Photoshop.
| | 04:35 |
Now you can click any color in here as
long as you're aware that just because
| | 04:39 |
you click on it doesn't mean you're
going to get that on a printing press.
| | 04:41 |
But you can pick a color just by clicking
on it, and then you can click either OK
| | 04:46 |
or Add A CMYK Swatch.
That's what I suggest doing, add it to
| | 04:51 |
the Swatches panel.
Then, click OK and that closes the dialog box.
| | 04:55 |
The color gets applied to the text or any
object you have selected, and it links it
| | 05:00 |
to the swatch in the Swatches panel.
Now, the last method I want to point out
| | 05:05 |
is to use the Eye Dropper tool.
I'm going to grab the Eye Dropper tool
| | 05:08 |
out of the Tool panel here, and I'm
going to make sure that the Formatting
| | 05:11 |
Effects Type button is selected at the
bottom of the Tool panel, and then, I'm
| | 05:15 |
going to grab a color out of an image.
I can grab any color I want.
| | 05:20 |
Like, for example, the green in these
trees.
| | 05:23 |
It actually picks up that color from the
image and puts it into the Color panel,
| | 05:27 |
and because this text was selected, it
applies it to the text, too.
| | 05:31 |
Now you'll notice that the eye dropper
cursor is now black.
| | 05:34 |
It's like, filled with that color.
In order to pick up a different color, I
| | 05:38 |
need to hold down the Pption key or the
Alt key on Windows and that changes it to
| | 05:42 |
a white, empty eye dropper.
So for example, I might want to click on
| | 05:46 |
this lavender color from her shirt.
Or maybe I want to pick up this blue
| | 05:50 |
color from this guy's shirt over here.
You can see that the color updates
| | 05:54 |
automatically as long as I'm holding down
that Option or Alt key.
| | 05:57 |
Now once again, this is still an unnamed
color.
| | 06:00 |
So I really need to go to the Swatches
panel and add my unnamed colors.
| | 06:06 |
Now that color shows up in my Swatches
panel as well, so I can breathe easy.
| | 06:09 |
Personally, I rarely use any of these
methods to create colors.
| | 06:13 |
I'm in the camp that believes you should
set up your colors in the Swatches panel
| | 06:16 |
first, but if these tools work for you,
then go for it.
| | 06:19 |
| | Collapse this transcript |
| Creating gradient swatches| 00:00 |
Gradients or blends or vignettes, or
whatever you want to call them.
| | 00:04 |
They can be beautiful in your document,
or they can make your life a study in frustration.
| | 00:08 |
I'm going to show you how to make a
gradient in the Swatches panel first.
| | 00:12 |
And then in the next movie, we'll talk
about how to apply them to objects in
| | 00:15 |
your document, and then customize them.
To create a gradient swatch, I first,
| | 00:20 |
open the swatches panel, and then, in the
swatches panel menu, I choose new
| | 00:24 |
gradient swatch.
Now, I find it a little awkward to make a
| | 00:27 |
gradient swatch just in the dialogue box.
You can do it, but, what I usually like
| | 00:31 |
to do is just click OK.
It adds the gradient swatch to the bottom
| | 00:35 |
of my swatches panel, and then I can
apply that to an object on my page.
| | 00:39 |
I also like this frame back here, make
sure the fill button is on top, and then
| | 00:43 |
click on the gradient swatch.
You'll see that Indesign fills that frame
| | 00:47 |
with the default white to black swatch.
Now I'm going to edit that swatch.
| | 00:51 |
Ordinarily, I would right click on this
or control click with a one button mouse
| | 00:55 |
and choose swatch options, but because
I've already applied that swatch to an
| | 00:59 |
object in the background of my page, I
can simply double click on this.
| | 01:03 |
That opens the gradient options dialog
box.
| | 01:06 |
Now, the reason I like doing it this way,
making the swatch and then editing it, is
| | 01:10 |
because I like having an example on the
page in the background as I'm editing it
| | 01:14 |
inside this dialog box.
I'll move this over a little bit so I can
| | 01:17 |
see my example in the background better.
Also, I'll need to turn on the Preview
| | 01:21 |
checkbox or this won't work at all.
So, right now I have got a gradient, a
| | 01:25 |
blend that goes from white to black and
you can see that reflected in the stops
| | 01:30 |
along the bottom, this is called the
gradient stops.
| | 01:33 |
And if I click on one of these stops, you
see the colors reflected up here in the
| | 01:37 |
Stop Color area.
Right now.
| | 01:40 |
This first one is cmyk white, just 0, 0,
0, 0.
| | 01:43 |
And I can adjust these sliders to
anything I want or type in numbers over here.
| | 01:47 |
But, I'm going to leave this set to white
for right now.
| | 01:49 |
Now, if I click on this other gradient
stop down here, I can see that this is a swatch.
| | 01:55 |
It's listed as a swatch in the stock
colors pop up menu.
| | 01:59 |
If I want to change this from swatches to
some other color like CMYK or RGB I could
| | 02:04 |
do that but in this case I am going to
oick a swatch that I've already created.
| | 02:08 |
So I'll click off here and scroll down
until I see my orange color.
| | 02:12 |
I'll click on that.
Now that updates the selected gradient stop.
| | 02:16 |
So now I've got a blend that goes from
white to orange.
| | 02:19 |
I could add additional gradient stops in
here, simply by clicking anywhere along
| | 02:23 |
the gradient ramp along the bottom here.
As soon as I click, it adds a new stop.
| | 02:28 |
So I could add green for example.
I'll change this to swatches and grab my
| | 02:32 |
green color.
Now, my blend is going from white to
| | 02:35 |
green to orange.
And I can move these gradient stops
| | 02:38 |
around to change the effect if I want.
I'll move the green over to the right or
| | 02:42 |
to the left, put it in the middle.
I can also change these little diamonds
| | 02:45 |
on the top.
When you drag a diamond, you change what
| | 02:48 |
the halfway point is between the two.
Its almost like, pulling the middle of a
| | 02:52 |
rubber band back, and forth.
If I drag this one to the right, I get
| | 02:56 |
more of the green.
If I drag it to the left, I get less
| | 02:59 |
green, more orange.
Now in this case, I actually only want
| | 03:03 |
white to orange.
So I'm going to get rid of this gradient
| | 03:05 |
stop simply by clicking on it and then
pulling it off the ramp.
| | 03:09 |
Then I'll go ahead and reset this
midpoint to about the half way point.
| | 03:13 |
Now at the top of the Dialog box, I also
have an option here, of whether I want
| | 03:16 |
this to be a linear gradient, or radial
gradient.
| | 03:19 |
Linear of course, is just one direction
only, like left to right, and radial
| | 03:23 |
makes it look kind of like a circle.
It's a little bit hard to see here
| | 03:27 |
because the center of the circle is
actually in the lower left corner and it
| | 03:30 |
moves out from there.
In the next movie, I'm going to show you
| | 03:33 |
how you can put that center anywhere you
want inside the object.
| | 03:36 |
But in this case, I'm just going to leave
this set to linear.
| | 03:39 |
Then I'm going to give it a name.
It's always good to name your swatches
| | 03:42 |
something reasonable, like I'll call this
white to orange.
| | 03:46 |
Then I'll click okay.
And you may have noticed that there are
| | 03:49 |
several buttons at the bottom of the
swatches panel here.
| | 03:52 |
The 1st button shows all the swatches.
The 2nd one only shows the solid swatches.
| | 03:58 |
So, you'll see my gradient swatch
disappeared.
| | 04:00 |
And the 3rd one shows only the gradient
swatches.
| | 04:04 |
So, if I had a bunch of different
gradient swatches that I've created, and
| | 04:06 |
I want to find just those, I could click
that button.
| | 04:09 |
Usually, though, I leave this set to all.
Now by the way, I should point out one
| | 04:14 |
more thing here.
I'm going to edit this swatch one more time.
| | 04:17 |
I'll right click on it and choose swatch
options.
| | 04:19 |
And you may notice here, that there's no
way to set the gradients opacity.
| | 04:23 |
There's no feature for transparency.
That means a gradient swatch cannot go
| | 04:28 |
from something like white to transparent.
If you need that kind of effect, take a
| | 04:33 |
look at the movie in an earlier chapter
about applying transparency effects, such
| | 04:37 |
as the Blend mode or feathering.
| | 04:39 |
| | Collapse this transcript |
| Applying gradients| 00:00 |
In the last movie, I talked about how to
make a gradient swatch in the swatches panel.
| | 00:04 |
Now let's look at applying gradients to
stuff on your page, and how to fine tune
| | 00:08 |
those gradients.
I have my brochure open from the exercise
| | 00:11 |
files folder, and I'm going to jump to
the first spread by pressing option page
| | 00:15 |
up, or alt page up on Windows.
Now I'm going to open my swatches panel,
| | 00:19 |
and I'm going to create 2 quick
gradients.
| | 00:22 |
I don't have anything selected on my
page, so I don't have to worry about
| | 00:25 |
accidentally applying those swatches to
the objects.
| | 00:29 |
I'll go to the Swatches panel menu,
choose new gradient swatch, and I'm going
| | 00:32 |
to create a couple quick ones just within
the dialog box.
| | 00:36 |
The first one I'm going to make is just
the white to black, but I'm going to set
| | 00:40 |
this to radial instead.
And then I'll give it a name, white to
| | 00:44 |
black radial, so its good to give it
something descriptive.
| | 00:47 |
Then I'll click the add button and it
gets added to my swatches panel.
| | 00:51 |
The second one is going to be a linear
gradient.
| | 00:54 |
I'm going to make it from a lighter
purple to a darker purple.
| | 00:57 |
So I'll click the first swatch down here.
And I'm just going to dial in something.
| | 01:01 |
Maybe a little black, a bit of yellow,
bunch of cyan.
| | 01:05 |
That's probably too dark.
Let's make this a little lighter.
| | 01:07 |
There we go.
That'll be my light purple.
| | 01:09 |
And then I'll click on the other swatch.
Change this to CMYK.
| | 01:13 |
And I'm going to make this a darker
purple.
| | 01:15 |
There we go.
Let's get a bunch more cyan in there.
| | 01:18 |
That's great.
So now, I'll click okay and we have both
| | 01:22 |
color swatches at the bottom of the
swatches panel.
| | 01:24 |
Let's go ahead and apply those.
I'm going to make this middle panel, this
| | 01:27 |
frame right in the middle, the purple
swatch.
| | 01:30 |
So, I'll select it, make sure fill is on
top and then click on it.
| | 01:35 |
I just realized I forgot to name it.
So, I'm going to double click on that to
| | 01:38 |
edit it and then change the name.
Purple linear.
| | 01:42 |
Click OK.
I just hit OK by pressing return or enter
| | 01:45 |
on the key board.
There we go that looks a lot better.
| | 01:48 |
Now, I'll select this frame over on the
right and give it this white to black radial.
| | 01:52 |
Now, I don't really like the way either
of these look.
| | 01:55 |
So I'm going to fine tune them a bit.
To do that I'm going to open the gradient panel.
| | 02:00 |
I'll find that over here in the dock.
If, for some reasons you don't see it in
| | 02:04 |
the dock, you can always go to the Window
menu and choose it out of a color submenu.
| | 02:08 |
Now the gradient panel lets you apply
local formatting to your gradients.
| | 02:13 |
In other words, if I select this purple
gradient over here, I can see that it
| | 02:17 |
goes from light to dark purple right in
the panel.
| | 02:20 |
I can now tweak this gradient a little
bit in all kinds of ways.
| | 02:23 |
For example I might make it more dark
purple by dragging this midpoint slider
| | 02:27 |
to my left.
It immediately updates on my page as well.
| | 02:31 |
I can also change the angle of this if I
want.
| | 02:34 |
Let's change this to 90 degrees.
I'll hit return or enter to make it take effect.
| | 02:39 |
This made the whole gradient rotate 90
degrees.
| | 02:42 |
So now it goes from the bottom to the
top.
| | 02:44 |
If I wanted to flip that around I could
make it minus 90 degrees or I could just
| | 02:48 |
click this reverse button in the gradient
panel.
| | 02:50 |
I don't like that as much I'll reverse it
back.
| | 02:53 |
I kind of like that and note that this
does not change the gradient swatch in
| | 02:57 |
the swatches panel at all.
It just locally changed it on it's one
| | 03:01 |
object, okay, now let's turn out
attention to this black and white radio.
| | 03:05 |
You can see that the gradient panel shows
that its a radio gradient.
| | 03:09 |
And the center is 50%, right in the
middle.
| | 03:12 |
Once again, I could drag this to the left
or the right, to change the effect.
| | 03:16 |
Pretty dramatically actually.
However, in this case, instead of fussing
| | 03:19 |
about with the gradient panel, I'm going
to use the gradient tool.
| | 03:22 |
It gives me a lot more control by
selecting the gradient tool in the tool
| | 03:26 |
panel, and dragging over the object, I
can really fine tune the way I want my
| | 03:31 |
gradient to look.
Here's how it works.
| | 03:33 |
I click where I want the beginning point
to be and I drag to where I want the
| | 03:38 |
ending point to be.
So this is going to put white in the
| | 03:41 |
center and black out near the side.
When I let go of the mouse button, you
| | 03:45 |
see the effect.
You'll notice it's not a circle here.
| | 03:48 |
Radial gradients always take on the shape
of the object, or, I should say, the
| | 03:52 |
height and width proportion of the object
that they're in.
| | 03:55 |
So this will always be taller than it is
wide.
| | 03:58 |
Sometimes it takes a few tries of
clicking and dragging to get it just the
| | 04:01 |
way you want it.
Try clicking and dragging in different
| | 04:03 |
directions as well.
Then when you've got it kind of close,
| | 04:10 |
you can go back to the Gradient panel and
change this midpoint slider to fine tune it.
| | 04:16 |
So that's how you apply Gradients to
objects like frames.
| | 04:19 |
But you can also apply Gradients to text
to.
| | 04:22 |
Let me jump back to the second spread by
pressing Opt+Page down or Alt+Page down.
| | 04:27 |
And I'm going to zoom in on this word in
the upper left corner, design.
| | 04:30 |
I'll just hold down command space bar and
drag out a rectangle, or control space
| | 04:35 |
bar on Windows.
Now I'd like to fill this word with a gradient.
| | 04:39 |
Now remember, I can apply a swatch to the
text inside a frame, even if I select it
| | 04:43 |
with a selection tool.
I do that by selecting the object then go
| | 04:47 |
to the Swatches panel, or in this case
I'll go to the Field button in the
| | 04:50 |
Control panel, and then clicking the
little t button.
| | 04:52 |
Thats the Formatting Effects text button.
Then I can apply the swatch that I made
| | 04:57 |
by dragging down to the bottom, and then
clicking purple linear.
| | 05:01 |
Then, just as we saw earlier, if I want
to fine tune this gradient, I could use
| | 05:05 |
the Gradient panel or the Gradient swatch
tool.
| | 05:08 |
The gradient swatch tool also pays
attention to that T button, just like
| | 05:12 |
applying colors.
So, all I have to do now is drag from the
| | 05:16 |
bottom to the top and it changes the
gradient inside that text.
| | 05:21 |
That looks pretty good.
Now, the gradient tool also works if you
| | 05:24 |
only have some of the text selected in
the frame.
| | 05:26 |
For example, I'll grab my type tool
Select one letter inside that text frame,
| | 05:31 |
go back to the Gradient Swatch tool, and
drag from the top to the bottom.
| | 05:36 |
Now, when I deselect everything by
pressing Cmd+Shift+a or Ctrl+Shift+a on
| | 05:40 |
Windows, I can see that I've changed the
gradient for just that one character.
| | 05:45 |
Blends are certainly the trickiest color
feature in InDesign to get right, but if
| | 05:48 |
you practice fine-tuning them and using
that Gradient Swatch Tool in the Gradient
| | 05:52 |
Panel, you'll soon become a blend master.
| | 05:55 |
| | Collapse this transcript |
|
|
9. Frames and PathsEditing frame and path shapes| 00:00 |
Indesign has a wide variety of drawing
tools including a fully feature Bezier
| | 00:05 |
pen tool, just like illustrator.
Now, I wouldn't use Indesign to do a
| | 00:09 |
detailed technical illustration but it's
perfect for basic drawing such most logos
| | 00:13 |
and relatively simple shapes.
Let me show you how it's done.
| | 00:17 |
I have my rue article document open from
the exercise files folder.
| | 00:21 |
And I'm going to just zoom in on the
upper left corner here just so I can have
| | 00:24 |
some space to work.
Now here in the tool panel there are
| | 00:28 |
several tools that let me draw shapes.
For example the line tool.
| | 00:33 |
The line tool just draws simple lines.
I can draw any angle I want.
| | 00:37 |
Notice that if I hold down the Shift key
it constrains the angle to either
| | 00:40 |
horizontal, vertical, or a perfect 45
degrees.
| | 00:45 |
Next down is a tool that's a little bit
more interesting.
| | 00:47 |
That's the Bezier pen tool.
Here I can click and drag to create
| | 00:53 |
Bezier curves.
All you need to do is click and drag.
| | 00:57 |
You get the idea, you can make a Bezier a
line very quickly.
| | 01:01 |
Now you might use a line like this on
text on a path.
| | 01:04 |
To edit this path I would use the direct
selection tool the white arrow tool.
| | 01:10 |
When I choose the direct selection tool
and place my cursor over the path, it highlights.
| | 01:15 |
Now I can click and drag points or their
handles.
| | 01:18 |
I can even drag the segments between the
paths.
| | 01:23 |
Dragging the segment between the paths
changes the curve whereever I drag it.
| | 01:28 |
Here's another way to change the path,
switch back to the pen tool.
| | 01:32 |
I'll click on the pen tool, and now
whenever I place my cursor on top of a
| | 01:36 |
place that has no point, it changes into
a little plus cursor, which indicates
| | 01:41 |
that if I click or click and drag, it's
actually going to add a point.
| | 01:45 |
I'll click and drag, you can see that
it's actually adding a point onto that curve.
| | 01:51 |
On the other hand, if I place my cursor
over a position where there already is a
| | 01:54 |
point, it changes into a pen tool with a
minus symbol.
| | 01:58 |
That means it's going to delete that
point.
| | 02:00 |
Click and the point goes away.
Now whenever you're editing paths with a
| | 02:04 |
pen tool, you can always hold down the
command key on the Mac or the control key
| | 02:09 |
on Windows, which switches you back to
the last used selection tool.
| | 02:13 |
In this case, the direct selection tool.
That way, I can actually drag these
| | 02:16 |
points around, or adjust their handles.
Then when I let go of the command or
| | 02:21 |
control key it switches back to the pen
tool.
| | 02:24 |
Okay, let's draw some more paths.
I'm simply going to click out here and
| | 02:28 |
click a few times, and you can see that
you can very easily get some very sharp
| | 02:32 |
cornered paths.
When you're done you can either switch to
| | 02:35 |
a different tool or command or control
click in a different area to finish the path.
| | 02:41 |
I'm going to draw another path down here,
just with a few clicks and then I'm going
| | 02:46 |
to select both of these paths with the
selection tool.
| | 02:48 |
With a 2 path selected, I can go to the
object menu and way down here, on the
| | 02:55 |
bottom of the menu, you'll see the paths
sub menu.
| | 02:59 |
This lets you do all kinds of things to
paths.
| | 03:01 |
For example, I could join both of these
so they'd become a single path.
| | 03:04 |
InDesign looks for where they're the
closest, and then it draws a line between them.
| | 03:09 |
Now all the features in that path's
submenu also live inside a panel.
| | 03:13 |
And if you're going to do a lot of things
with paths, you should check out the
| | 03:16 |
panel instead.
I'll go to the window menu, scroll down
| | 03:19 |
to object and layout, and then choose
path finder.
| | 03:23 |
Let's move this off to the side so we can
see what we're doing.
| | 03:25 |
This first button here is the join
command, that's what we just did.
| | 03:30 |
But there are a lot of other commands in
here you should know about.
| | 03:33 |
For example, you can open a closed path.
Like a closed frame.
| | 03:36 |
You know, a text frame.
Or, you could close an open path.
| | 03:40 |
In this case what I have right now is an
open path.
| | 03:42 |
Doesn't close.
And now I can close it by clicking on
| | 03:45 |
this third button.
There you go.
| | 03:46 |
Now it's a closed path.
There are all sorts of other goodies in
| | 03:50 |
this panel, but I just want to point out
the Convert Shape buttons.
| | 03:53 |
This whole section down here.
I find these things really useful.
| | 03:57 |
For example, it's very hard to draw a
perfect triangle in InDesign.
| | 04:01 |
But it's really easy to click this button
here.
| | 04:04 |
Just click and you'll get a perfect
triangle every time.
| | 04:07 |
Now, as you can tell, I'm not the
greatest artist, but I do find these pen
| | 04:11 |
tools useful inside of InDesign,
especially when I already have a frame
| | 04:15 |
that I want to tweak a little bit.
If I want to make it a little bit more interesting.
| | 04:19 |
For example, this text frame down here,
I'll just scroll down a little bit so we
| | 04:22 |
can see it better.
And now I'm going to close my Pathfinder panel.
| | 04:26 |
I don't need that for this.
And this isn't just a rectangular text frame.
| | 04:29 |
It's all very well and good.
But it might be nice to give it a little flare.
| | 04:33 |
So I'm going to head over and choose the
Pen tool.
| | 04:37 |
And then I'm going to command or control
click on top of this frame to select it.
| | 04:41 |
Now I'll place that pen tool right over
the right edge of the frame.
| | 04:45 |
Remember, whenever you place the pen tool
over the edge of a frame or path, it
| | 04:49 |
changes to the add point tool.
And now I can click and drag.
| | 04:54 |
And you'll notice that as I click and
drag, it changes the shape of the frame.
| | 04:57 |
It's a still frame but the text re flows
in the shape.
| | 05:01 |
It's much more interesting now.
Now of course, if I really need heavy
| | 05:05 |
duty illustration tools, I would switch
to Adobe Illustrator.
| | 05:08 |
But in most cases when I'm just trying to
make my design look interesting, Indesign
| | 05:13 |
gives me everything I need.
| | 05:14 |
| | Collapse this transcript |
| Adding rounded corners and other corner options| 00:00 |
In the last movie, I discussed how to
change the shape of objects on your page.
| | 00:04 |
Here's one more to change a shape, but
this time we're only going to be changing
| | 00:08 |
the object corners.
I have my roux_flyer document open from
| | 00:12 |
the exercise files folder, and I'm
going to zoom in to the upper right
| | 00:15 |
corner of this page so I can really see
this white box.
| | 00:19 |
I want to change the shape of the corners
on this object, so I'll select it, head
| | 00:23 |
up to the Object menu and choose Corner
Options.
| | 00:27 |
Up comes the Corner Options dialog box.
I'll move that out of the way a little
| | 00:30 |
bit so we can see the frame better.
And right now, all four sides are set to
| | 00:35 |
sharp edge corners.
But if I click on this pop-up menu here
| | 00:39 |
you can see that I could change this to a
fancy, bevel, inset, inverse rounded or
| | 00:44 |
rounded corner.
Now, most people just go with a rounded
| | 00:47 |
corner, so I'll choose that, and you can
see that when I chose it all four of them changed.
| | 00:53 |
That's because I have this link icon
turned on.
| | 00:55 |
If you want affect some corners and not
others you can turn that off.
| | 00:59 |
For example, I'm going to have a sharp
edge in the upper left.
| | 01:03 |
I'll set that to none, and also in the
lower right.
| | 01:06 |
The lower left and upper right are
curved, they're rounded, but right now it
| | 01:10 |
doesn't seem like they're rounded because
the radius value, this field here, is set
| | 01:15 |
to zero.
You can think of this number as the
| | 01:17 |
radius of a circle that's placed in that
corner.
| | 01:19 |
So, for example, if I change this to say,
2 picas, and then I'll hit Tab to apply
| | 01:25 |
it, and then of course I need to turn on
the Preview check box, you can actually
| | 01:28 |
see that round 2 pica curve in the lower
left corner.
| | 01:32 |
Let's change the upper right corner to
the same amount, 2 picas.
| | 01:36 |
Now I'll click OK and look at my work.
That looks pretty good.
| | 01:40 |
Now, there's another, more interactive
way to change the corners, as well.
| | 01:43 |
To do that, what you do is you click on
this little yellow box in the upper right
| | 01:48 |
corner of the frame and when you do that,
you get four diamonds.
| | 01:53 |
That indicates that it's changed into the
corner editing mode.
| | 01:56 |
These yellow diamonds determine how each
corner is going to appear.
| | 01:59 |
For example, if I drag this yellow corner
in the upper right corner to the left a
| | 02:04 |
little bit, it changes the radius for all
four corners.
| | 02:08 |
Of course, the upper left and lower right
are still sharp because there's no radius
| | 02:11 |
at all, so it doesn't affect them.
If you want to change the radius for one
| | 02:15 |
single corner, hold down the Shift key.
Shift-drag lets me change the radius of a
| | 02:21 |
single corner without affecting the
others.
| | 02:24 |
On the other hand, if I Option or
Alt-click on one of those diamonds, it
| | 02:28 |
changes the corner type.
Remember all those types we saw?
| | 02:30 |
Fancy, beveled, and so on?
So, if I Option or Alt-click in this
| | 02:34 |
diamond in the lower left corner, you'll
see that it changes all four corners to fancy.
| | 02:40 |
That's kind of silly.
Let me undo that with a Cmd+Z, or Ctrl+Z
| | 02:43 |
on Windows.
Instead, I'm going to Option+Shift, or
| | 02:46 |
Alt+Shift, click.
Remember the Shift key means apply it
| | 02:49 |
just to this corner.
There's fancy.
| | 02:52 |
I'll do it again.
There's the beveled.
| | 02:55 |
This is the inverted and there's the
inverted rounded.
| | 02:58 |
And in this case, I'm just going to go
back to the sharp edge, the none corner.
| | 03:03 |
Now, one of the coolest things about this
corner options feature is that it doesn't
| | 03:07 |
only work on frames, you could use it on
open paths as well.
| | 03:10 |
Here, let me show you.
I'm going to pan over to my pasteboard
| | 03:13 |
here with the Option+space bar or Alt+
space bar on Windows and I'll press w to
| | 03:18 |
jump out of preview mode.
And to make this a little easier to see,
| | 03:21 |
I'm going to go up to the View menu and
turn off Match Pasteboard to Theme Color.
| | 03:25 |
That way it's white, just easier to see
what I'm doing here.
| | 03:29 |
Now, I'm going to choose my pen tool to
draw a nice sharp jagged line.
| | 03:33 |
With four clicks, I get kind of a
lightning bolt effect.
| | 03:37 |
Now I'll choose the selection tool and
head back to the Object menu and choose
| | 03:41 |
Corner Options.
You'll notice that some of these fields
| | 03:44 |
are grayed out, because InDesign knows
this is not a rectangular frame.
| | 03:48 |
But I'll just change this to rounded, and
probably increase this a little bit, to
| | 03:51 |
maybe 3 picas.
I'll click OK, and you can see that all
| | 03:56 |
the corners have been changed.
They've all been rounded.
| | 03:59 |
Now, technically, these are still sharp
corners.
| | 04:01 |
I'll switch over here to the direct
selection tool and you'll see the points
| | 04:05 |
out here.
I'll just select this by clicking out on
| | 04:08 |
the pasteboard, and then I'm just going
to drag this point around, and you'll see
| | 04:12 |
that even though I moved that point it
automatically updated the round corner.
| | 04:17 |
These kind of corner effects make it so
easy to create great-looking layouts fast
| | 04:21 |
and even better, update or edit them
later.
| | 04:25 |
| | Collapse this transcript |
| Making polygons and starbursts| 00:00 |
And over here in the Tool panel, hiding
underneath the rectangle frame tool, I'll
| | 00:03 |
just click and hold for a moment, so I
get this pop-up menu.
| | 00:07 |
I can choose the Polygon Frame tool.
Now, if I choose that and start dragging
| | 00:12 |
something out on my page, I get a
hexagon.
| | 00:15 |
Well, technically, I'd have to hold on
the Shift key to constrain it to a
| | 00:18 |
hexagon that constrains the height and
width to be the same.
| | 00:21 |
But you get the idea, it's a hexagon.
Now, right now I'm in Preview mode, so I
| | 00:26 |
can't see it, but that's okay, I'm
going to change the fill.
| | 00:29 |
I'll go up to the Control panel and
change the fill to something like yellow.
| | 00:33 |
Then, I'll hit the Escape key to make
that popup menu disappear.
| | 00:37 |
Now, I don't know about you, but I very
rarely need hexagons.
| | 00:40 |
I mean, maybe if I were doing a
beekeeper's journal, that would be helpful.
| | 00:43 |
But in this case I really don't need a
hexagon.
| | 00:46 |
So, I'm going to go back and select it
with the Selection tool, and then press
| | 00:49 |
the Delete key to make it disappear.
Instead, I'm going to make a different
| | 00:53 |
kind of polygon.
A more interesting polygon.
| | 00:56 |
And to do that, I'll go back and I'll
double-click on the Polygon tool.
| | 01:01 |
That opens the Polygon Settings dialog
box, and here I can choose how many sides
| | 01:06 |
I really want.
For example, I'll choose 12 sides.
| | 01:10 |
Now, I'll click OK, and now I've got a
more interesting shape.
| | 01:14 |
I'll delete that and let's go make
something even more interesting.
| | 01:17 |
I'll double-click on this Polygon tool
again, and this time I'll change not just
| | 01:21 |
the sides but the star inset value as
well.
| | 01:25 |
I'll make this 18 points, and then I'll
change the star inset as well, let's say 20%.
| | 01:31 |
When you increase your star inset, you're
not making a regular shape like a polygon
| | 01:35 |
or a triangle or something, you're making
a star burst.
| | 01:38 |
I'll click OK and drag this out.
Once again, I need to fill it with a color.
| | 01:46 |
So, that looks pretty good.
But what if I want to change the shape,
| | 01:49 |
maybe have more points or a larger inset.
How can I do that?
| | 01:54 |
Well, to do it, all you need to do is
make sure the object is selected on the
| | 01:57 |
page, and then double-click the Polygon
tool again.
| | 02:00 |
Now, change the sides in the inset.
I'll make this larger like 25 sides, and
| | 02:05 |
set the star inset to something bigger
like 50%.
| | 02:09 |
Click OK.
And because this object was still
| | 02:12 |
selected on the page, it updates it with
the new values.
| | 02:15 |
Now, granted a fancy starburst like this
might be out of place if you're laying
| | 02:19 |
out a scholarly scientific journal.
But if your doing a magazine or a
| | 02:23 |
catalog, and you really want to catch
somebody's eye, these star bursts are
| | 02:27 |
just the ticket.
| | 02:28 |
| | Collapse this transcript |
| Creating text outlines| 00:00 |
In an earlier chapter, I mentioned that I
can't draw very well.
| | 00:03 |
Fortunately, we all have a huge library
of cool shapes that somebody else drew
| | 00:08 |
for us.
They're called fonts.
| | 00:10 |
InDesign lets you convert any text from
any font into editable paths.
| | 00:15 |
In fact, there are two ways to convert
text to outlines.
| | 00:18 |
Converting a whole frame or converting
just some selected text.
| | 00:22 |
I have my roof flyer document open from
the exercise folder and I'm going to zoom
| | 00:26 |
in on this word, art.
I'll just hold down Cmd+space bar or
| | 00:29 |
Ctrl+space bar on Windows and drag over
that area.
| | 00:32 |
First, I'm going to convert just a single
letter to an outline.
| | 00:35 |
I'll double-click on this text frame to
switch to the Type tool and then select
| | 00:40 |
that letter, R.
Then I'll go to the Type menu and I'm
| | 00:43 |
going to choose Create Outlines.
And when you do that, you'll see that the
| | 00:47 |
text changes a little bit.
The space between the R and the T got larger.
| | 00:52 |
That's because back when this R was
actual text, InDesign could kern it
| | 00:55 |
properly with the T.
It would adjust the space between the R
| | 00:59 |
and the T, and that adjustment was built
into the font itself.
| | 01:02 |
But now that this R has been converted to
outlines, InDesign doesn't know anything
| | 01:06 |
about kerning.
It can't kern, in fact.
| | 01:09 |
So the spacing changes.
Now we can see that this actually is an
| | 01:12 |
outline by selecting the Direct Selection
tool.
| | 01:15 |
That's the white arrow tool, and then
clicking on the R.
| | 01:17 |
See all the beziet points on there?
Now, it's actually relatively rare that
| | 01:22 |
you'd want to convert a single letter or
a single word into outlines within a text frame.
| | 01:26 |
But there are times that you'd want to do
it.
| | 01:28 |
For example, let's say I want to apply a
particular transparency effect just to
| | 01:32 |
that letter.
I'll go up here to the Effects menu and
| | 01:35 |
I'll choose Bevel and Emboss.
That opens the Effects panel and I'm just
| | 01:39 |
going to click OK.
You can see that I've applied a bevel and
| | 01:42 |
emboss just to that one character.
The outlined text acts kind of like it's
| | 01:47 |
own object inside this text frame, so you
can apply an effect to it without
| | 01:51 |
changing the rest of the text in the
frame.
| | 01:53 |
Okay, let's see the other way of
converting text to outline.
| | 01:56 |
I'm going to undo this by pressing Cmd+Z
or Ctrl+Z a few times.
| | 02:01 |
That way it goes back to the way it was.
And now, I'm going to select the entire
| | 02:04 |
frame with the Selection tool.
Because I have the whole frame selected,
| | 02:09 |
when I go to the Type menu and choose
Create Outlines, all of the text in that
| | 02:14 |
frame is converted to outlines.
I'll switch over to the Direct Selection
| | 02:17 |
tool and you can see all the beziet
points on those paths.
| | 02:21 |
Now in this case, the spacing didn't
change.
| | 02:23 |
It stayed exactly the way it was.
People have different reasons for
| | 02:27 |
converting text to outlines.
For example, sometimes you want to change
| | 02:30 |
the shape of text.
I'm going to deselect this by pressing
| | 02:33 |
Cmd+Shift+A or Ctrl+Shift+A on Windows.
And then I'm going to use the Direct
| | 02:37 |
Selection tool to drag some of these
points around.
| | 02:39 |
Whenever I place that tool over the path,
I can see where the points are.
| | 02:43 |
And then I can simply click them and drag
them around.
| | 02:49 |
You can see that you can change this to
any shape you want.
| | 02:52 |
I could also use my Pen tool to add
points, remove points, and edit this in
| | 02:56 |
all kinds of ways.
But one of the best reasons to convert
| | 02:59 |
text to outlines is to put something
inside those outlines.
| | 03:02 |
For example, I'm going to go back and
choose this with the Selection tool.
| | 03:06 |
Then I'll go to the File menu and choose
Place.
| | 03:08 |
Here, I'm just going to pick one of these
images, not really sure what it's
| | 03:13 |
going to be, and I'll click Open.
You can see that InDesign treats these
| | 03:16 |
outlines as a graphic frame.
It immediately fills that with the image,
| | 03:20 |
and that gives these letters a really
interesting texture.
| | 03:23 |
Now, I do not recommend people converting
a lot of their text to outlines.
| | 03:27 |
For example, if your printer tells you
that you should convert everything in
| | 03:31 |
your document to outlines, I suggest
really grilling them on why.
| | 03:34 |
It's a very bad practice, and almost
always unnecessary.
| | 03:38 |
Plus, you may lose some really important
stuff when converting text to outlines.
| | 03:43 |
For example, I'm going to scroll up here
and take a look at this white frame.
| | 03:47 |
If I select as whole frame and convert it
to outlines, something terrible is
| | 03:51 |
going to happen.
Sure, all that text was converted to
| | 03:56 |
outlines, but I lost a lot in the
process.
| | 03:59 |
The background fill of course
disappeared, but even worse than that,
| | 04:03 |
there was a line above this web address,
and that disappeared too.
| | 04:07 |
The reason is that, that line was created
with the rule above feature.
| | 04:10 |
That's a feature I'll talk about in a
later chapter.
| | 04:13 |
But because it was part of the text, and
because those rules above disappear when
| | 04:17 |
you convert to outlines, I've completely
messed up my design.
| | 04:21 |
You really have to be careful when
creating outlines, but for the occasional
| | 04:24 |
letter or word, something that you want
to apply some kind of special effect to,
| | 04:28 |
well, create outlines is great for that
kind of thing.
| | 04:30 |
| | Collapse this transcript |
|
|
10. Managing ObjectsStacking objects| 00:00 |
Every object on your page is in a stack.
It's like each object is a separate piece
| | 00:04 |
of paper on your desktop.
And you can move them above and below
| | 00:07 |
each other.
If you ever taken a 3D geometry course,
| | 00:10 |
you may have heard this called the Object
Z order.
| | 00:13 |
For example, each object has an x and y
coordinate on the page, and also a Z order.
| | 00:19 |
And that describes which object is on top
of which.
| | 00:22 |
I'm going to be talking about how layers
help you to organize your objects in the
| | 00:25 |
next movie, but for now let's just focus
on how objects stack up on the one layer
| | 00:30 |
that every document has, layer1.
Here, in this brochure document from the
| | 00:35 |
exercise files folder, I'm going to
select this photograph in the upper
| | 00:38 |
right-hand corner and I want to change
it's stacking order.
| | 00:41 |
To do that, I go to object menu and then
choose arrange.
| | 00:45 |
Inside the arrange submenu I have several
options including bring to front and
| | 00:50 |
bring forward.
Because these last two options send
| | 00:53 |
backward and send to back are greyed out,
I know this must be on the very bottom of
| | 00:58 |
my stack.
Theres no more down to go, but I can go up.
| | 01:01 |
I'm going to choose bring to forward.
Now, notice that they does'nt seem like
| | 01:07 |
anything happened.
That's because the stack of all these
| | 01:10 |
objects is based on all the objects on
the spread that is it did move on top of
| | 01:15 |
some other object but that other object
is not necessarily over by that photograph.
| | 01:20 |
It might have been these are the picture
in the lower left corner.
| | 01:22 |
So for that reason there was no visual
difference.
| | 01:26 |
However, if we go back to that Object
menu and go to our Range and choose Bring
| | 01:31 |
to Front, now the object moves all the
way to the top.
| | 01:36 |
It's on top of all the other objects.
All right.
| | 01:38 |
Let's try moving it behind some objects.
Go back to Object.
| | 01:42 |
Arrange.
And then choose Send Backward.
| | 01:45 |
You'll see it moved right behind one of
the objects on my page.
| | 01:49 |
If I do it again, it moves one more down.
But once again, I don't know what it
| | 01:55 |
moved behind.
It did move behind something.
| | 01:57 |
What would be really cool is if we could
get some kind of visual on these stacks
| | 02:02 |
showing us exactly which objects are
above or below others.
| | 02:05 |
And then allowing us to control this
visually.
| | 02:07 |
Instead of haphazardly with this menu
command.
| | 02:10 |
And we're in luck, because InDesign does
offer that.
| | 02:13 |
It's called the layers panel.
| | 02:14 |
| | Collapse this transcript |
| Creating and controlling layers| 00:00 |
I know people who never work with more
than one layer in their InDesign document.
| | 00:04 |
They manage all their objects using send
to back, bring to front.
| | 00:07 |
Now, there's nothing wrong with that
technically, other than it will
| | 00:10 |
eventually drive you insane.
Especially in a complicated layout.
| | 00:14 |
No, no it's much better to create at
least a couple of layers in your document
| | 00:18 |
and then use them to organize your
objects.
| | 00:21 |
Now, every document starts with one layer
called layer one.
| | 00:24 |
You can see that by opening your Layers
panel.
| | 00:27 |
There's layer one.
And all my objects are currently on that layer.
| | 00:32 |
Let's start organizing this document by
creating more layers.
| | 00:34 |
You can do that in a couple of different
ways.
| | 00:36 |
You could go to the Layers Panel fly-out
menu and choose New Layer.
| | 00:41 |
Then you could give it a name, such as
Text.
| | 00:44 |
Then I'll press Return or Enter to hit
the OK button.
| | 00:47 |
Another way to make a new layer, is to
click the New Layer button at the bottom
| | 00:50 |
of the Layers panel.
But when you do that, it gives you a
| | 00:53 |
generically-named layer, just layer three
in this case.
| | 00:56 |
That's not very interesting.
I'm going to delete that by clicking on
| | 00:59 |
the trashcan icon.
Instead, when I make a new layer, I
| | 01:02 |
prefer to hold down the Option or the Alt
key when I click this New Layer button.
| | 01:06 |
That way, it forces InDesign to open the
New Layer dialog box, and I can name my layer.
| | 01:11 |
I'll call this one graphics.
Okay, now I've got three layers, so how
| | 01:16 |
do I get my objects onto those layers?
Well, I'm going to select one of my
| | 01:20 |
objects on my page, and you'll see that
in a layers panel, this little blue
| | 01:24 |
square lights up.
That little blue square is a proxy for
| | 01:28 |
whatever is selected on the page right
now.
| | 01:30 |
And I can drag that blue square up, from
layer one into the text layer.
| | 01:35 |
When I let go of the mouse button, we can
see that the blue square turned into a
| | 01:39 |
red square.
And the object changes color, as well.
| | 01:42 |
Now, the object itself didn't change, but
the frame edge highlighting did.
| | 01:47 |
The edge highlighting always reflects the
color of the layer.
| | 01:50 |
The text layer right now is red, so this
object highlights as red.
| | 01:55 |
Now once again, the color change does not
affect how this document will print or
| | 01:59 |
export to PDF.
It only changes it on-screen for reference.
| | 02:03 |
All right.
Let's go ahead and move the other text frames.
| | 02:05 |
I'll click on this one, and shift-click
on these others.
| | 02:09 |
And then drag that little proxy icon up
to the text layer.
| | 02:13 |
Now let's handle our graphics.
I'm simply going to select all these
| | 02:15 |
graphics by clicking on the first one.
Oh I accidentally selected the image
| | 02:19 |
instead of the frame.
So, I'll press the Escape key to select
| | 02:22 |
the frame.
And now I'm going to shift-click on all
| | 02:24 |
these other graphics.
And one more up here.
| | 02:30 |
And now I'll drag all of those onto my
Graphics Layer.
| | 02:32 |
When I did that, you could see that they
moved on top of the text.
| | 02:37 |
And, of course, that's because the
graphics layer is sitting on top of the
| | 02:40 |
text layer.
So I'd like to move all the those
| | 02:43 |
graphics down, below the text layer.
And I can do that by clicking and
| | 02:46 |
dragging this graphics layer down until I
see a solid line between layer one and text.
| | 02:53 |
I'll let go of the mouse button and the
graphics move down, as well.
| | 02:56 |
I see one more problem here, and that is
that this orange frame should be up
| | 03:00 |
between the image and the graphic.
So, I'm going to select that frame and
| | 03:04 |
then move it up to the text layer.
Now it's sitting on top of the text frame.
| | 03:09 |
That's not what I wanted either, so I
need to move it down so that it's between
| | 03:13 |
the text frame and the graphic.
Here's how I'm going to do it.
| | 03:16 |
I'll go back to my Object menu, and I'll
choose from the Arrange submenu, then
| | 03:20 |
I'll choose Send to Back.
It's important to remember that all of
| | 03:24 |
those commands in the arrange menu refer
to the current layer.
| | 03:28 |
So, send it back doesn't mean send behind
all the objects.
| | 03:31 |
It just means send to the back of this
particular layer.
| | 03:34 |
So, in this case, it went all the way to
the bottom of the text layer, which is
| | 03:37 |
behind that text frame.
And the text layer is on top of the
| | 03:40 |
graphics, so it looks perfect now.
The Layers panel actually gives us even
| | 03:44 |
more control over our document.
For example, I can click on these eyeball
| | 03:48 |
icons to the left of the layer name to
show or hide all the objects on that layer.
| | 03:53 |
If I click on the eyeball next to the
graphics layer, all the graphics disappear.
| | 03:57 |
I'll turn that one back on, and then turn
off the text layer.
| | 04:01 |
On a complicated layout, when you're
trying to manipulate certain objects,
| | 04:04 |
being able to hide all the distracting
objects is really helpful.
| | 04:08 |
Now, another thing you might do in a
complicated layout, is lock the layers.
| | 04:12 |
Let me turn on the text layer again, and
then I'm going to click in the second
| | 04:15 |
column next to the eyeball to lock the
text layer.
| | 04:19 |
That locks all the objects on that layer.
Now I'll be talking about locking later
| | 04:23 |
in this chapter, but you can see that
anything that's on a locked layer cannot
| | 04:27 |
be selected.
For example, I'll try and click on one of
| | 04:30 |
these text frames and it clicks right
through it to the graphic underneath.
| | 04:34 |
I simply cannot select that text frame.
Now there are two more tricks about the
| | 04:38 |
Layers panel that I want to point out.
One is, if I want to select all the
| | 04:41 |
objects on a particular layer, I can hold
down the Option or the Alt key and click
| | 04:46 |
on that layer.
So, for example, to select everthing
| | 04:49 |
that's on the text layer, I would first
unlock it and then hold down Option or
| | 04:53 |
Alt and then click on the text layer.
That selects all the objects on that layer.
| | 04:59 |
The second trick I want to point out to
you, is that you double-click on a layer
| | 05:02 |
to open the layer options dialog box, and
this offers all kinds of options.
| | 05:07 |
For example, I can change the name, the
color, or even various behaviors.
| | 05:12 |
For example, I'm going to turn off the
Print Layer check box.
| | 05:16 |
Now this layer will display on-screen.
But if I print or export a PDF, it just
| | 05:21 |
won't be there.
The text will just disappear.
| | 05:23 |
I'll click OK, and you can see an
indication of that in the Layers panel.
| | 05:27 |
Because the word text, the name of the
layer, is in italic.
| | 05:30 |
Italic layers mean they're non-printing.
As you can see, building and using layers
| | 05:35 |
isn't required, but it really helps you
organize your documents.
| | 05:38 |
But whether you use lots of layers or
only one, the Layers panel has one more
| | 05:43 |
trick up its sleeve.
It let's you see and maniplulate your
| | 05:46 |
stack of objects inside the layer.
And you can do that by clicking this
| | 05:50 |
little twirly triangle.
In the next movie, I'll explain how best
| | 05:54 |
to use that new found power.
| | 05:55 |
| | Collapse this transcript |
| Managing objects in the Layers panel| 00:00 |
As we saw at the end of that last movie,
InDesign provides a list of every object
| | 00:04 |
on each spread in the layers panel.
And you can find that by going up to the
| | 00:08 |
layers panel and clicking on this little
twirly triangle next to the layer name.
| | 00:12 |
Now after the last movie I reverted my
document, so now I'm back to the original
| | 00:16 |
document, the one from the exercise files
folder.
| | 00:19 |
This document only has one layer it it,
so I'm going to quickly create a new one
| | 00:22 |
by holding down Option or Alt and then
clicking on the New Layer button in the
| | 00:26 |
layers panel.
I'll call this one text and then press
| | 00:29 |
Return or Enter to click OK.
Now I'm going to move all of my text
| | 00:33 |
frames up onto that layer.
Now the names listed under the layer, in
| | 00:37 |
the layers panel give you a little
indication about what the thing is.
| | 00:41 |
For example, rectangle is going to be one
of those unassigned rectangular shapes on
| | 00:45 |
my page.
Text frames are a little bit different.
| | 00:48 |
Text frames listed in the layers panel
actually give you a little snippet of
| | 00:51 |
what the story is, first few words of the
story usually.
| | 00:55 |
Graphics on the other hand, list out the
name of the picture, in other words, the
| | 00:59 |
file name on disk.
So in this case I want to place all my
| | 01:02 |
text frames on my new layer.
So, I'm going to select them in the
| | 01:06 |
layers panel.
I'll click on the first one and then hold
| | 01:09 |
on the Command key on the Mac, or Control
key on Windows and select the others.
| | 01:13 |
The Command or Control key means select
discontiguous items in the list, that is
| | 01:17 |
items that are not next to each other.
Now I can drive all of these up into the
| | 01:22 |
text layer.
But first I have to open the text layer
| | 01:24 |
twirly triangle to receive them.
I'll drag these selected objects up onto
| | 01:29 |
the text layer, and I'll drag until I see
that little solid line between text and
| | 01:33 |
layer one.
When I let go of the mouse button all of
| | 01:36 |
those text objects are moved into the
text layer.
| | 01:39 |
I also want to move this orange box up
onto the text layer, but how do I know
| | 01:43 |
which object that is in the layers panel?
To figure that out I'm simply going to
| | 01:47 |
click on it on the page.
You'll see that it gets highlighted in
| | 01:50 |
the layers panel here.
Now it might actually be helpful for me
| | 01:54 |
to change the name of this, from
rectangle to some other name.
| | 01:57 |
Something that I'll recognize later.
And you can name individual objects in
| | 02:01 |
the layers panel by click, pause,
clicking on it.
| | 02:04 |
I know that sounds a little strange but
it's the standard for renaming things.
| | 02:08 |
Click, pause, and then click again and
then it highlights and I can give it a name.
| | 02:12 |
I'll call this Orange Box and then hit
Return or Enter, that way I'm always
| | 02:17 |
going to know what it is.
Now, I'll just drag it up on to the text
| | 02:20 |
layer, unfortunately I dragged a little
bit too high, so now it's on top of this
| | 02:25 |
text frame.
I better drag it down a little bit.
| | 02:27 |
There we go.
Now if you're familiar with Adobe
| | 02:31 |
Illustrator, you probably know that
Illustrator calls each of these things sublayers.
| | 02:36 |
I don't actually understand why.
To me they're just objects on a layer.
| | 02:40 |
There are a few more things I can do
inside the layers panel that I want to
| | 02:43 |
show you.
First, if I can't easily select an object
| | 02:46 |
on the page for some reason, maybe it's
behind other objects and it makes it
| | 02:50 |
difficult to select.
It's really easy to select it, just by
| | 02:53 |
clicking on the little box in the right
column.
| | 02:56 |
So, for example, this selects that text
frame right in the middle of the page.
| | 03:00 |
Or, if I want to select this image, I
simply click on it, and it selects it in
| | 03:03 |
the upper left corner of the page.
Also, I can hide objects, or lock them on
| | 03:08 |
the page, just by clicking on the little
eyeball next to them.
| | 03:11 |
So, for example, if I don't want to see
this studying at Roux text frame.
| | 03:15 |
I can simply click that button and it
disappears, that way I don't accidentally
| | 03:19 |
click on it and I can work on objects
that are behind it.
| | 03:22 |
Click the button again and it comes back.
As you can probably tell I'm a fanatic
| | 03:26 |
for having total control over each and
every object on my page.
| | 03:30 |
After all, without control, how can you
manage your design?
| | 03:33 |
This ability to expand the layers panel
will really help you.
| | 03:37 |
Especially when your working with complex
layouts.
| | 03:39 |
| | Collapse this transcript |
| Grouping and locking objects| 00:00 |
Whenever you have two or more objects
that need to stay together on your page,
| | 00:04 |
consider grouping them.
For example, I have my roux flyer
| | 00:07 |
document open from the exercise files
folder, and I'm going to zoom in here in
| | 00:11 |
the middle.
And I can see that I have two frames
| | 00:13 |
here, this triangular frame and this one
that's sideways.
| | 00:17 |
I never want one to move without the
other.
| | 00:19 |
So I'm going to select the first one, and
then shift-click on the other.
| | 00:23 |
Now that they're both selected, I can go
to the object menu and choose Group, or I
| | 00:27 |
could press Cmd+G or Ctrl+G.
Now you can always tell a group on your
| | 00:32 |
page because it has a dashed line and
dashed lines, these highlights, mean that
| | 00:37 |
these are a group.
If I drag one of these objects, the other
| | 00:40 |
one moves, too.
They always move together.
| | 00:43 |
In fact, InDesign actually treats this
group as a single object.
| | 00:47 |
Now grouping is great, but it does come
with one limitation that you should know about.
| | 00:52 |
All the objects in a group have to be on
the same layer.
| | 00:55 |
If they're not on the same layer,
grouping will actually put them on the
| | 00:58 |
same layer.
So unfortunately, you sometimes have to
| | 01:01 |
give up one form of organization, layers,
for another, grouping.
| | 01:05 |
Another thing you might want to do to
objects on your page, is lock them.
| | 01:09 |
While this group is selected, I'll go to
the Object menu and choose Lock, or you
| | 01:14 |
could press Cmd+L or Ctrl+L on Windows.
Notice that InDesign deselected it, and
| | 01:19 |
in fact, now if I click on it, I find
that I can't select it at all.
| | 01:23 |
You can click as much as you want and
you'll never select it.
| | 01:26 |
I'll go ahead and do the same thing to
this frame here.
| | 01:28 |
Let's zoom out a little bit, Cmd+- or
Ctrl+-.
| | 01:31 |
There we go, now I can see that object as
well, and I'm going to go to the Object
| | 01:35 |
menu and choose Lock.
So that can be really helpful, because
| | 01:39 |
locked objects cannot be selected.
But what if I want to unlock these objects?
| | 01:43 |
How do I do it if I can't even select
them?
| | 01:45 |
Well, there are a couple of ways.
One is to go to the Object menu and
| | 01:49 |
choose Unlock All on Spread.
That unlocks everything on this spread,
| | 01:54 |
so you can start moving it again.
Let's go ahead and lock those again,
| | 01:57 |
because I want to show you another way to
do it.
| | 02:00 |
The second way that you can unlock
objects is to click on the little lock
| | 02:04 |
icon that's attached to the object.
Now, right now you can't see that lock
| | 02:08 |
icon because we're in preview mode.
All of the adornments attached to objects
| | 02:12 |
are invisible in preview mode.
But if I press the W key to jump out of
| | 02:16 |
preview mode, now you'll see this little
tiny blue lock icon in the upper-left
| | 02:20 |
corner of each of these objects.
If I place my cursor on top of that lock
| | 02:25 |
icon, the cursor changes to indicate that
when I click, it will unlock the object.
| | 02:29 |
I'll go ahead and click here, and you'll
see that it becomes unlocked.
| | 02:33 |
Now it's selectable again.
The third way to handle locked objects is
| | 02:37 |
in the Layers panel.
I'll go ahead and open the Layers panel
| | 02:40 |
in my doc, and then I'll twirl open the
Type layer and you can see that one of
| | 02:44 |
these objects has a little lock icon next
to it.
| | 02:47 |
To unlock that frame, I simply click on
the lock icon and now that object is
| | 02:51 |
selectable again.
Now you don't have to lock or group
| | 02:55 |
objects, but these features do make it
much easier to lay out your projects faster.
| | 02:59 |
| | Collapse this transcript |
| Nesting objects| 00:00 |
Here's a wacky concept that you have to
get into your head before you really
| | 00:03 |
become an InDesign expert.
You known that text and graphics both go
| | 00:06 |
inside frames, right?
But did you know that you can actually
| | 00:09 |
put any object inside a frame?
In fact you can put a whole frame inside
| | 00:14 |
another frame.
This concept is called nesting.
| | 00:17 |
And it turns out to be crucially
important for a wide range of effects.
| | 00:21 |
Let me show you an example.
I'm going to select this big text frame
| | 00:24 |
from inside my exercise file, and I'm
going to cut it to the clip board.
| | 00:27 |
By going to the Edit menu and choosing
Cut.
| | 00:30 |
Next I'm going to select this big circle
that has text on it, and I'm going to go
| | 00:33 |
back to the Edit menu and I'll choose not
Paste, but Paste Into.
| | 00:39 |
Paste Into is the main trick for nesting
one object into another.
| | 00:44 |
You'll see that when I do that, I now
have that text frame inside the circular frame.
| | 00:49 |
If I want to select that text frame
inside the other frame, the easiest way
| | 00:53 |
to do it is to go to the control panel,
and click on this little button up here,
| | 00:57 |
the Select Content button.
To me it looks a little bit like a
| | 01:00 |
Martian with a down arrow, but that means
select the content inside the frame.
| | 01:05 |
Now, I've got that nested text frame
selected, but if I want to select the
| | 01:09 |
container of the frame, the circular one,
I could do one of two things, I could
| | 01:13 |
click on this little button above it, the
one that has the up arrow, or I could
| | 01:17 |
simply press the Escape key on my
keyboard.
| | 01:19 |
Now, this is sort of a frivolous example.
Because you probably wouldn't put that
| | 01:23 |
text inside this circle.
Let me show you an example of a cool
| | 01:26 |
special effect that you might want to do.
I'm going to zoom down here on this text.
| | 01:30 |
And I'm going to select this frame, the
one that says Roux.
| | 01:34 |
Go to the Type menu.
And choose Create Outlines.
| | 01:37 |
Now I don't have a text frame anymore.
I have an outline of this word.
| | 01:41 |
Now I'm going to move this text frame
down here up, so that it sits behind this
| | 01:45 |
word Roux.
I'll adjust the width of this so that it
| | 01:47 |
covers the whole word.
That looks better.
| | 01:50 |
And then I'm going to send it behind, by
going to the Object menu, choosing a
| | 01:53 |
Range, and then Send to Back.
Okay.
| | 01:57 |
Now I'm going to copy this text frame.
I'll press CmdC or Ctrl+C in Windows,
| | 02:01 |
select my outlines, and then use Paste
Into.
| | 02:06 |
Now at first it doesn't look like
anything's changed, because when I used
| | 02:09 |
Paste Into it pasted exactly in the same
place.
| | 02:13 |
Its pen registered together.
Okay, to create my new special effect, I
| | 02:17 |
need to select that text frame that's
inside the blue word.
| | 02:20 |
So to do that, once again, I'm going to
go up to the control panel and click the
| | 02:24 |
Select Content button.
Now the text frame is selected inside there.
| | 02:28 |
And I'm going to change that text to
white.
| | 02:31 |
So I'll go to the Swatches panel.
I'll click the Formatting Effects Text button.
| | 02:35 |
That's that little t button and then I'm
going to change the color to paper.
| | 02:40 |
You can see that the text inside the
frame is now white but the text behind it
| | 02:44 |
is still black.
Cool effect huh?
| | 02:46 |
Well it doens't have to stop there.
I'll go ahead and select both of these
| | 02:50 |
objects, both the text frame and the blue
outline, just dragging over both of those
| | 02:54 |
and I'm going to group them together by
going to the Object menu and choosing Group.
| | 02:59 |
I'm grouping them because I'm going to
nest that into another frame, and
| | 03:02 |
technically, you can only nest single
objects into a frame.
| | 03:06 |
So by grouping them together, I make a
single object.
| | 03:09 |
Now, I'll cut that to the clipboard with
a Cmd+X, or Ctrl+X, and I'm going to draw
| | 03:14 |
a frame out here.
I'll use the Elliptical Frame tool.
| | 03:18 |
And then I'll use Paste Into one more
time.
| | 03:22 |
So here I have an ellipse, and inside the
ellipse I have a group, and inside the
| | 03:26 |
group I have some blue text, and then
inside the blue text I have a text frame
| | 03:30 |
with white text.
So, as you can see, nesting objects
| | 03:33 |
inside other objects can really get out
of hand, but it's extremely helpful for a
| | 03:38 |
wide range of really cool layout effects.
| | 03:41 |
| | Collapse this transcript |
| Aligning and distributing| 00:00 |
Whenever you have two or more objects on
your page, you need to think about the
| | 00:03 |
relationship of those two objects.
Stacking order is one kind of relationship.
| | 00:08 |
That is, which is in front of the other.
Another kind of relationship is aligning
| | 00:12 |
or distributing items on the page.
For example, how do you make two objects
| | 00:16 |
align just along their left edges?
Let's zoom in on the upper-right corner
| | 00:20 |
of this page from the exercise folder,
and I'm going to select this object.
| | 00:24 |
Let's see if I can easily align it to the
object on the left.
| | 00:27 |
As I drag it around, you'll notice little
green lines showing up and then disappearing.
| | 00:32 |
But when I drag it until I see a green
line along the top of both of those
| | 00:35 |
objects, I know that those two objects
are aligned.
| | 00:39 |
The green lines are called smart guides,
and smart guides make it really easy to
| | 00:43 |
line up objects.
Now I'll drag this object over to the
| | 00:46 |
left, and I'll wait until I see that
green line appear.
| | 00:49 |
As soon as the green line shows up in the
middle, I know that the centers are aligned.
| | 00:53 |
But, because these objects have the same
width, I know that means their left edges
| | 00:57 |
are also aligned.
And finally, I'm going to drag this
| | 01:00 |
fourth object over until I see two green
lines.
| | 01:03 |
One going along the top, which aligns it
to the one to the left.
| | 01:07 |
And one, going right through the middle,
which aligns it to the middle of the one
| | 01:10 |
above it.
That means it's aligned with those objects.
| | 01:14 |
You can also use smart guides to adjust
the distribution of space between objects.
| | 01:19 |
For example, I'm going to drag this
selected object up until it's aligned
| | 01:22 |
with the two images on its left.
Now I'm going to drag the one in the
| | 01:26 |
middle to the left until I see two little
green arrows show up.
| | 01:30 |
You see those little green arrows just
below the images?
| | 01:32 |
They're little double-headed arrows.
It's a little bit hard to see, but when
| | 01:36 |
you see those, it means that there's
equal space to the left and to the right
| | 01:40 |
of this image.
Now smart guides are great for aligning
| | 01:43 |
two or three things.
But if you have a lot of objects to
| | 01:46 |
align, it's much easier to use the Align
panel.
| | 01:49 |
For example, let's say I want to align
all of these images up against their left edges.
| | 01:53 |
I'm just going to move them around here
so they're roughly in place.
| | 01:57 |
But then I want to make sure they're
exactly aligned.
| | 02:00 |
So, I'll select all four of them by
shift-clicking on them.
| | 02:04 |
And then I'll go to the Window menu, and
choose from the Object and Layout
| | 02:07 |
sub-menu, Align.
The Align panel gives me a number of
| | 02:11 |
options for aligning and distributing my
objects.
| | 02:13 |
It's very visual, very intuitive.
To align these along their left edges,
| | 02:17 |
I'm first going to click on this button.
The first button in the panel.
| | 02:21 |
That's called align left.
One click and they're all aligned.
| | 02:25 |
Next, I want to distribute the space
between them equally so I have the same
| | 02:29 |
amount of space between each one.
To do that, I'll click on the Distribute
| | 02:33 |
Spacing Vertically button.
Notice that I'm not using distribute objects.
| | 02:37 |
A lot of people make that mistake.
Distribute spacing means, make sure
| | 02:41 |
there's an equal amount of space between
each object.
| | 02:44 |
When I do that, the top and bottom
objects remain exactly where they are,
| | 02:47 |
and all the other objects move so that we
have equal space between them.
| | 02:51 |
Now sometimes it's helpful to specify a
specific amount of space that you want
| | 02:55 |
between them.
For example, maybe I want five
| | 02:58 |
millimeters between each of these
objects.
| | 03:00 |
To do that, I need to turn on this Use
Spacing check box.
| | 03:04 |
And then I'll type in the value that I
want here.
| | 03:06 |
Five millimeters.
Then I'll click on Distribute Spacing
| | 03:09 |
again, and I know that I have exactly
five millimeters of space between each object.
| | 03:13 |
Okay, here's one more alignment trick
that I need to show you.
| | 03:16 |
I'm going to zoom out a little bit,
Cmd+-, or Ctrl+-, so I can see more of my page.
| | 03:22 |
And I'm going to move these out of the
way a little bit to try and put them into
| | 03:25 |
alignment again.
Now I'm going to select all of those
| | 03:29 |
objects, and I want to align to the right
edge of this one.
| | 03:33 |
I could come over here and click on the
Align Right button in the Align panel,
| | 03:37 |
but actually, that would align onto the
edge of this one, because the Align Right
| | 03:41 |
button always aligns to the right-most
object in the selected group.
| | 03:46 |
Just like Align Top always aligns to the
top-most object.
| | 03:49 |
Align Left always aligns to the left-most
object.
| | 03:52 |
But in this case, I want it to align to
this object here.
| | 03:54 |
It's kind of in the middle.
So to make it align on that one, I need
| | 03:58 |
to do one more thing before I click the
Align Right button.
| | 04:01 |
I need to click on that object.
You'll see that when I do that, it
| | 04:04 |
highlights it with a heavy red line.
Technically that's called setting the key object.
| | 04:10 |
That object is the key object, and all
the other ones will key off that.
| | 04:14 |
I'll click on the Align Right button, and
you'll see that all four of those objects
| | 04:17 |
are now aligned along the right edge of
that key object.
| | 04:21 |
Now I'll just click out here to deselect.
I love inDesign, because it gives me
| | 04:25 |
incredibly precise control over every
object on my page.
| | 04:28 |
Which is exactly what I need to build
high quality documents.
| | 04:32 |
| | Collapse this transcript |
| Understanding text wrap| 00:00 |
How do you get text to run around
something else on your page?
| | 00:03 |
For example, I'll zoom in here, so I can
see this text and this guy, and I want
| | 00:08 |
this text to run around this guy's head.
How can I do that?
| | 00:12 |
Well, I need the text wrap panel, and I
can find that in the Window menu.
| | 00:17 |
Just choose text wrap.
Next I need to select the image that I
| | 00:20 |
want to cause the wrap.
The picture of this guy.
| | 00:23 |
And then I need to choose one of these
text wrap options.
| | 00:27 |
But first, I want to point out that this
image is actually underneath the text frame.
| | 00:31 |
That's okay.
InDesign can do text wrap whether the
| | 00:34 |
image is behind the frame or on top of
it.
| | 00:37 |
Now this first button in the text wrap
panel, means no wrap.
| | 00:40 |
That's what we have right now.
There's no text runaround going on right now.
| | 00:44 |
But if I click this second button, it
means wrap around the graphic frame, the
| | 00:48 |
whole frame.
Now, that's probably appropriate when you
| | 00:51 |
have a rectangular image but in this
case, it completely doesn't work.
| | 00:55 |
So, I want this third button Wrap around
the object shape.
| | 00:59 |
Now it doesn't look like anything changed
here but technically Indesign is now
| | 01:04 |
wrapping around the shape of the object.
Unfortunately the object is the image itself.
| | 01:09 |
And the image is a rectangle.
Images are always rectangular so we need
| | 01:13 |
to tell Indesign don't wrap around the
image wrap around what's inside the image.
| | 01:18 |
That is the figure of this guy's head.
Now we can find that by changing the
| | 01:22 |
Contour Options popup menu.
Right now it is set to same as clipping
| | 01:27 |
and this image doesn't have a clipping
path so that really doesn't help us.
| | 01:30 |
We could chose Graphic Frame but that
definitely wouldn't help us because the
| | 01:35 |
frame is a big rectangle too.
No, that we want is either Alpha Channel
| | 01:39 |
or Detect Edges.
Detect edges asks in design to go in and
| | 01:43 |
find the edge around this person's head.
That sometimes works but it's a little tricky.
| | 01:48 |
In this case we have an alpha channel.
An alpha channel is just a technical way
| | 01:52 |
of saying the transparency and the image
has transparency.
| | 01:56 |
It's obvious you can see right past him.
So we're going to use alpha channel.
| | 02:00 |
As soon as I click on that, you can see
that the text wraps around the alpha
| | 02:04 |
channel of the image.
This thin red line here is the text wrap contour.
| | 02:09 |
It's slightly pushed away from his head
because there's a value applied here,
| | 02:13 |
right here in the text wrap panel.
Right now, it's set to 3.17mm, but I
| | 02:17 |
could set this down to something smaller.
Go ahead and select all of that and set
| | 02:23 |
it to 0 and hit return or enter.
Now you see the text drop goes all the
| | 02:27 |
way in to the edge of his hair and that's
way too tight.
| | 02:30 |
So let's bring it out, let's say ten
millimeters and that's way too big.
| | 02:35 |
I'm going to bring it back to three
millimeters here, that looks pretty good.
| | 02:38 |
Now the cool thing about this text drop
contour, is that we can actually go in an
| | 02:42 |
edit it manually if we need to.
We do that by choosing the direct
| | 02:46 |
selection tool, the white arrow tool, and
as soon as I click on that, you'll see
| | 02:50 |
all the little bezier points along that
path.
| | 02:53 |
I can click on one of those and drag it
out.
| | 02:55 |
Now obviously moving those one at a time
is really a hassle, so you're not
| | 03:00 |
going to want to do that a lot.
But it is nice to know that you could.
| | 03:03 |
Also, you'll see that as soon as you do
that the contour type changes to user
| | 03:08 |
modified path.
Okay, let's look at some of the other
| | 03:11 |
options in the text wrap panel.
I'm going to pan over here with option
| | 03:15 |
space bar or alt space bar and then I'm
going to select one of these objects with
| | 03:19 |
the selection tool and why don't I resize
this down to something smaller and then
| | 03:23 |
drag it on top of this paragraph here.
When I do that you can see that the text
| | 03:28 |
flows on both the left side and the right
side of that object.
| | 03:32 |
That's a little bit weird, most people
don't like having text flow on both the
| | 03:35 |
left and right side, but you can control
that by going to the text wrap panel and
| | 03:40 |
changing the wrap to pop up menu.
Right now it's set to both right and left
| | 03:44 |
sides but I could change this to just the
right side or just the left side but the
| | 03:48 |
one that I use most often is largest
area, down here at the bottom.
| | 03:52 |
Largest area is nice because if I move
this to the left, I can see that there's
| | 03:56 |
more room on the right, and the text
flows around that side.
| | 04:00 |
If I move it to the right a little bit,
there's more area on the left, and so the
| | 04:03 |
text flows that direction.
You can also see a thin red line in a
| | 04:07 |
rectangle around that image.
And again, that's the text wrap contour.
| | 04:11 |
And sometimes we want to have more text
wrap on one side than the other.
| | 04:15 |
To do that we'll go back to the text wrap
panel.
| | 04:17 |
Let me move this a little closer, so we
can see it better and then I'm going to
| | 04:21 |
turn off this little link icon.
That way you can set the top, bottom,
| | 04:25 |
left, and right sides separately.
For example I'll set the bottom value to 0.
| | 04:31 |
Now the text can flow a little bit closer
underneath it.
| | 04:34 |
Okay, I didn't mention these last two
buttons in the text wrap panel, these
| | 04:38 |
last two text wrap options.
Option number 4 means jump over, in other
| | 04:43 |
words, there should never be any text on
the left or the right side.
| | 04:46 |
If I move this object, you'll see that
text just jumps right over it.
| | 04:51 |
The last button here means skip to the
next column.
| | 04:53 |
In this case its forcing the text right
out of the text frame.
| | 04:57 |
But if I pan over a little bit further to
the left and then move this into this
| | 05:01 |
column, you'll see that it forces this
text to skip over this column into the
| | 05:05 |
right column.
I find that both of these options the
| | 05:08 |
jump over or the push to next column are
really most helpful when laying out books.
| | 05:13 |
So, it's great that Text Wrap forces text
to run around an object.
| | 05:17 |
But sometimes it can get you into
trouble.
| | 05:19 |
Let me show you what i mean.
I'll jump back to fit the whole spread in
| | 05:23 |
the window with a command option 0 or
control alt 0.
| | 05:25 |
Then I'm going to select this caption
down here and go into 200% with the
| | 05:29 |
command 2 or control 2 on windows.
Now I'm going to move that caption down,
| | 05:34 |
so that its on top of this image.
What happened?
| | 05:37 |
Where did the caption go?
Well, I can see that there's a little red
| | 05:40 |
over set mark here.
And that means that all the text was
| | 05:44 |
forced out of the frame, and the reason
is, this image behind it has text wrap
| | 05:49 |
turned on.
Now I need that text wrap to be turned on
| | 05:51 |
because I don't want the text up here to
flow on top of the image.
| | 05:55 |
But I also don't want the text wrap to
effect the caption here.
| | 05:59 |
Fortunately Indesign lets you make an
exception to text wrap.
| | 06:03 |
So while this text frame is selected, I'm
going to go to the object menu and choose
| | 06:07 |
text frame options.
Then inside the text frame options
| | 06:11 |
dialogue box I'm going to turn on ignore
text wrap.
| | 06:14 |
When I turn that on and click OK this
text frame will never be effected by text
| | 06:19 |
wrap on my page.
Now these Text Drop features do take some
| | 06:22 |
getting used to, but I love the way that
the Text Drop feature lets me precisely
| | 06:26 |
manage where my text will and won't flow
on the page.
| | 06:30 |
| | Collapse this transcript |
| Using anchored objects| 00:00 |
This graphic has been placed on my page
and given a text wrap, so that the text
| | 00:04 |
flows right past it.
But if I Double-click in this text frame
| | 00:07 |
to switch to the Type Tool, I can Drag
past it, and you'll see that I'm
| | 00:11 |
selecting all of the text.
It jumps right over the image.
| | 00:14 |
Now this layout looks pretty good right
now, but what if I need to Edit the text?
| | 00:18 |
It's imperative but the graphic and the
caption underneath it, stay together.
| | 00:23 |
So if I come over here and just grab some
text and Delete it, well now we've got problems.
| | 00:28 |
The text moved, but the graphic didn't.
How can we tell the picture to move along
| | 00:33 |
with the text?
To do that we need an in line or anchored object.
| | 00:37 |
Let me Undo what I just did with a Cmd +
Z or a Ctrl + Z on Windows, and I'm going
| | 00:41 |
to turn this object, this graphic, into a
inline object.
| | 00:46 |
To do that, I'm first going to give it
its own line to sit on.
| | 00:49 |
I'm going to Click at the end of this
paragraph, and then I'm going to press
| | 00:52 |
Return or Enter to make a blank
paragraph.
| | 00:55 |
I want this graphic to sit on that line
as though it were text.
| | 00:59 |
To do that, I'm going to choose the
Selection Tool.
| | 01:03 |
Click on the graphic, and Cut it to the
clipboard, by going to the Edit menu and
| | 01:07 |
choosing Cut.
Next, I'm going to switch back to the
| | 01:10 |
Type tool, Click inside that blank line
and Paste it.
| | 01:16 |
When you Cut or Copy with a Selection
Tool, and then Paste with the Type Tool,
| | 01:21 |
the object becomes an inline object.
It's sitting right there on that paragraph.
| | 01:25 |
Now, it doesn't look quite right, of
course.
| | 01:28 |
And that's because this paragraph has
absolute leading.
| | 01:30 |
I talk about leading in a later chapter,
but for right now, I'm just going to
| | 01:34 |
point out that I could Drag over that
whole line, with the Type Tool.
| | 01:38 |
I just selected the whole text, including
that graphic, and then I'm going to go up
| | 01:41 |
to the Control Panel, and I'll make sure
that little a is selected.
| | 01:45 |
That's the Character Formatting button.
And I'm going to change the Leading, from
| | 01:48 |
this 15pt down to auto.
Auto Leading is great for inline objects
| | 01:53 |
because it says, take however much space
you need.
| | 01:56 |
Just move the text around to make it fit.
I'm also going to make this paragraph
| | 02:00 |
Centered by going to the right side of my
Control Panel, and Clicking on the Align
| | 02:04 |
Center Button.
Now, that looks much better.
| | 02:07 |
Now this object is in line.
So if I make that same kind of Edit, like
| | 02:11 |
taking out a bunch of text, it flows with
the text.
| | 02:14 |
If I add text, I'll just start typing a
bunch of gibberish here.
| | 02:17 |
You'll see that it moves down with the
text.
| | 02:20 |
Okay, let's look at another example.
I'm going to press Option Page Down or
| | 02:24 |
Alt + Page Down, to jump to the next
spread.
| | 02:26 |
Then I'm going to zoom in on this part of
the spread here, by holding down the Cmd
| | 02:30 |
+ space bar or Ctrl + space bar, and
Dragging over an area.
| | 02:34 |
I have an object here in the margin, and
I'd like to make that an inline object.
| | 02:39 |
I want to put it right here, inside this
paragraph.
| | 02:42 |
I could use that Cut and Paste method
that I just showed you, but I'm going to
| | 02:45 |
show you a slightly different method.
I'll use the Selection Tool, and Click on
| | 02:49 |
that object.
And see that little blue box in the upper
| | 02:52 |
right corner.
I call that the Anchor Me Box, and if I
| | 02:55 |
hold down the Shift key on my keyboard,
and Drag that object into the text frame,
| | 03:00 |
you'll see a dark black line wherever I
Drag it to.
| | 03:04 |
That black line means, this is where it's
going to be anchored or placed in line,
| | 03:08 |
as soon as I let go of the mouse button.
For example, I'm going to put it in front
| | 03:12 |
of this word, Flemish.
You'll see that immediately it gets anchored.
| | 03:15 |
It gets put as an inline object right
there.
| | 03:18 |
Now, in this case, that object's way too
big.
| | 03:20 |
Let's Resize it to make it smaller.
I'll just Drag one of these Corner
| | 03:24 |
Handles down, until it fits on that line.
There we go.
| | 03:27 |
Now it looks like a little icon before
the word.
| | 03:30 |
Now, once again, I'm going to switch back
to the Type Tool, Click in here and type
| | 03:34 |
some gibberish.
And you'll see that that icon moves with
| | 03:37 |
the text.
It really is inline.
| | 03:39 |
It acts as though it were a single
character in the flow.
| | 03:42 |
But what if I don't want that object
inline, actually in the paragraph?
| | 03:46 |
What if I actually did want it out here
in the margin?
| | 03:48 |
Well let me show you what to do.
I'm going to press Cmd + Z or Ctrl + Z a
| | 03:52 |
few times, to go back to where it was
before I entered it.
| | 03:56 |
Now I'll use the Selection Tool to move
this into position.
| | 03:59 |
I'll put it right at the top of this
paragraph.
| | 04:02 |
Now this time, instead of holding down
the Shift key while I drag that little
| | 04:05 |
Anchor Me box, I'm just going to Drag the
box itself.
| | 04:09 |
I'm dragging with no modifier key.
I still get that little black bar, but
| | 04:12 |
this time it does something different.
I'm going to Drag to the left of this T,
| | 04:17 |
just before the word The, and when I do
that, you'll see that that little blue
| | 04:21 |
box changed.
Now it's an anchor icon.
| | 04:24 |
That anchor icon says that this is an
anchored object in the text flow.
| | 04:28 |
It's anchored right into that position I
placed it, just before that T.
| | 04:32 |
While inland objects can only be inside
of a text frame, anchored objects can go
| | 04:37 |
anywhere I want.
I could even Drag this anywhere I want.
| | 04:40 |
Move it down here.
Put it on top of the frame.
| | 04:42 |
Doesn't matter.
I'll actually Drag it over here, so it's
| | 04:45 |
covering up some of this text.
Now I obviously don't want it to cover up
| | 04:49 |
the text entirely, so I'll go to the
Window menu and choose Text Wrap.
| | 04:54 |
Let's go ahead and turn on the Text Wrap
for that object.
| | 04:58 |
I want the text to flow around this
object, so I can see both the icon and
| | 05:02 |
the text.
But the text wrap is doing something very
| | 05:04 |
strange here.
This is actually a quirk in InDesign, you
| | 05:07 |
just have to understand how it's going to
work, and then you can work around it.
| | 05:10 |
When you apply a text wrap to an anchored
object in InDesign, you have to
| | 05:14 |
understand that it only applies to lines
after the line that it's anchored in.
| | 05:19 |
So, in this case, this icon is anchored
before the letter T.
| | 05:23 |
And so, it will not apply to that whole
line.
| | 05:26 |
It does apply to all the lines after it,
but it does not apply to that line, or
| | 05:31 |
any lines before where it's anchored.
So, if I want this to work, I need to
| | 05:35 |
reposition the anchored object.
And I'm going to do that by Dragging this
| | 05:39 |
little anchor icon out again.
And I'm going to put it at the end of the
| | 05:42 |
previous paragraph.
Now technically it gets anchored after
| | 05:46 |
this word Ursula.
But it's still positioned out here.
| | 05:50 |
So as this text is Edited, the icon will
continue to flow with it, but the text
| | 05:55 |
drops properly.
Now, one last thing I should point out
| | 05:58 |
about these anchored objects, and that's
how to get them unanchored again.
| | 06:02 |
To do that, I simply select the Anchored
Object, then I go to the Object menu and
| | 06:06 |
choose from the Anchored Object sub-menu.
Here I'll choose Release.
| | 06:11 |
The object is now no longer anchored in
the text.
| | 06:14 |
Now, there's a lot more that you can do
with anchored and in-line objects in your documents.
| | 06:18 |
But the important thing here, is to see
that you can quickly set-up these kinds
| | 06:21 |
of relationships between your text and
objects.
| | 06:24 |
| | Collapse this transcript |
|
|
11. Transforming ObjectsDuplicating objects| 00:00 |
Back in the old days, when we needed a
copy of something on our page, we used a
| | 00:04 |
drive downtown and buy a photostat.
Fortunately, it's a little easier now.
| | 00:09 |
There are more than a dozen ways to
duplicate your text frames, graphic
| | 00:13 |
frames and other items in InDesign.
Here are just a few.
| | 00:16 |
My favorite way to make a duplicate of an
object in InDesign, is to hold down the
| | 00:20 |
Option or the Alt key and drag an object.
When I Option or Alt+drag this frame, it
| | 00:26 |
makes a duplicate of it.
Now in this case, I'd like my duplicate
| | 00:29 |
to be exactly lined up with the first.
So I'm going to delete that by hitting
| | 00:33 |
the Delete key on my keyboard, and go try
this again.
| | 00:37 |
This time, instead of holding on Alt or
Option, I'm going to add the Shift key.
| | 00:41 |
Option+Shift+drag or Alt+Shift+drag on
Windows.
| | 00:45 |
When I do that, it duplicates it and
keeps it in perfect vertical or
| | 00:49 |
horizontal alignment.
Now, I could go ahead and edit this text
| | 00:53 |
if I wanted to, but I'm going to move on
and show you another way to duplicate
| | 00:56 |
that object.
I'll delete that one that I just created,
| | 00:59 |
and I'll go back and select this caption
one more time.
| | 01:02 |
And I'm going to duplicate it by going to
the Edit menu and choosing Duplicate.
| | 01:06 |
Now an interesting thing just happened.
Not only did it make a duplicate of that
| | 01:12 |
object, but it did it with exactly the
same offsets as the last duplication I did.
| | 01:17 |
It remembered.
Isn't that cool?
| | 01:19 |
That turns out to be really useful in
other ways, too.
| | 01:22 |
For example, I'll open the Pages panel
and go to page three.
| | 01:26 |
Now, I'll select this caption and
duplicate it.
| | 01:29 |
Edit > Duplicate.
You can see it moved it in exactly the
| | 01:34 |
same way as it did on the first page.
Alright, let's go back to page one and do
| | 01:38 |
a couple more duplications.
I want to select this white line at the
| | 01:42 |
top of my page, and it turns out that's
actually a master page item, so I'll hold
| | 01:46 |
down Cmd+Shift or Ctrl+Shift and click on
it.
| | 01:49 |
That overrides it so that I can do
something with it.
| | 01:52 |
This time, I want a whole bunch of white
lines, so instead of choosing duplicate
| | 01:56 |
from the Edit menu, I'm going to go to
the Edit menu and choose Step and Repeat.
| | 02:01 |
Step and repeat is a great way to make a
lot of duplicates at the same time.
| | 02:05 |
You can either make it in one direction
or as a grid.
| | 02:08 |
Now in this case, I only want it to go
down the page, so I'm going to turn off
| | 02:13 |
Create as a Grid.
Then I'm going to specify how far down I
| | 02:15 |
want each line to go.
I'll click on the word Vertical, that's
| | 02:19 |
just a little shortcut for selecting
everything in that field, and then I'm
| | 02:22 |
going to type in one centimeter here.
Now how many copies do I want?
| | 02:26 |
I'll start clicking on this up arrow, and
you can see that it's starting to add
| | 02:30 |
lines behind the dialogue box.
I can see them, because the Preview check
| | 02:34 |
box is turned on.
I want a bunch more, so let's just change
| | 02:37 |
this to say, 25.
Then I'll click OK and I can see that it
| | 02:41 |
filled the entire page with those white
lines.
| | 02:44 |
Alright.
Let's try another step and repeat.
| | 02:46 |
This time, I'm going to create my own
object.
| | 02:48 |
I'm going to grab this rectangular frame
tool and I'm simply going to drag out a square.
| | 02:53 |
I'm ensuring that it stays a square by
holding down the Shift key while I drag.
| | 02:58 |
It's filled with this default purple
color, but I'm going to pick a different
| | 03:01 |
color up here by clicking on that pop up
menu, let's grab yellow, and then I'll
| | 03:05 |
hit the Escape key to make the pop up
disappear.
| | 03:08 |
Okay, now I'm going to duplicate this.
So, I'm going to grab it with a Selection
| | 03:11 |
tool, go back to the Edit menu, and
choose Step and Repeat.
| | 03:15 |
This time, I am going to want a grid.
So, I'll turn on Create as a Grid.
| | 03:19 |
You'll see that it remembered that last
time I used 25 offsets, but that's not
| | 03:23 |
what I'm going to do here.
I'm going to start off with a grid two by
| | 03:26 |
two and I'll set the offsets to let's
say, 100 pixels each.
| | 03:31 |
I'm just tabbing from one field to the
next.
| | 03:33 |
Let's make this a little bit bigger.
How about 120 pixels?
| | 03:38 |
That looks good.
Once I have the effect the way I want, I
| | 03:42 |
can increase the rows.
Let's maybe make this six by six.
| | 03:47 |
Maybe one more column.
There we go.
| | 03:50 |
That looks good.
Now everybody knows that you can do a
| | 03:53 |
copy and paste to make a duplicate of an
object, but sometimes it doesn't put that
| | 03:57 |
copy exactly where you want.
For example, I'm going to deselect
| | 04:00 |
everything here by pressing Cmd+Shift+A
or Ctrl+Shift+A on Windows, and then I'll
| | 04:05 |
select my image and one of these
captions.
| | 04:08 |
Now I'll go to the Edit menu and choose
Copy, or you could press Cmd+C or Ctrl+C
| | 04:12 |
on Windows.
And then I'll go to page two.
| | 04:14 |
Here I'll Paste.
And you'll see that I get a duplicate,
| | 04:20 |
but it's not in exactly the same place as
it was on page one.
| | 04:23 |
That's really annoying.
I want it to be the same location as it was.
| | 04:27 |
So, I'm going to delete that and instead
of using paste, I'll go back to the Edit
| | 04:31 |
menu and choose Paste in Place.
Paste in place tells InDesign to remember
| | 04:36 |
just where it was when I copied it, and
it puts it in exactly the same location.
| | 04:40 |
All right.
Are you ready for one more way to
| | 04:43 |
duplicate your objects?
I'm going to deselect everything.
| | 04:46 |
And now I'm going to select this caption.
Now up here in the Control panel, in the
| | 04:50 |
y field, I can see that the upper-left
corner of this frame is 136 pixels down
| | 04:56 |
from the top of the page.
I know it's the upper-left corner,
| | 04:59 |
because of the little reference point in
the left edge of the Control panel.
| | 05:02 |
There we go.
The left edge is 136 points down from the
| | 05:06 |
top of the page.
Or 136 pixels.
| | 05:09 |
Doesn't matter.
Pixels and points, same thing.
| | 05:10 |
Now I'm going to copy this down the page.
So I'm going to replace 136 pixels with
| | 05:16 |
400 pixels.
But instead of hitting Enter or Return
| | 05:20 |
like I normally would, I'm going to hold
down the Option or Alt key when I hit
| | 05:23 |
Return or Enter.
Remember what Option or Alt means, right?
| | 05:27 |
That's right, it means make a duplicate
of it.
| | 05:29 |
So Option or Alt+Return or Enter, and it
duplicates it and moves that copy down.
| | 05:35 |
That Option+Return or Alt+Enter trick
works in all the fields of the Control panel.
| | 05:40 |
Which as we'll see later in this chapter,
turns out to be really useful.
| | 05:44 |
Knowing more than one way to perform the
same task in InDesign is helpful, not
| | 05:49 |
just because you can impress your
friends, but because the more ways you
| | 05:52 |
know how to do something, the more likely
you are to use the most efficient
| | 05:55 |
technique in any situation.
And that's really helpful when under deadline.
| | 05:59 |
| | Collapse this transcript |
| Rotating objects| 00:00 |
Having your objects straight up and down
on the page is no fun.
| | 00:03 |
Let's learn how to rotate them.
I'm going to rotate this image, this
| | 00:07 |
piece of artwork here.
And the easiest way to do that, is to go
| | 00:10 |
up to the Control panel and click on one
of these two rotation buttons.
| | 00:14 |
This one rotates at clockwise, this one
rotates it back, counter-clockwise.
| | 00:19 |
Both of those go in 90 degree increments.
And if I want to rotate it in more fine
| | 00:23 |
increments, I'll move to the left a
little bit, and change the field here.
| | 00:27 |
That's the rotate field.
Now, I've got a pop-up menu here that I
| | 00:30 |
can choose presets, but I'm going to do
something different.
| | 00:34 |
I'm going to type in 25 degrees, and then
I'll hit Return or Enter.
| | 00:37 |
But why did this rotate around the
upper-left corner?
| | 00:40 |
Why was it anchored there, and not
someplace else, like the middle?
| | 00:43 |
Well, the answer to that can be found on
the far left side of the Control panel,
| | 00:48 |
way over here.
That's the reference point, and it tells
| | 00:51 |
InDesign where the anchor should be.
Let me undo that with a Cmd+Z or a Ctrl+Z
| | 00:56 |
on Windows and I can see that the anchor
point is set to the upper-left corner.
| | 01:00 |
If instead, I click in the center of that
reference point, then go back and change
| | 01:04 |
this to 25 degrees again, you'll see it
rotates around the center.
| | 01:08 |
Now if you like working more
interactively, you can also select an
| | 01:12 |
object with the Selection tool and then
move the cursor just outside one of the
| | 01:16 |
corner handles.
When you do that, the cursor changes into
| | 01:19 |
this little double-headed arrow, and that
indicates that if you click and drag,
| | 01:23 |
you'll be able to rotate it.
Once again, it's rotating around the center.
| | 01:27 |
If you want even more control over how
you rotate objects, you can do it with
| | 01:31 |
the Rotation tool.
You can find the Rotation tool down here
| | 01:34 |
in the Tool panel.
It's hiding underneath this Free
| | 01:37 |
Transform tool.
There it is.
| | 01:39 |
I'll just click and hold for a moment.
Get the popup menu and then choose,
| | 01:42 |
Rotate Tool.
You'll notice that in the center of the
| | 01:45 |
object, there's a tiny little cross-hair.
That reflects the reference point that
| | 01:50 |
was up in the Control panel.
But with the Rotation tool, I can put
| | 01:53 |
that anywhere I want just by clicking.
For example, I'm going to click in this
| | 01:57 |
little blobby orange area.
It looks kind of like an eyeball to me.
| | 02:00 |
And I'll click there and the cross-hair's
moved to that point.
| | 02:04 |
Now, I can click and drag anywhere on my
page to rotate that object around that point.
| | 02:10 |
You'll notice that the background change
colors, sometimes dramatically as you're dragging.
| | 02:14 |
That's not a big deal, just a screen
redraw problem.
| | 02:16 |
When I let go, you'll see it change back
to way it was.
| | 02:19 |
But here's what you should notice.
As I'm dragging, I see a tiny little
| | 02:23 |
readout next to my cursor.
That shows me exactly what angle this
| | 02:27 |
object is at.
Then, when I let go, you'll see the
| | 02:31 |
object rotated.
The background went back to the way it
| | 02:33 |
was supposed to be, and all is well.
Now that we know how to rotate objects,
| | 02:37 |
the obvious question is, how to scale
them, larger or smaller?
| | 02:40 |
And that's what I'll cover in the next
movie.
| | 02:42 |
| | Collapse this transcript |
| Scaling objects| 00:00 |
It's the golden law of page layout.
Nothing ever seems to be the size you
| | 00:04 |
need it to be on your page.
Fortunately, there are a number of ways
| | 00:08 |
to scale graphics, text, and other page
items in InDesign.
| | 00:12 |
I have my portfolio page open from the
excercise files folder.
| | 00:15 |
And I'm going to jump to page four by
pressing Cmd+J or Ctrl+J on Windows, then
| | 00:20 |
typing four and hitting Enter or Return.
Now on this page, this artwork just isn't
| | 00:25 |
the right size.
I need to scale it up.
| | 00:27 |
The first way we'll do that, is by
clicking on it with the Selection tool
| | 00:31 |
and then choosing the Free Transform
tool.
| | 00:33 |
The Free Transform tool lives in this
group of tools in the Tool panel.
| | 00:37 |
Right now, it's set to the Rotate tool or
the Rotation tool, whatever you want to
| | 00:41 |
call it.
And I'm going to choose the Free
| | 00:43 |
Transform tool.
You can also get that by pressing the
| | 00:46 |
letter E when you're not editing text.
The Free Transform tool is great.
| | 00:50 |
Because if I select it and then drag a
side or a corner handle, it automatically
| | 00:55 |
scales it.
Now we're seeing a background coloration
| | 00:58 |
problem here.
That's just a screen redraw problem, and
| | 01:01 |
it goes away as soon as I let go of the
mouse button.
| | 01:04 |
But we're also seeing another problem
here.
| | 01:05 |
When I scaled this, it scaled it
disproportionally.
| | 01:09 |
It got wider, kind of stretched it out,
which I think this artist would not be
| | 01:13 |
very happy with.
So instead, I'm going to undo that.
| | 01:15 |
Cmd+Z or Ctrl+Z, and I'm going to hold
down the Shift key while I drag.
| | 01:21 |
Come over to the corner handle and
Shift+drag, and now it scales it proportionally.
| | 01:25 |
It makes sure the height and width is
always proportional.
| | 01:29 |
So that's pretty good, but I have to tell
you, I actually don't usually use the
| | 01:33 |
Free Transform tool.
Why?
| | 01:35 |
Because I just use the Selection tool,
the black arrow tool.
| | 01:38 |
This tool lets me do exactly the same
thing, except I have to remember to hold
| | 01:43 |
down one modifier key.
The Cmd key on the Mac or the Ctrl key on Windows.
| | 01:48 |
That key tells the Selection tool to
scale both the frame and what's inside
| | 01:52 |
the frame.
So, Cmd or Ctrl+drag on this corner
| | 01:56 |
handle, or a side handle will scale it
again, but it scales it
| | 01:59 |
disproportionately, just like that Free
Transform tool.
| | 02:02 |
So I better undo that.
And instead, Cmd+Shift or Ctrl+Shift,
| | 02:06 |
that scales it proportionally.
I really like that Cmd+Shift or
| | 02:12 |
Ctrl+Shift trick.
That is honestly what I use almost all
| | 02:15 |
the time when I'm scaling things.
That said, there is one other technique
| | 02:19 |
that's pretty useful, and that's to scale
up in the Control panel.
| | 02:22 |
Now up here in the Control panel, there
are two scaling percentages: the width
| | 02:27 |
and the height.
Next to them, there's a little link icon.
| | 02:30 |
When that's turned on, which it is by
default, the height and the width will
| | 02:34 |
always scale proportionally.
They'll scale together.
| | 02:37 |
But before I'm going to use either of
those, I want to make sure that the
| | 02:39 |
reference point is set properly.
That's the icon in the far left corner of
| | 02:43 |
the Control panel.
And this tells InDesign, what should anchor?
| | 02:47 |
What should not move?
Where everything else will scale around
| | 02:50 |
that point.
Right now it's set to the center, and
| | 02:53 |
that's not right for this.
I want the upper-right corner to stay fixed.
| | 02:58 |
So I'll click on that.
Now I'll come over here and replace that
| | 03:01 |
100% with a different percentage.
Say, 150%, and then I'll press Return or Enter.
| | 03:06 |
Now, an interesting thing happened here.
It did scale it up, but it still says 100%.
| | 03:12 |
What's going on there?
Well, by default, when InDesign scales a
| | 03:16 |
frame, it always sets it back to 100%.
Now the image inside is not necessarily 100%.
| | 03:22 |
And remember, you can double-click on an
image with the Selection tool, and that
| | 03:25 |
selects the image inside the frame.
With the image selected, I can see in the
| | 03:30 |
Control panel that the image is scaled to
78%.
| | 03:33 |
Well 78.070 et cetera percent, but you
get the idea.
| | 03:38 |
But if I double-click on this again, it
goes back to the frame, and I can see
| | 03:41 |
that is 100%.
I'm going to undo that change, because
| | 03:44 |
what I really want, is for this image and
this caption, and I'll select both of
| | 03:48 |
them, I want both of those together to be
exactly seven inches wide.
| | 03:54 |
I want to scale that up until they're
seven inches wide together.
| | 03:58 |
Now, you might think that you could go to
the width field of the Control panel,
| | 04:01 |
this field right up here and just type
seven inches, 7in and hit Enter, but that
| | 04:05 |
does not work at all.
This actually resizes the frames, not
| | 04:10 |
scales them.
If you look closely, you can see that
| | 04:12 |
this frame is actually now too big for
this image.
| | 04:15 |
That's not what I wanted to happen.
I wanted it to scale.
| | 04:17 |
So, let's undo that and try a different
technique.
| | 04:20 |
Instead of scaling in the width field,
which doesn't really work, I'm going to
| | 04:24 |
go to the Scale field, the horizontal
Scale field, and I'm going to change that
| | 04:28 |
100% here to seven inches.
I'll just type 7in or you could type 7"
| | 04:34 |
or whatever, either way works.
Now that's a little strange.
| | 04:38 |
I'm replacing a percentage with an
absolute value, but it works because when
| | 04:42 |
I hit Return or Enter, the whole thing
gets scaled.
| | 04:46 |
So now I know that these two objects
together make up exactly seven inches wide.
| | 04:51 |
Which I guess, according to that width
field, is 504 pixels.
| | 04:55 |
I didn't know that.
Of course, while you can scale your text
| | 04:58 |
and vector art, like Illustrator art all
you want, scaling bitmap images like this
| | 05:02 |
Photoshop image here, does have an effect
on its quality.
| | 05:06 |
If you scale a bitmapped image up, its
resolution goes down.
| | 05:10 |
Scale it down, and the resolution goes
up.
| | 05:12 |
It's just something to keep in mind when
scaling objects on your page.
| | 05:15 |
| | Collapse this transcript |
| Skewing objects| 00:00 |
Skewing, also called shearing, helps give
an object a sense of perspective or
| | 00:04 |
dimensionality, or it could draw
attention to an object by making it look
| | 00:08 |
just odd.
Now I can select both of these objects on
| | 00:11 |
my page and I can skew them by going to
the Control panel and changing the skew value.
| | 00:17 |
There's a pop up menu here.
And I can choose a value or type any
| | 00:20 |
value that I want.
I'll just change this to 30 degrees.
| | 00:23 |
And you can see that it skews it.
So that the top goes to the right and the
| | 00:26 |
bottom goes to the left.
That looks kind of interesting, I suppose.
| | 00:30 |
But if I really want a lot of power
skewing, then I'm going to undo that,
| | 00:34 |
with a Cmd+Z or Ctrl+Z.
And instead, I'm going to use the Shear tool.
| | 00:38 |
That lives underneath the Free Transform
tool here in the Tool panel.
| | 00:41 |
There it is, the Shear tool.
Before I use this tool, I want to make
| | 00:46 |
sure that the reference point is set up
to the center, or I could just click
| | 00:49 |
anywhere on my page to set that reference
point.
| | 00:52 |
Now I get the crosshairs right at that
point.
| | 00:55 |
That way InDesign knows what part of this
group of objects are going to be anchored.
| | 00:59 |
Then I'll just start dragging.
I'll click out here and drag.
| | 01:03 |
And you'll see outlines of those objects
getting skewed.
| | 01:06 |
When I let go of the mouse button, you'll
see them actually skewed.
| | 01:09 |
It almost looks like these are rotating
in three dimensional space.
| | 01:12 |
It's kind of interesting effect.
Now if I want to see the skew in action
| | 01:16 |
while I'm dragging, I'll click, hold for
a moment, and then start dragging.
| | 01:20 |
And you'll see the background kind of
freak out there, but that's just a redraw
| | 01:24 |
problem and it'll come back as soon as I
let go of the mouse button.
| | 01:28 |
You get the idea.
You can really get an interesting sense
| | 01:30 |
of warping here.
Now unfortunately, there's no way to do
| | 01:33 |
true perspective in InDesign.
If you need that, you're going to have to
| | 01:37 |
go use Adobe Illustrator instead.
| | 01:40 |
| | Collapse this transcript |
| Mirroring objects| 00:00 |
While flip flopping may not be such a
good thing in politics, it can be a great
| | 00:04 |
thing in page layout.
Especially when pictures are facing the
| | 00:07 |
wrong direction.
There are several ways to flip or mirror
| | 00:10 |
an object.
I'm going to jump to page three in this
| | 00:13 |
document by pressing Shift+page down a
couple of times.
| | 00:16 |
Now let's say the artist told me that
this picture is backward.
| | 00:20 |
I can flip it over by selecting it, then
going to the Control panel and clicking
| | 00:25 |
one of these two buttons.
I could flip it horizontally by clicking
| | 00:28 |
the one on the left.
I'll click again to put it back.
| | 00:30 |
Or I could flip it vertically by clicking
the one on the right.
| | 00:34 |
Now why did that almost flip right off
the page?
| | 00:37 |
Well it's because I didn't pay attention
to the reference point over here on the
| | 00:41 |
left side of the Control panel first.
I'll undo that with a Cmd+Z or Ctrl+Z,
| | 00:46 |
and I can see that the reference point is
the bottom middle part of that image.
| | 00:50 |
So when I flipped it over vertically, it
flipped over that point.
| | 00:54 |
That point was anchored.
You know, that mirroring effect gives me
| | 00:57 |
an idea.
I want to show you a cool trick.
| | 00:59 |
I'm going to scale this image first to
give myself a little bit of room.
| | 01:03 |
I'll Cmd+Shift+drag on this, or
Ctrl+Shift+drag on Windows.
| | 01:07 |
Just make that a little bit smaller.
Then I'm going to flip it over again,
| | 01:10 |
right from that center bottom point.
And I'm going to flip it over, but this
| | 01:13 |
time I'm going to hold down the Option
key or the Alt key when I click on this button.
| | 01:18 |
That makes a duplicate of it and flips
it.
| | 01:20 |
So now I have a perfect duplicate of it,
like a mirror image, but I want to make
| | 01:24 |
it even more like a mirror.
Kind of like this is sitting on a shiny surface.
| | 01:28 |
So, I'm going to change the scale of this
duplicate down here.
| | 01:31 |
I'll change the scale up here in the
Control panel.
| | 01:34 |
You'll see that the scaling feature is
set to minus 100%.
| | 01:39 |
That's kind of weird, a minus percentage
scaling.
| | 01:41 |
But that's how it achieves the mirror
effect.
| | 01:44 |
I'm going to change that to minus 40%.
I'll hit Enter or Return, and you see it
| | 01:49 |
squishes it.
I could do that because I had unlinked
| | 01:52 |
this little link icon to the right.
That way I could scale it vertically and
| | 01:56 |
leave the horizontal the way it was.
Now I'm going to skew this image a little bit.
| | 02:01 |
I'll go to the Skew field for Scale then
Skew, and I'm going to skew this 60 degrees.
| | 02:06 |
That skews it over to the left.
Let's try it over to the right.
| | 02:09 |
How bout minus 60 degrees.
That looks pretty good for a reflection,
| | 02:13 |
but it's a little bit too bright.
I don't want it to be quite so bright.
| | 02:16 |
So I'm going to open my Effects panel and
I'm going to change the blending mode of
| | 02:20 |
this duplicate to Multiply.
That kind of burns it into the background
| | 02:24 |
a little bit, and then I'll change the
opacity, maybe 50%.
| | 02:28 |
Now, the last thing I'm going to do to
this to make it look more like a
| | 02:30 |
reflection is to apply a gradient
feather.
| | 02:33 |
Something that'll make it look like it's
blending out or fading out a little bit.
| | 02:36 |
So, I'll go to this Effects popup menu,
choose Gradient Feather, and then in the
| | 02:40 |
gradient feather pane of the effects
dialog box, I'm going to change the angle
| | 02:43 |
to something like 90 degrees.
90 degrees makes it go from the bottom to
| | 02:48 |
the top, but because this object is
mirrored, it's flipped over, it's
| | 02:51 |
going to go from the top to the bottom.
Then I can change the gradient stops up here.
| | 02:57 |
I'll drag the slider over, maybe make it
a little bit more opaque, and then click OK.
| | 03:01 |
Finally, I'll click on the paste board to
deselect everything, and that looks great.
| | 03:06 |
I love that I can do these kinds of
creative effects right on my InDesign
| | 03:09 |
page, instead of relying on some other
program.
| | 03:12 |
It's amazing!
| | 03:14 |
| | Collapse this transcript |
|
|
12. Character FormattingApplying basic character styling| 00:00 |
We saw in an earlier chapter, how you can
get text into InDesign and then edit it.
| | 00:04 |
Just use the Type Tool.
But how do you format the text?
| | 00:08 |
How do you make it pretty?
Lets take a tour through your options for
| | 00:11 |
text formatting.
I have my brochure document open from my
| | 00:14 |
exercise file folder.
And I'm going to zoom in here on the left side.
| | 00:18 |
I'd like to format this first line of
text.
| | 00:21 |
So the first thing I need to do of course
is select it with a type tool.
| | 00:24 |
I'll double click with the selection tool
which switches to the type tool and then
| | 00:28 |
I'll select the text.
I could drag over it if I wanted to but
| | 00:31 |
I'm just going to triple click and that
selects the entire line.
| | 00:34 |
If you're familiar with Illustrator or
Photoshop you might be tempted to go up
| | 00:39 |
to the window menu and go look for a
character panel.
| | 00:41 |
And in fact you can find one.
It's hiding down here in the type and
| | 00:45 |
table sub menu.
But I'm not going to choose it because I
| | 00:48 |
don't need to.
I already have all the features I need
| | 00:51 |
right in front of my face.
I'll press the escape key to close that menu.
| | 00:55 |
Just look up her at the top of the screen
in the control panel.
| | 00:59 |
Whenever you use the type tool to select
text on your page, the control panel
| | 01:02 |
changes to show you all the formatting
you need.
| | 01:05 |
Now technically the control panel has two
different modes.
| | 01:09 |
There's the character mode, which you get
when you click on this little a in the
| | 01:12 |
upper left corner, or there's a paragraph
formatting mode, which you get when you
| | 01:16 |
click on this little pilcrow character.
That's the name of that character if you
| | 01:20 |
didn't know, its a pilcrow.
I'll be talking all about paragraph
| | 01:24 |
formatting in the next chapter, but for
right now, I'm going to stick with
| | 01:27 |
character formatting, so I want to make
sure that A is selected.
| | 01:31 |
The first item I see in the control
panel, right here, is the Font menu.
| | 01:35 |
I can change the font easily simply by
clicking on this popup menu and choosing
| | 01:39 |
a different font.
For example, I'll just click on Brush Script.
| | 01:43 |
I'm just picking something random here,
or I could come up to this menu, click in
| | 01:47 |
it, and then type the name of the font
that I'm looking for.
| | 01:50 |
For example, I'll just type myr and
indesign filters out all my fonts down to
| | 01:57 |
the list of just the ones that have myr
in them.
| | 02:01 |
So it guesses that I want Myriad Pro.
And I can move up and down this list by
| | 02:04 |
using the arrow keys on my keyboard.
I'll just go down this list, and you can
| | 02:08 |
see it changes on the page behind it.
Or, I could just click on the one that I want.
| | 02:13 |
I'll choose Myriad Pro Bold.
The next pop up menu down, right
| | 02:17 |
underneath the font, is the style.
I already chose bold, when I was choosing
| | 02:22 |
the font, but if I wanted to change it,
it'd be easy to change it here.
| | 02:25 |
I want to point out that InDesign there's
lots of redundancy.
| | 02:29 |
That is, there is many ways to do the
same thing.
| | 02:32 |
So you can also change the font
formatting by going to the type menu up here.
| | 02:36 |
Here's the same thing.
There's the fond menu.
| | 02:39 |
But in this case to change the style I
look inside sub menus.
| | 02:43 |
So I could choose American Typewriter and
then choose light or regular or
| | 02:47 |
condensed, something like that.
By the way, if I look at the top of my
| | 02:51 |
font menu, I see two fonts that are out
of alphabetical order.
| | 02:54 |
What are those doing there?
Well, this is the recently used font menu.
| | 02:58 |
This shows me all the fonts that I've
used since the last time I launched InDesign.
| | 03:03 |
They're all up here at the top of the
list, so I can get to them quickly.
| | 03:06 |
In this case, I don't want to change the
font, so I'll hit the escape key, or I
| | 03:09 |
could just click elsewhere on the page.
What I want to do is change the size of
| | 03:13 |
this font.
That's the third item in the control
| | 03:15 |
panel, right here.
Right now it's set to 10.5 points.
| | 03:18 |
I could choose something out of this
popup menu here if I wanted to, or I
| | 03:22 |
could just type something in myself, like
16 points, and then hit enter or return.
| | 03:27 |
Now you know how much I like keyboard
shortcuts, so I can't help but give you a
| | 03:31 |
keyboard shortcut that you're going to
use all the time.
| | 03:33 |
The keyboard shortcut for jumping to the
first field of the control panel is Cmd +
| | 03:39 |
6 , or Ctrl + 6 on windows.
That jumps right to the first field in
| | 03:43 |
the control panel, in this case, the font
field.
| | 03:46 |
So, I could type a different font if I
want.
| | 03:48 |
For example, I'll type par, and I can see
a bunch of other fonts here.
| | 03:53 |
I'm going to choose party, hit the enter
key, and it applies it.
| | 03:57 |
Another key to use is the tab key.
I'll press Cmd + or Ctrl + 6 to jump to
| | 04:01 |
the top here and then I can tab from one
field to the next.
| | 04:06 |
I'll tab to this fourth field which is
the letting field.
| | 04:09 |
Letting is the amount of space from the
baseline of the text, that is the line
| | 04:14 |
that this text is sitting on right here
and the previous line.
| | 04:17 |
That's the definition of letting, but
because this text is actually at the top
| | 04:21 |
of the text frame letting has no effect
at all, but for the rest of this
| | 04:24 |
paragraph down here it does.
I'll go ahead and select some text down
| | 04:28 |
here in this paragraph and change the
letting...
| | 04:31 |
I'm going to change it to, say, 18
points.
| | 04:34 |
You'll see the leading that line spacing
changes, but only for the text that I change.
| | 04:38 |
And that's because in InDesign, leading
is a character attribute, not a paragraph attribute.
| | 04:44 |
And this can cause some real problems
when you're laying out pages, because you
| | 04:48 |
have to remember to select the entire
paragraph or else you'll get uneven
| | 04:52 |
leading throughout that paragraph.
This is very different than it works in
| | 04:55 |
many other programs.
Fortunately you can change InDesign to
| | 04:59 |
work the way you'd expect, to apply
letting entire paragraph.
| | 05:03 |
Let me show you how.
I'm going to undo this by pressing Cmd +
| | 05:06 |
Z, or, Ctrl + Z on windows, and then I'm
going to go to the preferences dialog box.
| | 05:11 |
I'll get there by going to the InDesign
menu on the Mac, or edit menu on Windows.
| | 05:15 |
And inside the preferences submenu I'm
going to jump right to the type pane.
| | 05:20 |
Now there's a check box in here that's
called apply leading to entire paragraphs
| | 05:25 |
and I'm going to turn that on.
I like to think that this check box
| | 05:28 |
should be labeled make it work the way
you'd expect a design to work.
| | 05:32 |
So I click okay and now I'm going to
apply that leading again.
| | 05:36 |
Set it back to 18 points.
There you go.
| | 05:39 |
You can see it changes for the entire
paragraph no matter what's selected in
| | 05:43 |
the paragraph.
Now that's the way I like to work.
| | 05:46 |
Now that we've looked into how to change
the spacing between lines of text lets
| | 05:50 |
look at how can change the spacing
between individual characters.
| | 05:53 |
I'm going to come back here to this
heading and triple click to select the
| | 05:56 |
whole line, and then I'm going to look up
in the control panel at these two fields
| | 06:01 |
up here.
The first one on the top is kerning.
| | 06:03 |
Kerning lets you adjust the amount of
space between two letters on a line.
| | 06:08 |
And the second one is called tracking.
Tracking is the same as turning, but it
| | 06:12 |
goes across a range of text, not just two
characters at a time.
| | 06:15 |
In fact, some people tracking range
turning.
| | 06:19 |
Technically they're both doing the same
thing, adjusting the amount of space
| | 06:23 |
between characters.
But again, you usually use turning just
| | 06:26 |
for two characters at a time and tracking
for a whole bunch.
| | 06:29 |
That said, even though I have a bunch of
text selected here, I'm going to change a
| | 06:33 |
kerning value.
I'm going to change this pop up menu from
| | 06:36 |
metrics to optical.
Optical kerning is a very clever
| | 06:40 |
technology in InDesign which actually
looks at the shape of each character and
| | 06:44 |
it adjusts the spacing between them very
subtly.
| | 06:46 |
So you get more even spacing throughout.
Now it doesn't work for all fonts and all
| | 06:50 |
sizes, but in most cases it actually
gives you a better result than what you
| | 06:55 |
could normally get with a font.
In this case, it didn't change very much.
| | 06:58 |
But in some fonts, it's really dramatic.
I almost always use optical kerning for
| | 07:03 |
headings like this.
I don't worry so much about it for my
| | 07:06 |
body text down here.
So optical kerning is changing the amount
| | 07:10 |
of space between each character
individually.
| | 07:12 |
But now let's say I wanted to make the
whole line tighter, maybe apply minus
| | 07:17 |
five or minus ten to the entire line.
I'll do that to the selected line by
| | 07:22 |
coming up to the tracking field and
choosing minus ten.
| | 07:24 |
You can see that all these characters got
minus ten together.
| | 07:28 |
Now I'm throwing these numbers around,
like minus five, minus ten.
| | 07:32 |
But what do those mean.
Minus 10 means minus 10 1000th of an M.
| | 07:37 |
And an M is determined by the size of the
font.
| | 07:40 |
In this case, I'm working with a 16 point
font.
| | 07:43 |
So the M is 16 points.
So minus 10 tracking.
| | 07:47 |
That's minus 10 1000ths of 16 points.
We're dealing with very small values here.
| | 07:53 |
Now, of course font, size, kerning, these
are all jsut the beginning when it comes
| | 07:58 |
to formatting text.
In the next movie we're going to dive
| | 08:01 |
deeper and explore more advanced
character sytling.
| | 08:05 |
| | Collapse this transcript |
| Applying advanced character formatting| 00:00 |
In the last movie we looked at the basics
of character formatting.
| | 00:03 |
Now, let's look at a few more other
styling options that you have.
| | 00:07 |
I have my brochure document open here and
I'm going to double click on this text
| | 00:10 |
frame on the left and then zoom into 400%
by pressing Cmd+4 or Ctrl+4 on Windows.
| | 00:16 |
When I double clicked, it immediately
switched to the type tool.
| | 00:19 |
So now, I can just drag over some text
that I want to select.
| | 00:23 |
I want to point out some of the features
in the middle of the Control panel now.
| | 00:26 |
The first field is the Vertical Scale
field.
| | 00:29 |
Right now it's set to 100%.
But I could scale this up, maybe to 150%.
| | 00:34 |
When I hit Return or Enter, you can see
that it scales directly up.
| | 00:38 |
Everything gets taller.
I could do the same thing to the
| | 00:41 |
Horizontal Scaling just to the right.
I'll squish this a little bit by setting
| | 00:45 |
this to 80%.
Now if you do this, just be sure not to
| | 00:49 |
show it to any designers.
Because their just going to scream at you.
| | 00:52 |
This looks terrible, But at least you
know that you can do it.
| | 00:55 |
There's other stuff you an do too.
For example, I could choose the single x
| | 00:59 |
up here at the end of rue.
And I can make it go up or down off it's
| | 01:03 |
baseline, my changing it's baseline
shift.
| | 01:05 |
That's this value up here.
For example, I'll set this to four points
| | 01:09 |
and hit return or enter.
And you'll see that it pushes it straight up.
| | 01:13 |
Or we can pull it down, do a negative
number instead.
| | 01:16 |
Set this to minus two and it'll go
straight down.
| | 01:19 |
And if you want to get really crazy,
let's select some more text here and
| | 01:22 |
change its skew or sheer.
That's this field up here.
| | 01:25 |
Right now it's set to zero degrees, but
if I set this to something like 15
| | 01:29 |
degrees and hit return or enter.
You see it skews it or sheers it to the right.
| | 01:34 |
It almost looks italic, but this is not a
true italic, this is a fake italic.
| | 01:38 |
Some people call it oblique.
Or, if you want to sheer it to the left,
| | 01:42 |
you just change this to a negative
number.
| | 01:43 |
-15 degrees skews backward.
Now, you may not be using any kind of
| | 01:48 |
that text formatting very much, or at
least I hope you're not.
| | 01:51 |
But, here's some text formatting that you
probably will use.
| | 01:54 |
I'm going to select some words down here
and I'm going to give it an underline and
| | 01:58 |
I'll do that by clicking on the underline
button.
| | 02:01 |
That's this t with a little underscore.
Its highlighted so I can't see the
| | 02:05 |
underscore very well so I'll click off
here and you can see that that's a big
| | 02:08 |
black, thick, kind of clunky underline.
I sure wish I had some controls over how
| | 02:14 |
that underline looked and in fact I do.
All I have to do is add one modifier key.
| | 02:18 |
I'll select the text again.
And this time instead of clicking on this
| | 02:22 |
button, I'm going to hold down the Option
key, or the Alt key on Windows, when I click.
| | 02:27 |
That forces InDesign to show me the
options.
| | 02:30 |
In this case, the Underline Options
dialog box.
| | 02:32 |
We can see that the underline is turned
on here in this check box.
| | 02:36 |
But you can also see that we can change
the weight, the offset, the color, and so on.
| | 02:41 |
Let's go ahead and change this to
something different, like, let's make it green.
| | 02:44 |
Let's make it a little bit more narrow,
maybe .3 points.
| | 02:48 |
The offset is how far away from the
baseline, the bottom of the text that its
| | 02:52 |
going to sit.
I'm going to make this a little bit
| | 02:54 |
bigger, maybe two points.
And I'm just tabbing through from one
| | 02:58 |
item to the next in here.
Alright, let's click okay, and you can
| | 03:01 |
see that it's changed.
Actually it's really hard to see that
| | 03:04 |
it's changed there, again because it's
highlighted.
| | 03:06 |
So let me click off here and then you'll
be able to see we have a nice, fine green line.
| | 03:11 |
Now you might have noticed that some of
these words along the right edge are hyphenated.
| | 03:16 |
And I'm going to be talking about
hyphenation in a later chapter.
| | 03:18 |
But for right now, I do want to point out
that you can control that, to some
| | 03:22 |
degree, by selecting the word and then
going to the control panel menu.
| | 03:27 |
And that's way over here on the right
side of the screen.
| | 03:29 |
This little menu here.
And then, you can choose no break.
| | 03:33 |
When you choose no break, it forces the
word to stay together.
| | 03:36 |
It won't hyphenate across two lines.
Now all the other text around it has to
| | 03:41 |
reflow to make sure that text won't
break.
| | 03:43 |
But if you want the word to stay together
its worth it.
| | 03:45 |
I'm going to scroll down here a little
bit farther and I want to show you that
| | 03:49 |
you can apply the no break effect to even
more than one word.
| | 03:51 |
For example maybe I want this whole
phrase roux academic graphic design to
| | 03:56 |
always be on the same line.
I don't want it to hyphenate or even
| | 04:00 |
break across two lines.
So, I'll choose that, and turn on no break.
| | 04:04 |
That's kind of crazy, especially in this
narrow column, but you see that it does
| | 04:08 |
just what I asked it to.
It won't break across the line.
| | 04:10 |
Phew!
Well, that's a lot of different
| | 04:12 |
formatting options, and we've really only
scratched the surface of what you can
| | 04:16 |
with character level formatting.
In the next movie, we'll look at some
| | 04:19 |
features for turning text into uppercase,
or small caps characters.
| | 04:23 |
| | Collapse this transcript |
| Changing case| 00:00 |
Upper case characters versus lower case
characters.
| | 00:03 |
Which to use and when.
Sometimes, you want text in upper case
| | 00:06 |
for emphasis.
And sometimes, you might want to use
| | 00:09 |
something called small caps.
But, my basic rule is never type anything
| | 00:13 |
in all caps if you can avoid it.
Instead, always type in lower case, and
| | 00:18 |
apply some kind of caps styling to it.
Let me show you what I mean.
| | 00:22 |
I'm going to zoom in here, and
double-click to switch the type tool, and
| | 00:25 |
then triple-click to select that whole
first line.
| | 00:28 |
Let's say my design calls for that
heading to be in all caps.
| | 00:32 |
Instead of retyping the words, I'm
going to come up here to the control
| | 00:35 |
panel, and I'm going to click on this
little button here, the one with a TT,
| | 00:38 |
the two uppercase T's.
That's the all-caps button.
| | 00:43 |
Now, this looks like it's in all caps
but, it's not really.
| | 00:46 |
It's actually just a style that's been
applied to that text.
| | 00:49 |
And that's great because later on when my
art director says, I don't want it in
| | 00:52 |
caps anymore, you can simply turn the
style off.
| | 00:55 |
Just click on the button again and it
goes back to the way it was.
| | 00:59 |
Now, small caps is like all caps but,
it's a little bit more elegant.
| | 01:03 |
You can turn on small caps by clicking on
this other button.
| | 01:06 |
This is the small caps button with a big
T and a little big T.
| | 01:10 |
You can see the small caps is actually a
combination of large and small capital letters.
| | 01:16 |
The thing is that different fonts handle
small caps differently.
| | 01:19 |
Some fonts like the one I'm using here,
Adobe Garamond Pro, actually have true
| | 01:23 |
small cap characters built in.
And that's nice because we have very even
| | 01:27 |
spacing and color across the line.
You know what I mean by color?
| | 01:31 |
I don't mean red or blue.
I mean if you squint your eyes and the
| | 01:34 |
whole thing goes kind of gray and blurry
you want to have even color across the
| | 01:39 |
whole line.
Now looks what happens if I change this
| | 01:41 |
to some other font that doesn't have a
true small caps characters built in.
| | 01:45 |
I'm going to come up to the type menu and
go to the font submenu.
| | 01:48 |
And I'm going to change this to Arial,
let's say Arial regular.
| | 01:53 |
I'll click down here to deselect this so
we can really see what this looks like.
| | 01:57 |
You can see we have a very different
effect.
| | 01:58 |
Arial does not have true small caps built
in so Indesign has to fake it.
| | 02:04 |
And that fakes it, by taking the true
capital letters and shrinking them down
| | 02:07 |
to about 70%.
The effect is technically small caps, but
| | 02:11 |
you'll see that the color is very
different.
| | 02:14 |
We have a very thick R and an A, and then
these other characters look kind of
| | 02:18 |
anemic next to them.
Unfortunately, there's not a lot you can
| | 02:21 |
do about that really, it's just something
you need to pay attention to when you're
| | 02:24 |
working with different fonts.
I'm going to jump out here to fit the
| | 02:27 |
page in window with a command 0 or a
control 0 on Windows.
| | 02:31 |
And then I'm going to go to the next
spread of this document by pressing
| | 02:33 |
option page down or alt page down.
You can see some text right in the middle
| | 02:38 |
of this text frame here that somebody has
typed in all caps.
| | 02:42 |
Let's go ahead and zoom in on that.
I'll click there and go to 200% by
| | 02:45 |
pressing command 2 or control 2 on
Windows.
| | 02:48 |
Not all caps, it looks pretty icky to me,
looks almost like someone's shouting at me.
| | 02:53 |
I'd much rather apply something like
italic or bold to give it some emphasis,
| | 02:56 |
not all caps.
So here's what I'm going to do.
| | 02:59 |
I'm going to select that text, and then
I'm going to go to the Type menu, and
| | 03:04 |
choose from the Change Case submenu.
Here you can see I've got 4 different options.
| | 03:09 |
I can change this text to upper case,
lower case, title case or sentence case.
| | 03:14 |
I'm going to choose this last one.
Because this is a sentence.
| | 03:17 |
And you can see that InDesign actually
changes it for me.
| | 03:20 |
In this case it is not applying a style.
InDesign is actually retyping these
| | 03:24 |
characters to make them capital at the
beginning and then all the rest of them lowercase.
| | 03:28 |
But it can make that change a lot faster
than it would be for me to retype it.
| | 03:32 |
Now I can come up to the control panel
and change the style.
| | 03:35 |
Maybe make it italic or bold.
As I've said before I really like to keep
| | 03:39 |
my options open whenever possible.
I would much rather use change case to
| | 03:43 |
make these lower case and then use italic
or all caps or small caps in order to
| | 03:48 |
maintain flexibility and still get the
effect that I want.
| | 03:51 |
| | Collapse this transcript |
| Using Find/Change for text formatting| 00:00 |
I showed you the fine change feature back
in an earlier chapter.
| | 00:03 |
But then I focused just on finding and
changing text throughout your document or
| | 00:07 |
even across multiple documents.
But now I want to take it farther.
| | 00:11 |
I want to talk about adding text
formatting to the mix.
| | 00:13 |
For example, I have my catalog document
open here and I'm going to zoom in on the
| | 00:18 |
lower left corner here.
I can see that in my catalog, I have
| | 00:23 |
various prerequisites and technical
requirements.
| | 00:25 |
I'd like to format these with some
special formatting, but it would be
| | 00:29 |
really tiresome to have to go in there
and select each one of these lines in
| | 00:33 |
every course in the catalog.
No there's gotta be a better way, and of
| | 00:36 |
course there is.
I'm going to double click on this to
| | 00:39 |
switch the type tool and I'm going to
select that word, prerequisites, and the
| | 00:44 |
colon after it.
I'll copy it to the clipboard with a
| | 00:46 |
command c or a control c on Windows and
I'm going to bring up my find change
| | 00:50 |
dialogue box by going to the edit menu
and choosing find change...
| | 00:54 |
Or course you could press Cmd + F or Ctrl
+ F.
| | 00:57 |
Now here in the text tab of the find
change tab dialogue box I'm going to
| | 01:00 |
paste the word that I just copied into
the find what field.
| | 01:04 |
Cmnd + V or Ctrl + V.
I could have just typed it myself but
| | 01:08 |
this was faster.
So I want to find everywhere that that
| | 01:11 |
word shows up with a colon and I want to
apply formatting to that word.
| | 01:15 |
How do I do that?
Well, I can do that by changing the Find
| | 01:19 |
Format and Change Format fields at the
bottom of the dialog box.
| | 01:23 |
If you don't see those fields, then you
need to click the More Options button.
| | 01:27 |
For example, I'll click Fewer Options
here and you'll see they disappear.
| | 01:31 |
Click again, and they show up.
You really want to have those visible,
| | 01:34 |
those are powerful fields that we're
going to be talking about here.
| | 01:37 |
I'm going to click inside the change
format field, just anywhere in that blank
| | 01:41 |
space and up comes the change format
settings dialogue box and this let's me
| | 01:45 |
specify exactly what I want this text to
look like.
| | 01:49 |
I'll click on the basic character formats
pane here and I'm going to type a font in here.
| | 01:53 |
Let's try M Y, that's all I need to type
and it guesses that I want Myraid Pro.
| | 01:58 |
Then I'll hit tab, to jump to the next
field.
| | 02:00 |
And this one, I'm going to type b o and
it guesses bold condensed.
| | 02:04 |
But that's not what I wanted.
So I'm going to use the pop up menu here
| | 02:07 |
to choose bold.
And finally, l'm going to tab over to the
| | 02:10 |
size field and I'll make this a little
bit bigger than the current text.
| | 02:13 |
Maybe 10.5 points instead.
I think I'll change the color too.
| | 02:17 |
I'll click on the character color pane
here.
| | 02:19 |
And then I'll scroll down here until I
find a color I like, maybe this blue color.
| | 02:24 |
Then I'll click okay and you can see that
all that formatting has shown up here in
| | 02:28 |
a list.
It's tempting to go right for that change
| | 02:30 |
all but before I do that, I have to
remember that I had made a selection on
| | 02:34 |
my page.
And because I made that selection the
| | 02:37 |
search popup menu here got changed to
selection.
| | 02:40 |
So I need to change the scope of this
from selection to, say story, the whole story.
| | 02:46 |
I could choose Documents I suppose but
I'm just going to say do it in this story.
| | 02:51 |
Now I'm ready to go.
I'll click Change All and InDesign tells
| | 02:54 |
me that it made 14 replacements.
Okay.
| | 02:58 |
You can actually see one of them out here
on the page.
| | 03:00 |
Now let's go do the same thing to the
technical requirements text as well.
| | 03:04 |
I'll click done to close that, grab this
text, copy it to the clipboard, with a
| | 03:09 |
Cmd + C or Ctrl + C, then open the
dialogue box again and paste, Cmnd + V or
| | 03:13 |
Ctrl + V.
Once again I'll change my scope to story
| | 03:16 |
and then click change all.
And I made another 14.
| | 03:19 |
So you can see, this is a very quick way
to change all of that formatting.
| | 03:24 |
Let's do a couple more of these while
we're at it.
| | 03:26 |
What if my art director told me that I
want all of these to be a different color instead?
| | 03:30 |
Well, in that case, I want to delete the
text out of the Find What field.
| | 03:35 |
I'm just going to press Delete to delete
it there.
| | 03:37 |
When the find what and the change to
fields are blank, then InDesign is only
| | 03:42 |
going to find and change the formatting.
It'll completely ignore the text itself.
| | 03:47 |
So in this case, I'm going to click in
this blank area and find format, and then
| | 03:50 |
I'll go to the character color pane and
pick that blue color.
| | 03:56 |
Then I'll click okay and you can see that
blue color is listed here.
| | 04:00 |
Now, I'll click down in the change format
area.
| | 04:01 |
And I'm going to choose the basic
character formats.
| | 04:04 |
And I'll select this text in here and
just press delete.
| | 04:08 |
I can actually delete this right out of
that field.
| | 04:11 |
Whenever I have an empty field, it means
don't pay attention to those at all.
| | 04:15 |
Don't apply formatting to those things.
Finally, I'll go back to the color pane
| | 04:19 |
here and change the color.
Maybe I'll pick this orange color.
| | 04:22 |
And click okay.
So once again the find format and the
| | 04:25 |
change format fields show me exactly
what's going to be found.
| | 04:29 |
And how it's going to be changed.
I'll go ahead and click change all.
| | 04:32 |
And In Design tells me that 28
replacements were made.
| | 04:35 |
Click okay.
And we can actually see back here that
| | 04:38 |
all of those colors got changed to
orange.
| | 04:41 |
There's two more things to look out for
inside the find change dialogue box.
| | 04:44 |
First, whenever you apply some formatting
in find or change you're going to get
| | 04:48 |
this little eye icon over here.
Looks almost like an information sign
| | 04:53 |
but, that eye icon means that some
formatting has been applied to either
| | 04:57 |
find what or change to.
Now, if you want to clear out all that
| | 05:00 |
formatting, all you have to do is click
on this little trash can icon in the
| | 05:03 |
lower right corner.
When you click on that, it simply strips
| | 05:07 |
away all the formatting and leaves it
blank.
| | 05:09 |
Using find change is one way to apply
this kind of formatting.
| | 05:12 |
But I should point out that InDesign has
a more advanced feature.
| | 05:15 |
It does something similar called nested
styles.
| | 05:18 |
That's a more automated method.
And I cover it in my InDesign Insider
| | 05:22 |
Training, Beyond the Essentials title
here at the online training library.
| | 05:26 |
| | Collapse this transcript |
| Using Find Font| 00:00 |
How do you know what fonts are being used
inside your document?
| | 00:03 |
It's kind of important information to
know.
| | 00:05 |
Fortunately, InDesign has one place that
you can go and get all that information
| | 00:10 |
called Find Font.
And you can find it up here in the Type menu.
| | 00:14 |
By the way, sometimes you'll open a
document and InDesign will alert you that
| | 00:18 |
it contains a font that you don't have.
In that case, it offers to open Find Font
| | 00:23 |
for you.
That's just InDesign's way of being friendly.
| | 00:27 |
The Find Font dialogue box shows you a
list of all the fonts that are in your document.
| | 00:31 |
Not just the fonts, but even the styles
within the family.
| | 00:34 |
So, I can see here that I've got Adobe
Garamond Bold and Bold Italic and Italic
| | 00:40 |
and Regular and so on.
Look, I apparently used Myriad Pro Bold somewhere.
| | 00:45 |
Lets go find out where.
I'll click on it to select it, and then
| | 00:48 |
click Find First.
Now InDesign jumped to the first instance
| | 00:51 |
of this text in my document.
And it selected it but I can't find it.
| | 00:56 |
Partly because all the text is greeked
out.
| | 00:58 |
Greek text is this grayed out effect that
InDesign does when you're zoomed out so
| | 01:01 |
far that you can't read the text very
well.
| | 01:04 |
It just replaces it with gray lines, but
it makes it very difficult to figure out
| | 01:07 |
where your text is selected.
So, let me go and click done here and
| | 01:11 |
then I'm going to zoom in to 400% by
pressing Command 4 on the Mac or Control
| | 01:16 |
4 on Windows.
When you do that, Indesign zooms in on
| | 01:21 |
whatever is selected on the page, and in
this case text was selected because the
| | 01:25 |
fine font dialogue box selected it for
me...
| | 01:28 |
So, it zooms in right on the text.
There we go.
| | 01:30 |
It's that word, animation.
I'll click off of it here.
| | 01:34 |
We can see that it's in the font that we
were looking for, and it's white text on
| | 01:37 |
an orange background.
Now, let's say my art director says, I
| | 01:41 |
don't want to use that font.
I want to use a different font.
| | 01:44 |
Instead of having to go through your
whole document, searching for that font,
| | 01:47 |
you can simply choose Find Font from the
type menu.
| | 01:51 |
Choose the font in here.
And then replace it with something different.
| | 01:55 |
To replace it, you choose a font from the
replace with field down here.
| | 01:59 |
You can pick any font you want.
For example, I'll choose Party.
| | 02:03 |
Now when you do this, also remember to
turn on the redefined style when changing
| | 02:07 |
all checkbox.
That's a mouth full.
| | 02:10 |
This forces InDesign not just to change
it on my document pages and on my master
| | 02:14 |
pages but also go inside my paragraph and
character styles and change it there too,
| | 02:19 |
that's really important.
Now I'll talk about styles in great
| | 02:23 |
detail in a later chapter but believe me,
you want to turn that on.
| | 02:27 |
Now I'm going to click change all and it
goes through my whole document and it
| | 02:30 |
changes all those fonts.
I also get this little alert saying
| | 02:34 |
overrides have been applied to one or
more styles.
| | 02:37 |
As far as I can tell, you can completely
ignore this warning, in fact, I suggest
| | 02:42 |
you turn on the don't show again check
box so that you won't have to worry about
| | 02:45 |
it anymore.
It doesn't really mean that anything is wrong.
| | 02:48 |
Let's move this out of the way and we can
see if it worked.
| | 02:51 |
Yup, there it is, party.
Now as I glance through the fonts in here
| | 02:55 |
I notice there's another font that I
wasn't expecting to see.
| | 02:59 |
Times New Roman regular.
I didn't think that I was using that font
| | 03:03 |
anywhere, so I have a couple of options
to figure out where it's used.
| | 03:07 |
I could use that find first button or I
want to show you another option.
| | 03:10 |
I'm going to click more info.
When I click more info I get all kinds of
| | 03:14 |
information about the font itself, where
the font is on my hard drive and so on,
| | 03:18 |
but more importantly it shows me what
page it's on.
| | 03:21 |
Way down here it tells me it's on page 5.
In that case it doesn't really help me
| | 03:27 |
but I wanted to point out that it's
there.
| | 03:28 |
So I'll click less info and then choose
find first.
| | 03:33 |
That jumps right to it.
There it is, I'll close the fine font
| | 03:36 |
dialogue box.
And you can see that this one word has
| | 03:39 |
Times New Roman applied to it.
Now that mistake would be really hard to
| | 03:43 |
find if I were proofing quickly.
So it's so great that Find Font can find
| | 03:47 |
it for me.
Now while it's selected, I can press
| | 03:49 |
Command 6 or Control 6 on Windows.
Jump to the Font field and type the font
| | 03:53 |
that it's suppose to be.
Adobe Garamond.
| | 03:58 |
I'll select it out of this list, here.
I always use Find Font before finishing a
| | 04:02 |
document, because you'd be surprised how
often other fonts sneak in.
| | 04:06 |
| | Collapse this transcript |
|
|
13. Paragraph FormattingApplying formatting to a paragraph| 00:00 |
In the last chapter, we talked about
formatting that you can apply to
| | 00:03 |
individual characters such as font, size
and so on.
| | 00:07 |
Now let's get into formatting that you
apply to a whole paragraph.
| | 00:10 |
I have my brochure document open from the
Exercise Files folder and I'm going to
| | 00:14 |
zoom In on this text in the upper left
corner.
| | 00:16 |
Now, I'll double-click on this headline
to place my cursor in it.
| | 00:20 |
I want to change my paragraph formatting
up in the Control panel, but I notice
| | 00:24 |
that the Control panel is currently set
to character formatting.
| | 00:28 |
That is that little button up here that
has an A on it.
| | 00:30 |
I'm going to click on this little pilcrow
character, the paragraph symbol, down here.
| | 00:34 |
And that switches the Control panel into
paragraph formatting mode.
| | 00:38 |
Now technically when you switch from one
mode to the other, you're really just
| | 00:42 |
switching what's on the left side of this
panel.
| | 00:44 |
Because if your screen is wide enough you
can get both the paragraph and character
| | 00:48 |
formatting along the top of the control
panel.
| | 00:51 |
It just depends which is on the left.
Right now in paragraph formatting mode, I
| | 00:55 |
see all my paragraph formatting on the
left side.
| | 00:58 |
All the way up from here to here.
Then, to the right of that I see my
| | 01:03 |
character formatting.
Like font, size, leading and so on.
| | 01:06 |
But, right now, I'm just going to focus
on the left side.
| | 01:09 |
The paragraph formatting.
Now, you may have noticed that I did not
| | 01:13 |
select that entire paragraph.
I just have the cursor flashing in the
| | 01:17 |
paragraph, that's all you need to do when
you apply paragraph formatting.
| | 01:21 |
Indesign knows wherever the cursor is
that's where it's going to apply the formatting.
| | 01:26 |
Now that's very different obviously than
character formatting where you do need to
| | 01:30 |
select the characters that you want to
apply it to.
| | 01:32 |
Now the most basic paragraph formatting
is the horizontal alignment.
| | 01:36 |
Right now this is set to left align.
That is the left of the edge is on the
| | 01:40 |
left margin of this text frame.
But I can change that if I come up to the
| | 01:44 |
control panel and click on one of those
buttons.
| | 01:47 |
Here's the line left, but let's try
center.
| | 01:49 |
Now the paragraph is centered in the
column.
| | 01:52 |
Let's try a line right.
There are a number of these horizontal
| | 01:56 |
alignments, including a line toward the
spine or away from the spine.
| | 02:00 |
These toward and away from spine
alignments are appropriate when you're
| | 02:05 |
creating a facing pages document like a
book or a magazine.
| | 02:08 |
That's because those have a spine.
They've got a gutter in between the pages.
| | 02:12 |
And you can make the text move toward or
away from that gutter.
| | 02:16 |
In this case, I'm going to use right
align.
| | 02:18 |
I'm liking that.
Now I'm going to set some indents.
| | 02:21 |
I'm going to click down here in this
paragraph.
| | 02:23 |
Or I could select some of the text in the
paragraph.
| | 02:25 |
Like I said, it doesn't really matter.
And I'm going to set the left indent for
| | 02:29 |
this paragraph.
To set the left indent, I'm going to
| | 02:32 |
choose this field here.
Right now it's set to 0.
| | 02:35 |
But I'm going to change it to something
bigger.
| | 02:37 |
Let's say 16 points.
Then I'll press return or enter.
| | 02:40 |
And you can see the entire paragraph is
indented from the margin, 16 points.
| | 02:45 |
I don't actually want to do that, so, I'm
going to undo that with a command + Z, or
| | 02:49 |
a control + Z.
What I want to do is indent just the
| | 02:52 |
first line.
That's the second widget down here below
| | 02:55 |
left indent.
This is called first line indent.
| | 02:59 |
I'm going to change that from 0 to say 18
points and hit return or enter, and you
| | 03:04 |
can see that this added and indent but
only on the first line.
| | 03:07 |
When you're trying to indent your first
lines you should definitely use that feature.
| | 03:12 |
Don't type tab at the beginning, or, a
bunch of spaces, or something silly like that.
| | 03:16 |
Use the feature the way it's meant to be
used.
| | 03:19 |
Use first line indent.
Now I'm going to use my temporary hand
| | 03:22 |
tool to pan over to this other frame.
I'd like to change the amount of space
| | 03:27 |
between each of these paragraphs.
These paragraphs down here.
| | 03:30 |
Now there's a fundamental rule of desktop
publishing that says, never type the same
| | 03:34 |
invisible character twice.
That means you should not type 2 space in
| | 03:38 |
a row or 2 paragraph returns in a row,
even 2 tabs in a row.
| | 03:43 |
So what am I supposed to do if I want
space between these paragraphs, and I'm
| | 03:46 |
not supposed to add an extra return, like
this.
| | 03:50 |
Don't do that!
Well, here's what you should do.
| | 03:53 |
Let me delete that.
Instead, select the paragraphs that you
| | 03:57 |
want to change, and then, in the control
panel, change the space before field.
| | 04:03 |
That's this field here.
I'm going to change this to 9 points and
| | 04:06 |
hit Return, or Enter.
Well, that's too much.
| | 04:09 |
I'd better go back there.
Let's make this something smaller, maybe
| | 04:11 |
3 points.
There we go.
| | 04:14 |
I like that.
InDesign has both a Space Before field,
| | 04:17 |
and also a Space After field.
It doesn't really matter which you use.
| | 04:21 |
They both add space between paragraphs.
But Space Before obviously adds space
| | 04:25 |
before a paragraph, and Space After adds
it after the paragraph.
| | 04:28 |
Allignment, indent, spacing.
This is all just a drop in the bucket.
| | 04:33 |
In the next few movies, we're going to
look at spanning text across columns,
| | 04:36 |
creating drop caps, tabs and far more
paragraph formatting.
| | 04:41 |
| | Collapse this transcript |
| Spanning a paragraph across multiple columns| 00:00 |
We looked at how to split text frames
into multiple columns in an earlier chapter.
| | 00:04 |
You simply select the text frame, go to
the Object menu, choose Text Frame
| | 00:09 |
Options, and then change the number of
columns in the columns area.
| | 00:12 |
I'm going to change this to two columns,
and click OK.
| | 00:16 |
This text frame is two columns now.
But the heading itself should only be one.
| | 00:20 |
It should span across both of those
columns.
| | 00:23 |
Now, I could cut those paragraphs out and
put them into a different text frame.
| | 00:27 |
One that's only a single column wide.
But there's a much easier way to do it.
| | 00:31 |
I'll switch to the type tool by
double-clicking inside this text frame.
| | 00:34 |
And then, I'm going to select those two
paragraphs.
| | 00:37 |
Now remember, you don't have to select
the entire paragraphs.
| | 00:40 |
Just have a little bit selected of one, a
little bit of the other.
| | 00:43 |
Something like that.
Now I'm going to head up to my Control
| | 00:45 |
panel, and I'm going to look at this
pop-up menu here.
| | 00:48 |
This is called the Span Columns pop-up
menu.
| | 00:50 |
And right now ,it's set to None, but you
can see that you have various options in here.
| | 00:55 |
Including Span All, Span 2, 3, 4.
And that's talking about columns.
| | 01:00 |
How many columns should this text span?
In this case, I only have 2 columns.
| | 01:05 |
So, it doesn't really matter which I
choose.
| | 01:07 |
I'll choose Span All.
You can see that now these two paragraphs
| | 01:10 |
span both columns in this text frame.
And this looks great.
| | 01:14 |
Now, I should point out that this Span
Columns feature only works in
| | 01:18 |
multi-column text frames.
If this were two different text frames
| | 01:21 |
that were threaded together, Span Columns
would not work.
| | 01:24 |
I also want to explain a little bit about
what's really going on under the hood here.
| | 01:28 |
When you choose any of the span features
InDesign breaks your page, your text
| | 01:33 |
frame technically, into zones.
So, right here we have a Span All zone.
| | 01:37 |
It goes all the way across the text
frame.
| | 01:39 |
Then, we have a zone underneath that
which is two columns.
| | 01:43 |
That takes up the rest of the text frame.
But if I come down here and type a blank
| | 01:47 |
line and I'll just type some text in
here, My New Heading.
| | 01:51 |
There you go, and then I'm going to go up
here and expand this.
| | 01:54 |
I now have four different zones.
I have this zone at the top which is this
| | 01:58 |
heading that spends across the text
frame.
| | 02:00 |
I've got another zone here which is just
this bit of text.
| | 02:04 |
And that is in two columns.
Then, I have a third zone which is my new heading.
| | 02:08 |
That goes all the way across.
And finally, I have the rest of the story
| | 02:12 |
here which is these two columns.
If you keep that idea of zones in mind
| | 02:17 |
you'll really be able to manage your
spans better.
| | 02:19 |
Now, in this case of course, I don't want
that paragraph, so I'll triple-click on
| | 02:23 |
it, and then delete it.
In the old days, before we had a Span
| | 02:27 |
Columns feature you had to go through all
kinds of crazy work around to span text
| | 02:31 |
across columns.
Now, it's just a pop-up menu away.
| | 02:34 |
| | Collapse this transcript |
| Splitting a paragraph into multiple columns| 00:00 |
I have my catalogue file open here from
the exercise files folder.
| | 00:03 |
And I'm going to zoom in on this text
down here.
| | 00:06 |
Inside this text frame I have a bulleted
list.
| | 00:09 |
And it looks pretty good.
But the problem is, the column is so wide
| | 00:13 |
that it's hard to read each of these
bullets.
| | 00:15 |
I wish I could split that up into 2
different columns.
| | 00:18 |
Not the whole text frame.
Just those bullets.
| | 00:21 |
Now in the old days, in order to do that,
you'd have to put that into a table or
| | 00:24 |
split it up into multiple text frames,
all kinds of crazy stuff like that.
| | 00:28 |
Now it's really easy.
I'm going to double click to switch to
| | 00:31 |
the type tool and then select those
paragraphs.
| | 00:35 |
Again, you don't have to select all of
them, just enough so that Indesign knows
| | 00:38 |
that those paragraphs are selected.
To split this up into 2 sub columns, I'm
| | 00:43 |
going to the span columns pop up menu up
in the control panel.
| | 00:47 |
That's the same one we use to span
columns across a multi column text frame.
| | 00:50 |
But, instead of spanning, I'm going to
choose split.
| | 00:54 |
I'll choose split 2.
InDesign actually creates a new little
| | 00:58 |
zone inside this text frame.
And it splits it up into 2 columns.
| | 01:02 |
You can't really see the columns, but
obviously the text is flowing from the
| | 01:05 |
left all the way down, and then into the
right.
| | 01:08 |
Now, if I want to add a little bit more
space between these columns for some
| | 01:12 |
reason, what I would do is select the
text.
| | 01:14 |
Its already selected, and then option or
alt click on this little icon next to the
| | 01:19 |
popup menu.
When you option or alt click on the icon,
| | 01:23 |
up comes a spam columns dialog box, and
that gives me options for this command.
| | 01:28 |
Right now this is obviously set to split
into two sub-columns.
| | 01:31 |
And we can change the gutter amount.
Right now it's set to a 6 point gutter.
| | 01:36 |
We can increase this to, let's say, 12
points.
| | 01:38 |
And click OK.
Did you see that?
| | 01:40 |
It got a little bit further away.
Let's see what happens if we change this
| | 01:43 |
to 3 columns instead.
Again, I'll Option or Alt+click on that icon.
| | 01:47 |
Change the sub-columns to 3 and then I'm
going to make this gutter smaller again
| | 01:51 |
just to give myself a little bit more
room.
| | 01:54 |
Maybe 3 points.
Pretty cool.
| | 01:58 |
This ability to break up columns into
little sub-columns is awesome, especially
| | 02:02 |
when it comes to bulleted lists like this
one.
| | 02:04 |
| | Collapse this transcript |
| Using drop caps| 00:00 |
Much of the art of design revolves around
drawing the eye to where you want the
| | 00:04 |
reader to go.
And one of the best ways to draw the eye
| | 00:07 |
to the beginning of a story or a section,
is with a drop cap.
| | 00:11 |
InDesign lets you easily apply a drop cap
to any paragraph, and the most direct
| | 00:16 |
path to a drop cap is the Control Panel.
I have my brochure document open from
| | 00:20 |
exercise files folder, and I'm going to
zoom in on this text.
| | 00:25 |
I'd like to apply a drop cap to this
second paragraph down here.
| | 00:28 |
It doesn't really matter which I choose.
But in this case, I'm just going to apply
| | 00:31 |
it to the the second paragraph.
I'll place my cursor in there by double-clicking.
| | 00:36 |
Remember you don't have to select the
whole paragraph to apply paragraph formatting.
| | 00:39 |
Just having the cursor flashing in there
is enough.
| | 00:42 |
Next, I'm going to make sure my control
panel is in paragraph mode.
| | 00:46 |
Yep, there it is.
And then I'm going to come over here and
| | 00:49 |
set the drop cap value from zero to
something larger, for example, three.
| | 00:54 |
Then I'll press Return or Enter to make
it take effect.
| | 00:58 |
You can see that the drop cap is added,
and it's three lines high.
| | 01:02 |
Now this other field, the one to the
right lets me control how many characters
| | 01:05 |
should drop down.
Right now it's just set to one, so I'm
| | 01:09 |
just getting that letter O, but I'm going
to go ahead and change that to three as
| | 01:12 |
well, then I'll hit Return or Enter.
Now all three characters in this word are dropped.
| | 01:18 |
Now this is still editable text.
There's nothing special about it.
| | 01:21 |
Just a bit bigger and the text is
floating around it but I could select it,
| | 01:26 |
I could format it, whatever.
For example, I'll change the formatting
| | 01:29 |
of this text by going back to the control
panel and switching on the character mode
| | 01:34 |
and then turning on small caps.
These characters are a little bit further
| | 01:37 |
away from each other so I'm going to
track them down a little bit.
| | 01:40 |
Let's set this to say minus 50.
Then I'll even change the color.
| | 01:44 |
How about we set this to green?
That looks pretty good.
| | 01:49 |
Let's do another drop cap for this first
paragraph.
| | 01:51 |
I'll click up here.
Now ordinarily you wouldn't have two drop
| | 01:55 |
caps in a row, but I'm just showing you
how to do it here.
| | 01:58 |
For this paragraph, I'll go back to the
Paragraph mode of the Control Panel.
| | 02:01 |
And I'm going to go over to the Space
Before field and increase this to give
| | 02:05 |
myself a little bit more room.
Let's say 24 points.
| | 02:09 |
Now I'll give it a drop cap.
How bout two lines.
| | 02:11 |
I'm just hitting Return or Enter after I
type the number.
| | 02:15 |
Now this drop tap is looking a little
small to me, so I'm going to select it.
| | 02:19 |
I'll just select that letter A, and
instead of dropping it further I'm going
| | 02:23 |
to raise it.
I can raise this by going back to the
| | 02:26 |
character mode and changing the size of
this character.
| | 02:30 |
I'll make it larger, like 18 points.
So now this character is both dropped and raised.
| | 02:36 |
The only problem I'm seeing here is that
the drop cap is kind of bumping into this
| | 02:40 |
letter I down here on the second line.
I'd like to move the text away from the A
| | 02:44 |
just slightly.
To do that I place my cursor between the
| | 02:47 |
A and the T just in that first word
there.
| | 02:50 |
Just after the drop cap.
Then I'll go up to the control panel and
| | 02:53 |
I'll change the kerning here.
By adjusting the kerning here just by
| | 02:57 |
adding a little bit you can see that it
pushes that text away from the drop cap.
| | 03:02 |
Not just that first line but all the
lines that are next to the drop cap.
| | 03:06 |
You can create all kinds of interesting
typographic effects with drop caps.
| | 03:09 |
Just let your imagination go wild.
| | 03:11 |
| | Collapse this transcript |
| Setting tabs| 00:00 |
I have my table on contents here, from my
hoa cover and fm file, from the exercise folder.
| | 00:06 |
And I'm going to zoom in on the right
side of this page, to look at this table
| | 00:09 |
of contents.
There's a few things that I notice right away.
| | 00:13 |
First of all, these numbers at the end of
each line don't align properly.
| | 00:17 |
The second thing I notice, is that
there's all these little blue characters.
| | 00:21 |
Like this blue paragraph symbol at the
end of each line.
| | 00:23 |
In between each word there's a little
dot, and then in between here where I
| | 00:28 |
think there's a tab, it shows a blue
double angle bracket.
| | 00:32 |
What the heck's going on there?
Well, the reason I'm seeing those blue
| | 00:35 |
characters, is because I have hidden
characters turned on.
| | 00:38 |
You can show or hide your hidden
characters, by going to the Type menu and
| | 00:43 |
then all the way down at the bottom, you
can choose Show or Hide Hidden Characters.
| | 00:47 |
I often like working with those hidden
characters turned on, because it shows
| | 00:51 |
exactly what's in my text frame, and
that's especially true when I'm working
| | 00:55 |
with tabs.
This character here is a Tab, and I need
| | 00:58 |
to know where those tabs are to make the
tabs work.
| | 01:01 |
I'm going to go ahead here and
Double-click between the Egypt in three,
| | 01:05 |
that switches to the Type Tool, then I'll
hit Tab.
| | 01:07 |
I'll do the same thing after these other
words, just to add tabs in between each
| | 01:12 |
of these.
Now you can see that I have tabs before
| | 01:15 |
each of these characters.
But they still don't line up, and that's
| | 01:18 |
because tabs by default, always go to the
nearest tab stop, and a tabs stop, by
| | 01:23 |
default, unless you've changed the menu
lay, always go about every half inch
| | 01:27 |
across the text frame.
Now you might be tempted to come in here,
| | 01:31 |
and start adding additional tabs but
don't do it, stop.
| | 01:35 |
Delete those.
You only want one tab.
| | 01:39 |
In fact, there are three ground rules you
need to keep in mind, if you're going to
| | 01:42 |
be using tabs.
First never type a tab at the beginning
| | 01:46 |
of a paragraph, in order to create an
indent.
| | 01:48 |
That's what the left indent and the first
line indent features are for.
| | 01:51 |
I talked about those earlier in this
chapter.
| | 01:54 |
Second, never type two tab characters in
a row.
| | 01:57 |
If you want your tab to take you farther
than half an inch, then set a tab stop
| | 02:02 |
where you want to put it.
I'm going to show you how to do that in
| | 02:04 |
just a moment.
And finally, if you're using tabs to make
| | 02:07 |
something that looks suspiciously like a
table, it probably is a table, and you
| | 02:12 |
should probably be using InDesign's table
features, not tabs.
| | 02:16 |
I cover tables in a later chapter.
Now here, even though this is called a
| | 02:20 |
table of contents, it doesn't really look
like a table, so, it's okay to use tabs.
| | 02:24 |
Now, let's set that tab stop.
The first thing that I need to do is
| | 02:28 |
select all the paragraphs that I want to
effect.
| | 02:31 |
In this case, it's everything from the
first line down to the bottom of this
| | 02:34 |
table of contents.
There we go.
| | 02:37 |
Now I'm going to scroll up, and I'm
going to set my Tab Stop.
| | 02:40 |
I don't actually need to scroll up, but I
find it's useful to see the top of the
| | 02:45 |
text frame when I'm working with tabs.
You don't have to do that, but it turns
| | 02:49 |
out to be really useful, because now when
I go to the Type menu and choose Tabs,
| | 02:53 |
the Tab Panel automatically snaps to the
top of the text frame.
| | 02:57 |
It can't do that if I don't see the top
of the text frame, instead it just kind
| | 03:01 |
of floats around on the page.
Now to add my first Tab Stop, all I have
| | 03:05 |
to do is Click in the blank area along
the top of this ruler.
| | 03:08 |
If I want to move that Tab Stop, all I
need to do is Click and Drag it.
| | 03:14 |
You'll notice that as I'm Dragging, you
can see a black line that indicates
| | 03:18 |
exactly where the Tab Stop is going to
be, exactly where those numbers are going
| | 03:22 |
to align to.
I'll move this one over near the edge of
| | 03:25 |
this text frame, and then let go of the
mouse button.
| | 03:28 |
Now, all those numbers after the tabs are
lined up.
| | 03:31 |
But unfortunately they're lined up on
their left edges.
| | 03:34 |
I'd like to have these lined up along
their right edges.
| | 03:36 |
That's okay, I can do that.
While this Tab Stop is selected, and you
| | 03:41 |
can see it's kind of highlighted in
orange.
| | 03:43 |
I can go over to the left side of the
Tabs Panel and Click on a different type
| | 03:47 |
of tab stop.
I'm going to click on Right Aligned Tab Stop.
| | 03:51 |
When I do that, it turns the selected tab
stop, into a right justified or right
| | 03:55 |
aligned tab stop.
Now the tab goes right up to that point,
| | 03:59 |
and then all this text is set flushed
right against the tab stop.
| | 04:03 |
I'm going to go ahead and Drag this a
little bit closer to the side of this frame.
| | 04:07 |
Or if you know exactly where you want
that Tab Stop to be, instead of Dragging
| | 04:11 |
it, you can select it inside the Tab
Panel, and then come over here to this X field.
| | 04:17 |
I'll change that from 26 picas to say 26
pica 6, just move it over six points.
| | 04:23 |
Then I'll hit Enter or Return, and you
can see that all those numbers moved over.
| | 04:27 |
Now, of course, we can have additional
Tab Stops up here as well.
| | 04:29 |
I can create a new Tab Stop in the middle
here just by Clicking.
| | 04:33 |
And I'm going to set this one to be a
Center-Aligned Tab Stop.
| | 04:37 |
Now I'm going to come down here and Click
in the text, and just hit another Tab,
| | 04:40 |
and then type another letter.
I'll type the letter A.
| | 04:43 |
Now, because this is a Center Tab Stop,
as I type more characters, the text will
| | 04:47 |
always be centered on that point.
Of course, for a table of contents, I
| | 04:51 |
don't really need that, so I'm going to
delete that.
| | 04:53 |
And I'm also going to Delete the Tab
Stop.
| | 04:55 |
You can remove a Tab Stop simply by
Clicking on it, and Dragging it right out
| | 04:59 |
of the panel.
Pop.
| | 05:00 |
It's gone.
Now I've just noticed, I've removed that
| | 05:03 |
Tab Stop, but I only removed it from the
one paragraph where my text cursor is.
| | 05:07 |
So I better come back here, and select
all this text again.
| | 05:10 |
And then remove the Tab Stop from all of
those paragraphs.
| | 05:13 |
There we go.
Now it's gone.
| | 05:15 |
Alright, I'm going to Click out here, and
then I'm going to go to the Type menu and
| | 05:20 |
turn off my Hidden Characters.
I know where the tabs are now, I don't
| | 05:23 |
need to see them.
The only problem I see right now, is that
| | 05:26 |
the space is really big.
The space from the text to the number.
| | 05:30 |
It would be helpful to have some dots in
there, something to lead my eye from one
| | 05:34 |
side to the other.
The key word there is lead, what we want
| | 05:39 |
is a leader.
Let's go ahead and add one.
| | 05:42 |
I'll click down here, and then scroll up
to the top, and Shift + Click up here.
| | 05:46 |
Again, I need to select all the
paragraphs that I'm trying to affect.
| | 05:50 |
Now I'll click on the Taps Stop, in my
Tab Panel, and I'm going to type
| | 05:54 |
something in my Leader field, right here.
I can type any character I want for a
| | 05:58 |
Leader, but in this case I'm going to
press a dot, a period, then I'm going to
| | 06:02 |
hit Return or Enter, and I'll see that
those dots fill in all the spaces.
| | 06:07 |
Now this is really starting to look good,
but there is one more problem just
| | 06:11 |
lurking in the wings, waiting to jump out
at me.
| | 06:14 |
I'm going to switch over to my Selection
Tool and I'm going to change the width of
| | 06:18 |
this text frame.
I'll just Drag this little side handle a
| | 06:20 |
little bit narrower.
Oh, everything broke.
| | 06:25 |
All those numbers broke to the next line,
because this Tab went as far as it could,
| | 06:29 |
and it didn't hit that Tab Stop, so it
broke onto the second line.
| | 06:34 |
That's just a problem with Tab Stops.
To fix this, I would have to go in and
| | 06:38 |
select all those paragraphs, and move my
Tab Stops closer to the left, so that
| | 06:42 |
they'll fit on one line again.
But there is one other solution that you
| | 06:45 |
can do instead.
And that is instead of using a tab, you
| | 06:49 |
could use a Right Align Tab.
This is a special InDesign feature and I
| | 06:53 |
love it.
I'm going to Double-click inside this
| | 06:55 |
frame, to switch back to the Type tool.
And I'm going to select this Tab.
| | 06:59 |
You can select a tab just like any other
character.
| | 07:01 |
Just kind of Drag over it.
Now that Tab is selected, I'm going to
| | 07:05 |
Delete it by hitting the Delete key on my
keyboard.
| | 07:08 |
Now I'm going to insert a special kind of
tab.
| | 07:10 |
I won't press Tab.
Instead, I'm going to go up to the Type menu.
| | 07:14 |
And then choose the Insert Special
Character sub-menu.
| | 07:18 |
Now, inside the other sub-menu, I can
find the character called Right Indent Tab.
| | 07:22 |
The keyboard shortcut is Shift + Tab.
Now this Right Indent Tab, or as I call
| | 07:27 |
it the Right Align Tab, is very special
because it always aligns with the right
| | 07:31 |
edge of the margin.
Doesn't matter where that margin is, it
| | 07:34 |
will stretch and squeeze to make it fit.
Let's go ahead and replace some of these
| | 07:39 |
other ones as well.
I'm going to select this, and Copy it to
| | 07:42 |
my Clipboard with a Cmd C or a Ctrl C on
Windows, and then I'll select these other
| | 07:46 |
ones and just Paste them in.
I'm replacing these tabs with the right
| | 07:50 |
Indent Tab.
You get the idea.
| | 07:53 |
Now, all of these are aligned along the
right edge of this text frame.
| | 07:56 |
So if I go back and choose my Selection
Tool, and change the width of my frame,
| | 08:00 |
it automatically updates.
Those numbers stretch with it.
| | 08:05 |
In a later chapter, I'm going to show you
how to make a table of contents and
| | 08:08 |
automatically use that right indent tab.
For right now though, you can see that
| | 08:12 |
these tab and tab stop features, are
essential tools that will take you a long
| | 08:16 |
way toward making sure your documents
look good.
| | 08:18 |
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| Adding rules (lines) above or below a paragraph| 00:00 |
Many designs call for a line, also called
a rule, to sit above or below a
| | 00:05 |
paragraph, especially a heading.
And you could spend all day drawing lines
| | 00:09 |
with the line tool, but you'd be a lot
better off using InDesign's paragraph
| | 00:13 |
rules feature.
I have my catalog file open from the
| | 00:16 |
exercise files folder.
And I'm going to jump up to the previous
| | 00:19 |
spread by pressing option + page up, or
alt + page up.
| | 00:24 |
Now I'm going to zoom in on the
lower-left corner of this page, just by
| | 00:27 |
using the Cmd + spacebar, or Ctrll +
spacebar shortcut.
| | 00:30 |
Drag over that area, and I zoom in.
I can see that I have a heading here,
| | 00:34 |
Fashion and Textile Design, but it looks
kind of dull.
| | 00:37 |
I want my eye to be drawn to it, so I'm
going to put a rule above or below it.
| | 00:42 |
To do that I need to put my text
paragraph inside the paragraph, so I
| | 00:46 |
simply double click on it.
Now I'm want to open the paragraph rules
| | 00:50 |
dialogue box.
And to get there I need to go to the
| | 00:54 |
right side of the control panel to open
it's menu.
| | 00:58 |
Here I can choose paragraph rules.
The shortcut is Cmd + option J, or Ctrl +
| | 01:04 |
Alt J.
Now the paragraph rules dialogue box is
| | 01:06 |
actually two different dialogue boxes,
kind of combine into one.
| | 01:10 |
You choose each of them from the popup
menu here.
| | 01:13 |
There's rule above and there's rule
below.
| | 01:15 |
You can only see one at a time.
I want to create a rule above.
| | 01:18 |
So I'll select that, and then I'll turn
on the Rule On check box.
| | 01:23 |
I'm also going to turn on the Preview
check box so I can see what I'm doing
| | 01:26 |
while I'm working.
Let's move this dialogue box out off the
| | 01:28 |
way a little bit.
Now right now I've got a one point black
| | 01:32 |
solid line right at the baseline of the
text.
| | 01:35 |
That's probably not what I want, so let's
change that.
| | 01:38 |
First I'm going to change the color of
the rule, I'll do that in this color
| | 01:41 |
popup menu.
Let's make it orange.
| | 01:45 |
Next, I'm going to make that rule a
little thicker, maybe three points
| | 01:48 |
instead of one.
And then I'm going to change the offset.
| | 01:52 |
I'll press the tab key a few times, until
it highlights the offset field.
| | 01:57 |
The offset is how far away from the
baseline this rule should be.
| | 02:01 |
I'm going to increase this maybe eight
points, and when I hit another tab,
| | 02:05 |
you'll see that it moves that eight
points up.
| | 02:08 |
So, now its above the text.
I can also change how wide this rule
| | 02:12 |
should be, not how thick, but how wide.
For example, I'm going to change this
| | 02:17 |
left indent to five points.
Then I'll hit tab.
| | 02:21 |
You'll see that the rule actually
indented five points.
| | 02:24 |
Alternatively I could turn it around and
make it negative five points.
| | 02:29 |
Then hit tab.
And you'll see that the line actually
| | 02:31 |
gets pulled out into the margin.
The other way I can control how wide this
| | 02:35 |
rule should be, is the width pop up menu.
Right now it's at the column.
| | 02:39 |
So it's going to go from one column to
the next.
| | 02:42 |
But if I change this to text.
Then the rule goes only to the edge of
| | 02:45 |
the text.
InDesign is smart enough to know where
| | 02:48 |
the edge of the text is and however long
that line is, that's how long the rule
| | 02:52 |
will be too.
In fact, if I edited this text to make it
| | 02:55 |
shorter, the line will get shorter too.
Now in this case I do want to fill the
| | 02:59 |
whole column, so I'll set this pack to
column.
| | 03:02 |
Let's look at another interesting effect
that you can create with the Paragraph
| | 03:05 |
Rules feature.
In this case I'm going to make this rule
| | 03:07 |
much thicker.
I'll bring it up to, say, ten points.
| | 03:11 |
Then instead of using a positive offset,
I'm going to move it down a little bit.
| | 03:16 |
I'll change this down to, perhaps, minus
two points.
| | 03:19 |
By doing this I actually place this bar
behind the text, and if I make this a
| | 03:24 |
darker cooler we can get a really
interesting effect.
| | 03:28 |
I'll click OK, select this text and then
in the Swatches panel set this to white
| | 03:33 |
or paper.
I'll click out here so we can see it
| | 03:36 |
without the highlighting and we can see
that this text is reversed out of a dark
| | 03:40 |
bar and that's pretty cool.
It just goes to show, sometimes you have
| | 03:44 |
to think outside the box.
| | 03:46 |
| | Collapse this transcript |
| Adding automatic bullets| 00:00 |
Bullets help draw the readers eye to the
first line in each item in a list but,
| | 00:04 |
adding bullets to a list can be an
exercising frustration when you don't
| | 00:07 |
understand how they work.
But before we get into how to use
| | 00:10 |
automatic bullets in InDesign, let me
show how best to make them manually.
| | 00:14 |
I have my brochure document open and I'm
going to zoom in here to the center panel.
| | 00:19 |
I have 5 paragraphs here that I want to
add a bullet too, so I'm going to double
| | 00:24 |
click here, in the first paragraph, to
switch the type tool, and then I'll click
| | 00:27 |
just before the letter T in the.
I'm going to add a bullet manually, and
| | 00:32 |
I'll do that by pressing the option key
on the Mac or alt on Windows, and then
| | 00:36 |
press 8.
That's the number 8, and option or Alt 8
| | 00:40 |
adds a bullet for me.
I'll follow that with a tab, just hit the
| | 00:44 |
tab key.
Now I'm going to follow that with my
| | 00:46 |
other paragraphs.
I'll press Cmd+ or Ctrl+Down arrow on the
| | 00:50 |
keyboard to jump to the beginning of the
next paragraph, and I'll just type the
| | 00:53 |
same thing.
I'm going to add these bullets before
| | 00:57 |
each of these paragraphs.
So now I have a bulleted list.
| | 01:01 |
It's not a very pretty bulleted list.
We need to make it a little bit more attractive.
| | 01:04 |
So I'm going to select all of those
paragraphs, and then come up here to the
| | 01:08 |
control panel.
Make sure I'm in paragraph formatting mode.
| | 01:11 |
And I'm going to set the left indent to
something positive.
| | 01:14 |
For example, I'll say 18 points.
18 PT.
| | 01:18 |
Now I'll press the tab key twice to jump
to the first line indent field.
| | 01:23 |
And here I'm not going to type a positive
first line indent.
| | 01:27 |
I'm going to type a negative 1.
I'll say negative 9 PT.
| | 01:30 |
That's minus 9 points.
And now I'll hit enter or return.
| | 01:35 |
This is what's called a hanging indent.
A positive left indent and a negative
| | 01:40 |
first line indent, and that makes the
first line hang out in the margin.
| | 01:44 |
In this case, that first line is the
bullet character.
| | 01:47 |
Hanging indents are particularly good
when you have paragraphs that span more
| | 01:51 |
than 1 line, like this last paragraph
down here.
| | 01:55 |
That's because the lines automatically
wrap and indent to the proper place.
| | 01:59 |
Okay, so that's how you would add bullets
manually.
| | 02:02 |
It takes a little bit of work, but you
can get the effect that you want.
| | 02:05 |
Now, let's see how you could do it
automatically.
| | 02:08 |
I'm going to go back to my original
document by choosing Revert from the file menu.
| | 02:13 |
Now I'll zoom in on this one more time.
And I'm going to add bullets to these paragraphs.
| | 02:19 |
I'll select the paragraphs with the type
tool.
| | 02:21 |
And now to add automatic bullets, all I
need to do is come up here to the control
| | 02:25 |
panel and click on the add bullet button.
That's it.
| | 02:30 |
They all get bullets automatically, and
the text wraps appropriately.
| | 02:33 |
Now, I could get the same effect as I had
before with that indented bullet by going
| | 02:38 |
to the control panel and changing my
first line indent from -18 points to -9.
| | 02:45 |
Now that bullet isn't hanging out there
quite so far.
| | 02:48 |
Now obviously the automatic bullet
feature is much faster at getting the
| | 02:52 |
same effect.
So now the only problem that I see is
| | 02:55 |
that I still have these really dumb
looking round bullets.
| | 02:58 |
Everybody uses those round bullets.
I want to use something with a little bit
| | 03:02 |
more class.
To change my bullets, I need to go to the
| | 03:05 |
bullets dialog box.
And to get there, I'm going to hold down
| | 03:08 |
the option or the alt key on my keyboard
and then I'm going to click on the
| | 03:12 |
bullets button in the control panel.
By holding down that modifier key, I get
| | 03:16 |
options for what my bullet's going to
look like.
| | 03:19 |
Here you can see a number of bullet
characters that we could use.
| | 03:22 |
Regular old round one, that's the one
that's selected.
| | 03:25 |
Or an asterisk, or a diamond.
I don't know who would use those.
| | 03:29 |
This one I kind of like, this double
angled bracket called the (UNKNOWN).
| | 03:32 |
And I'll select that.
And then I'll turn on the preview check
| | 03:35 |
box and I can see how it looks in the
background.
| | 03:37 |
That looks kind of interesting.
There's one more bullet character here.
| | 03:40 |
This thing that looks like an A with some
accents.
| | 03:43 |
I have no idea what that thing is, and I
have no idea why it's in InDesign.
| | 03:47 |
I've seen it for years, but just drives
me crazy.
| | 03:49 |
I ignore it.
I recommend you ignore it.
| | 03:52 |
Maybe it's just a bug.
Now you can however get your own custom bullet.
| | 03:57 |
I'm going to come over here and click on
the add button.
| | 04:00 |
Bullets are always characters from within
a font, so you need to tell Indesign what
| | 04:04 |
font you want it to pull the character
from.
| | 04:06 |
In this case, I'm going to choose a font
that has a lot of interesting ornaments
| | 04:10 |
in it, called Minion Pro.
Minion Pro ships with Indesign, so I know
| | 04:13 |
everybody has it.
I'll just type MIN and Indesign guesses
| | 04:16 |
that I want Minion Pro.
Then I'll hit the tab key to make it take
| | 04:20 |
effect and I can see all of the
characters from the Minion Pro font
| | 04:23 |
listed up here.
I'm just going to scroll down here and
| | 04:26 |
look for a character that looks
interesting for our bullet.
| | 04:29 |
There's one.
This triangle.
| | 04:31 |
I like that.
I'll click OK and you'll see that
| | 04:34 |
InDesign adds it to my list.
Now I can select it and click OK.
| | 04:39 |
I'll click here to deselect that
selection and I think that looks pretty good.
| | 04:43 |
See it wasn't so hard to get bullets
after all.
| | 04:45 |
But how about automatic numbers?
Well we'll see how to do that in the next movie.
| | 04:50 |
| | Collapse this transcript |
| Numbering paragraphs| 00:00 |
In the last movie, we looked at how to
make bulleted lists.
| | 00:03 |
Now let's give these lists a little more
structure.
| | 00:06 |
Here's how to apply numbers, or letters
to your paragraphs, what web designers
| | 00:10 |
call ordered lists.
Now I've got my brochure document opened,
| | 00:14 |
and I'm going to zoom in on that same
text that I was adding bullets to.
| | 00:17 |
But this time, I'm going to add numbers.
I'll double-click with the Selection Tool
| | 00:21 |
to switch to the Type Tool and select
these paragraphs.
| | 00:24 |
Now, to turn this into an ordered or
numbered list, all I need to do is go to
| | 00:28 |
the Control Panel and click on the
Numbered List button.
| | 00:32 |
Now, if it's a very simple list like
this, I'm done.
| | 00:34 |
That's all I need to do.
And the good news is that this will
| | 00:37 |
update automatically.
So for example if I click at the end of
| | 00:40 |
this paragraph, I can hit a return and
start typing.
| | 00:43 |
And you'll see the numbers update
automatically.
| | 00:46 |
Now let's say I didn't want that
paragraph to be part of the list.
| | 00:49 |
It's easy to turn that number off.
All you have to do is click the button in
| | 00:52 |
the control panel again.
Now that gibberish that I just typed,
| | 00:56 |
looks like its part of number three.
So it goes one, two, three, skips a
| | 01:00 |
paragraph, and then goes four, five.
Now, if I wanted this paragraph number
| | 01:04 |
four to start over at number one again,
alI have to do is place my cursor in that
| | 01:09 |
paragraph, and then right click, or
control click with a one button mouse.
| | 01:14 |
And then, choose restart numbering from
the context menu.
| | 01:18 |
So, now you see one, two, three,
skipping, and then it starts with one,
| | 01:22 |
two again.
Okay.
| | 01:23 |
If I need to do anything more complex
than what I just showed you, I need to
| | 01:27 |
visit the numbering dialogue box.
And I can get there easily.
| | 01:30 |
All I have to do is hold down the option
or the alt key on my keyboard.
| | 01:34 |
And then click that automatic numbering
button again.
| | 01:37 |
Now, just to be clear this numbering
dialogue box is actually the bullets and
| | 01:40 |
numbering dialogue box and that's because
I can change my selected text from a
| | 01:44 |
numbered list to a bulleted list.
I just change it from this popup menu.
| | 01:49 |
If I do that, you can see it change into
a bullet down here.
| | 01:52 |
That's because the preview check box is
turned on.
| | 01:55 |
But that's not what I want, I want a real
numbered list.
| | 01:57 |
So I'll set this back to numbers.
Now, let's say I want this second list to
| | 02:01 |
start at number 47.
To do that, I want to make sure the mode
| | 02:05 |
pop up menu is set to start at and then
I'll change this number here to 47.
| | 02:10 |
When I click okay, you'll see that it
automatically updates so it's number 47
| | 02:14 |
and then 48.
Let's see some of the other cool things
| | 02:17 |
that we could do with Numbered List.
I'm going to press Cmd + z or Ctrl + z a
| | 02:20 |
few times all the way back to where we
had a list, from one to five.
| | 02:25 |
Now I'm going to select those paragraphs
again.
| | 02:27 |
And then I'll Option click or Alt click
on the Numbering button.
| | 02:31 |
This time, I'm going to change the style
of those numbers.
| | 02:33 |
That is the Formatting.
Right now they're formatted the same way
| | 02:37 |
as the rest of the text in the paragraph,
but I can change that by applying a
| | 02:41 |
character style.
I'm going to be talking about character
| | 02:43 |
styles and how you can make your own in
the next chapter.
| | 02:45 |
But for right now, this document has some
character styles built in.
| | 02:49 |
For example, I'm going to choose bold out
of the character style popup menu.
| | 02:54 |
And when I do that, it applies the bold
character style to those numbers, not the
| | 02:58 |
rest of the paragraph, just the numbers.
Okay here's the question, what if I want
| | 03:03 |
a sublist?
For example, I'd like this to be one,
| | 03:06 |
two, twoA, twoBb and then three.
How would I do that?
| | 03:12 |
Well, to make a sub-list, I'll first
click OK and then just select the
| | 03:16 |
paragraphs that I want to affect.
Now, I'm going to go back to that
| | 03:20 |
dialogue box, and I'm going to change the
level from one to two.
| | 03:25 |
Now it's a second level list, a sub-list.
A list within this list.
| | 03:30 |
Next I'll change the format of this list.
Currently it's using regular arabic
| | 03:34 |
numerals, but I can change this to all
kinds of other things including Roman
| | 03:38 |
numerals or letters.
I'll choose lower case letters.
| | 03:42 |
I'm also going to increase the left
indent here from 18 to something larger.
| | 03:46 |
Let's say 30 points.
Then I'll press tab.
| | 03:49 |
That way the whole list gets indented...
Let's move this dialogue box out of the
| | 03:53 |
way a little bit so we can still see it.
And finally I'm pretty sure I said I
| | 03:57 |
wanted these to be listed twoA and twoB.
Not just A and B.
| | 04:00 |
So how do I tell InDesign to change the
format?
| | 04:04 |
You know, what it looks like on the page.
The trick to that is to adjust the number field.
| | 04:09 |
Right now the number field has some
pretty strange codes in it.
| | 04:12 |
Here's what these codes mean.
The first code is carat number sign and
| | 04:16 |
that combination means the current
number, whatever number you're on right now.
| | 04:21 |
Then it's followed by a period and then
followed by a tab.
| | 04:24 |
So, if I want this to say twoA or twoB,
I've got a couple of choices.
| | 04:29 |
I could come in here and actually type
the word two followed by a space.
| | 04:33 |
Then I'll hit tab to make it take effect.
And you can see that what I type there
| | 04:37 |
actually shows up in the number list.
The word two followed by a space.
| | 04:42 |
Well that's kind of silly.
Why don't we just change the word two to
| | 04:45 |
the number two and then hit tab again.
Now it looks more or less right but the
| | 04:49 |
problem with this method where I actually
type the number two, is that it's not flexible.
| | 04:53 |
For example, if this number two later
became number three, well then, it
| | 04:57 |
wouldn't update properly.
So, I'm going to get rid of this number
| | 05:01 |
two and also the space after it and I'm
going to type a code in there instead.
| | 05:05 |
But I'm not sure what the code is.
So, instead I'm going to use this little
| | 05:09 |
flyout menu way over here.
This little triangle most people don't
| | 05:13 |
even see that over there.
But I'll click on that and then I'll look
| | 05:16 |
inside this sub menu called Insert Number
Placeholder.
| | 05:19 |
Now I know that this sublist the one I'm
on right now is level two.
| | 05:23 |
I already set that.
So I want to go one level up.
| | 05:27 |
And I'm going to choose level one.
It typed the code for me.
| | 05:31 |
That's a carat one and when I hit tab it
updates.
| | 05:35 |
Now it's two A and two B but it's totally
flexible.
| | 05:38 |
Let me click okay and we'll see it in
action.
| | 05:41 |
I'm going to click here, right at the end
of line one and hit return then I'll just
| | 05:45 |
start typing some gibberish but you'll
see that automatically the two changed to
| | 05:49 |
a three and two A and two B changed as
well.
| | 05:53 |
So it worked.
Now, the last thing I want to point out
| | 05:56 |
here is that if I select a bunch of this
text you'll see that the numbers are not selected.
| | 06:03 |
It's almost like those numbers aren't
even here and that's usually okay, I
| | 06:07 |
usually don't need to select those
numbers for some reason but if you did
| | 06:10 |
need to go in there and choose those
numbers for some reason You'd need to
| | 06:13 |
convert the numbers into actual text.
To do that, I'm going to up to the Type
| | 06:18 |
menu and then choose Bulleted & Numbered
Lists.
| | 06:21 |
Inside this sub-menu, I'm going to choose
Convert Numbering to Text.
| | 06:27 |
When I do that, these numbers are no
longer automatically going to update.
| | 06:31 |
They're actual text.
I could even come in here and select
| | 06:34 |
them, or edit them, copy them, whatever
you want to do.
| | 06:36 |
But the won't update if I later change my
text.
| | 06:39 |
Like I said, it's rare that you need to
do that, converting these into actual
| | 06:43 |
text, but, it's good to know that you
can.
| | 06:45 |
| | Collapse this transcript |
|
|
14. StylesCreating and applying paragraph styles| 00:00 |
Style are a way to specify a whole bunch
of formatting with a single name.
| | 00:05 |
In Design let's you create styles for
character formatting, paragraph
| | 00:08 |
formatting, object formatting, even table
formatting.
| | 00:12 |
And there are three main reasons why you
want to use styles.
| | 00:14 |
The first reason is they let you apply a
lot of formatting with a single click, so
| | 00:19 |
they really boost productivity.
For example, I'm going to zoom in here to
| | 00:23 |
the lower left corner of this catalog
page.
| | 00:26 |
I can see that some of this text has been
formatted, but most of it has not.
| | 00:30 |
I need to apply formatting quickly to
that text, and to do that, I want my
| | 00:34 |
paragraph styles panel.
I can find it over here in the dock.
| | 00:38 |
If you don't see it in the dock, then you
should probably change your workspace to advanced.
| | 00:42 |
Over here in my page, in the first
column, I'm going to double-click on this
| | 00:45 |
heading, fashion and textile design.
I can see that this isn't formatted
| | 00:50 |
properly yet and I can see in the
paragraph styles panel that the basic
| | 00:53 |
paragraph style has been applied to it.
Now we want to avoid basic paragraph as
| | 00:58 |
much as we can.
It's much better to apply our own
| | 01:01 |
paragraph styles, and in this case I have
one.
| | 01:03 |
It's called Department Fashion.
I could scroll through this list, but
| | 01:07 |
first I'm going to drag this down in the
lower right corner to extend the size of
| | 01:11 |
my paragraph styles panel.
Now I'm going to simply click on the
| | 01:14 |
Department Fashion paragraph style.
You can see that it applied a whole bunch
| | 01:19 |
of formatting to that paragraph.
Now notice that I didn't have to select
| | 01:22 |
the entire paragraph to apply it.
I could if I wanted to, but all I really
| | 01:26 |
had to do was click my cursor inside the
paragraph.
| | 01:28 |
Okay, let's do a few more.
I'll click in the next paragraph, and
| | 01:32 |
then I'm going to apply the course name.
The next one down is, date.
| | 01:36 |
So I'll click in that, come up here, and
click date in the paragraph styles panel.
| | 01:41 |
And then this one is going to be called
Body.
| | 01:43 |
Here it is up here.
And then these last two paragraphs I'll
| | 01:47 |
just drag over both of those paragraphs.
And those are going to be a paragraph
| | 01:50 |
style called Pre Wreck.
I think that's down here at the bottom of
| | 01:53 |
my list.
Here we go.
| | 01:54 |
Pre Wreck_NS, that's the one I want.
Now you can see that I was able to format
| | 02:00 |
this whole bunch of text really quickly.
If I had to do that manually, applying
| | 02:04 |
first the font, and then the size, and
the leading, and all of that, it would
| | 02:07 |
have taken much longer.
Now we'll start all over again.
| | 02:10 |
I'll click on this paragraph here.
That's the course name.
| | 02:13 |
This one's the date.
This one's going to be the body, and down
| | 02:17 |
here is going to be the pre-req and
technical requirements.
| | 02:22 |
There we go.
Now we'll see later in this chapter that
| | 02:25 |
there are other ways to apply these
paragraph styles really quickly, such as
| | 02:28 |
the Eyedropper tool and Quick Apply, but
for now I'm just going to stick with
| | 02:31 |
this, one click at a time.
And now, I'm going to show you how to
| | 02:35 |
edit these styles, because the second
reason to use styles is that you can
| | 02:39 |
change a definition at any time.
And every place you use that style in
| | 02:43 |
your document is updated immediately.
For example, to edit this course name
| | 02:47 |
style, I'll simply click right here
inside that paragraph, you'll see it's
| | 02:52 |
highlighted in the Paragraph Styles
panel.
| | 02:53 |
To edit a style that is highlighted, you
simply double-click on it.
| | 02:58 |
Up comes the paragraph style options
dialogue box and now we can change it's definition.
| | 03:03 |
Let's make a few changes.
I'll click on basic paragraph format, and
| | 03:06 |
let's say instead of semi-bold, let's
make it bold, and why don't we give it a color?
| | 03:11 |
I'll come over here to the character
color pane, I'll scroll down here and
| | 03:14 |
pick a color, maybe this blue color.
Now I'll click Okay, and you can see that
| | 03:19 |
it's updated, not just here but
everywhere in my document.
| | 03:23 |
Every place in my document that that
paragraph had been applied is now changed.
| | 03:28 |
Now let's edit this date style a little
bit.
| | 03:30 |
In this case it's not highlighted.
I didn't click in that paragraph, so it
| | 03:34 |
doesn't get highlighted in the paragraph
styles panel.
| | 03:37 |
So instead of double-clicking on it, I'm
going to right click or Ctrl+Click with a
| | 03:41 |
one button mouse.
That gives me the Context menu, and now I
| | 03:44 |
can choose Edit date.
That way I can jump right to edit date
| | 03:49 |
without accidentally applying that date
to what was selected on my page, or
| | 03:53 |
changing anything in my document.
Here, I'll go back to basic character
| | 03:56 |
formats, and let's make this a little bit
smaller.
| | 04:00 |
Now I'll hit Return or Enter, and we can
see that all of those paragraphs got smaller.
| | 04:05 |
Just to be clear, I used the right click
or Ctrl click on the date paragraph style
| | 04:09 |
because I did not want to apply it to the
text, which is currently selected on my
| | 04:13 |
document page.
Okay, so now that we've looked at how to
| | 04:16 |
apply styles and then edit them, let's
talk about how to create your own new style.
| | 04:21 |
I want to create a new paragraph style
for my captions, like this paragraph up here.
| | 04:25 |
To do that I'm going to create an example
that I'm going to base my paragraph style
| | 04:29 |
off of, so I'll click inside that
paragraph and then I'll press Cmd+A or
| | 04:33 |
Ctrl+A to select all of the text in that
story.
| | 04:36 |
Now I'll come up here and go to the
character mode of the control panel and
| | 04:39 |
why don't we change the style of this,
we'll make it bold...
| | 04:43 |
And let's make this size a little bit
smaller as well.
| | 04:46 |
How about we change this to eight and a
half, maybe a little bit tighter.
| | 04:49 |
Maybe eight and a half on nine and a half
leading.
| | 04:52 |
That looks pretty good for a caption.
Okay, now let's make our paragraph style
| | 04:56 |
based on that.
To make a paragraph style based on an
| | 04:59 |
example on your page like we're going to
do here, you can either select the whole
| | 05:03 |
paragraph or just select part of it or
even just have your cursor flashing in it.
| | 05:07 |
It doesn't really matter.
Next I'll go to the Paragraph Styles
| | 05:10 |
Panel menu, and I'll choose New Paragraph
Style, right here at the top.
| | 05:15 |
Now here's the important thing, because
the curser was inside that paragraph it
| | 05:19 |
grabbed all of that formatting and it
dropped it in here.
| | 05:22 |
So now, all I need to do is give it a
name.
| | 05:25 |
I'll call this Caption.
Now of course, if I wanted to, I could go
| | 05:29 |
through all of these panes one at a time,
setting its font and its style and size
| | 05:34 |
and scaling and indents and so on.
But as you can see, that would take a lot
| | 05:38 |
longer than just doing it once on my page
and then sucking all of that information
| | 05:42 |
into this dialogue box.
Before I click okay, I'm going to go back
| | 05:46 |
to my general pane and I'm going to turn
on a checkbox here, apply style to selection.
| | 05:51 |
You don't have to do that, but it's
convenient.
| | 05:53 |
This way it will make a style and apply
it to whatever was selected on my page.
| | 05:58 |
Okay.
Now let's try it out on another piece of text.
| | 06:01 |
I'm going to pan over here to this other
caption on this other page, and I'm going
| | 06:04 |
to place my cursor inside this paragraph.
And now, I'm going to click on Caption.
| | 06:09 |
There it is, right at the top of the
panel.
| | 06:13 |
Perfect!
And this demonstrates the third reason I
| | 06:15 |
want to use styles, and that is
consistency.
| | 06:18 |
I want to ensure consistency throughout
my document, so I don't have to think
| | 06:22 |
about Oh jeez what that last captain 13
points or 12 points or I don't know, it
| | 06:26 |
doesn't matter, you simply apply the
style to all your captions and you'll
| | 06:30 |
know they look the same.
Okay one more thing I want to point out
| | 06:34 |
about styles right now.
Sometimes you'll notice a little plus
| | 06:37 |
symbol in the paragraph styles panel.
For example, I'm going to select this
| | 06:41 |
paragraph, I'll just quadruple click on
that, and I'll do something different
| | 06:45 |
like change its size to 10 point.
Now you'll notice immediately in the
| | 06:49 |
Paragraph Styles panel, I get a little
plus sign next to the word Caption.
| | 06:52 |
In fact anywhere I click inside this
paragraph, I'll get that plus sign.
| | 06:57 |
That plus sign means there's formatting
on top of the Paragraph Style, something different.
| | 07:03 |
And, in fact, if I hover my cursor over
that style, I'll actually get a little
| | 07:06 |
tool tip that shows me the override.
It shows me that the size has been changed.
| | 07:11 |
Now if you ever have a document where you
see that plus sign, you can get rid of
| | 07:14 |
all the local formatting by clicking
inside the paragraph and then clicking on
| | 07:18 |
the Remove Local Overrides button down
here at the bottom of the Paragraph
| | 07:21 |
Styles panel.
As soon as I click on Remove Overrides,
| | 07:25 |
anything that was done to that paragraph,
outside of or on top of the paragraph
| | 07:29 |
style definition, is removed.
Now it's back to the way it was supposed
| | 07:32 |
to look.
Now, once again, paragraph styles are one
| | 07:35 |
of the most important productivity
features in indesign.
| | 07:38 |
The more you use them, the more efficient
you'll get.
| | 07:41 |
| | Collapse this transcript |
| Using character styles| 00:00 |
Now that we know how to use paragraph
styles, character styles will be a breeze.
| | 00:04 |
There's one big difference between
defining a paragraph style and a
| | 00:07 |
character style, however.
Paragraph styles always define all the
| | 00:11 |
character and paragraph formatting.
The font, the size, the indents,
| | 00:15 |
everything that describes a paragraph.
But character styles are different.
| | 00:19 |
They can be set up to define just one
attribute, like just the font, or just
| | 00:23 |
the size, or the size and the color, but
nothing else.
| | 00:26 |
Let's see how it's done.
I'm going to jump to the previous spread
| | 00:29 |
of this document, this catalog, by
pressing Option + Page Up, or Alt + Page
| | 00:33 |
Up on Windows.
Then I'll zoom in on the bottom part of
| | 00:36 |
this page, by doing my Cmd+Space bar or
Ctrl+Space bar drag.
| | 00:41 |
Because I'm going to be working with
character styles, I'd better open the
| | 00:44 |
Character Styles panel.
Which I can find here at the bottom of
| | 00:46 |
the dock.
If you don't see that in your dock, make
| | 00:50 |
sure you have the Advanced Work Space
selected up here in the application bar.
| | 00:53 |
Now I have some character styles already
created here.
| | 00:56 |
But I'm going to start by creating a
brand new one.
| | 00:59 |
I'll do that not within the Character
Styles Panel, but instead on the page.
| | 01:04 |
I like to make character styles based on
an example.
| | 01:07 |
So I'm going to Double-click here on this
word, and then Double-click again to
| | 01:10 |
select the word.
Let's go ahead and change the style of this.
| | 01:14 |
For example, I'll come up here, and
change the Font.
| | 01:17 |
I'll click in here and then type MYR to
jump to all my myriad pros.
| | 01:21 |
And I think I'll choose Myriad Pro Semi
Bold.
| | 01:25 |
Now let's head over to the Swatches
panel, and fill it with a color, maybe red.
| | 01:29 |
So, now that I've made my example, I can
make the character style.
| | 01:34 |
While that text is still selected, I'll
go back to my Character Styles panel, and
| | 01:38 |
then in the Character Styles panel menu,
I'll choose New Character Style.
| | 01:41 |
Now, all that formatting that I did is
sucked up here into this dialog box; the
| | 01:46 |
font, the color and so on.
So really, all I need to do is give it a name.
| | 01:50 |
I'll call it Emphasis.
And then, I like to turn on the Apply
| | 01:54 |
Style to Selection checkbox.
And then, click OK.
| | 01:57 |
If I hadn't turned on that Apply Style to
Selection checkbox, I would now have to
| | 02:01 |
go back to the Character Styles panel,
and click on emphasis here.
| | 02:05 |
Now, every time I want to use that same
character style, I just need to select
| | 02:08 |
some text and then Click on it.
Select some text and Click on it, and so on.
| | 02:16 |
Now I want to be really, really clear
about something here.
| | 02:18 |
Character styles should only be applied
to one letter or one word, or maybe a
| | 02:23 |
sentence or two, never an entire
paragraph.
| | 02:27 |
This is really important.
A lot of people, I find, go in and select
| | 02:30 |
an entire paragraph like that, and then
apply a character style to it.
| | 02:34 |
That is not what character style are for.
Character styles are only for a piece of
| | 02:38 |
a paragraph.
I'm going to a Undo that with a Cmd + Z
| | 02:41 |
or Ctrl + Z.
I don't even like pretending to do it.
| | 02:43 |
If you need to apply formatting to an
entire paragraph, use Paragraph Style.
| | 02:48 |
That's what it's for.
Okay, now what if you need to Edit this
| | 02:52 |
character style, the one we just made.
The best way to Edit a character style,
| | 02:56 |
is to Right-click on it, or Ctrl + Click
with a one button mouse.
| | 03:00 |
That opens the Context menu, and now you
can choose Edit.
| | 03:03 |
Now we can make our change.
For example, let's go ahead and change
| | 03:06 |
the color to, say magenta, or, let's say
blue instead.
| | 03:10 |
And then let's change the Font Style from
Semi-Bold to something different, maybe
| | 03:14 |
Bold Condensed.
I'll click OK, and you can see it's
| | 03:18 |
updated throughout the document.
Everywhere I use that character style, it
| | 03:21 |
gets updated.
Now, notice that I did not Double-click
| | 03:24 |
on the character style to Edit it.
A lot of InDesign users try that, and
| | 03:28 |
they get themselves into trouble.
And the reason is, whenever you
| | 03:32 |
Double-click on a character style, it
applies it to any text that you currently
| | 03:35 |
have selected.
If you've already applied that style to
| | 03:39 |
some text, then I suppose it's okay.
Or if you meant to apply this style to
| | 03:42 |
some text, I suppose it's okay, but it's
really a problem when you have nothing
| | 03:46 |
selected on your page.
Let me show you.
| | 03:48 |
I'm going to press Cmd + Shift + A or
Ctrl + Shift + A to Deselect everything.
| | 03:53 |
Now I'm going to Double-click on this
word emphasis, just to Edit it.
| | 03:56 |
It opens up the Character Styles Dialogue
Box, and then I could Edit it or not, it
| | 04:00 |
doesn't matter.
I'm just going to click OK.
| | 04:02 |
Now what happened?
Well it doesn't look like I changed
| | 04:06 |
anything, but if I Drag out a new text
frame, I'll put one down here, and then I
| | 04:11 |
start typing.
What happened?
| | 04:14 |
All the text is in that character style.
Why?
| | 04:18 |
Because I Double-clicked on that style
when nothing was selected on my page.
| | 04:22 |
When you do that, it makes that character
style the new default style for this document.
| | 04:27 |
This is a trap that even advanced
Indesign users fall into all the time.
| | 04:31 |
(LAUGH) Its a real problem.
So let's go ahead and Delete that, I'll
| | 04:34 |
hit the Escape key and then hit Delete to
make that go away.
| | 04:37 |
And now I'm going to go back here, and
Click on None.
| | 04:41 |
While nothing is selected on my page, I
Click None and now none is the default.
| | 04:45 |
That's the way it should be.
In general, you always want to make sure
| | 04:48 |
the Character Style panel is set to None,
unless you're applying a style to some
| | 04:52 |
text inside of a text frame.
You know, it's always tempting just to
| | 04:55 |
hit a keyboard shortcut to make some text
bold or italic, but its much better to
| | 04:59 |
use character styles.
For example, I have Italic and Bold
| | 05:02 |
Character Styles in the panel that I've
created here, so if I want to make
| | 05:06 |
something Italic, I simply select some
text, and then Click on the style.
| | 05:11 |
Using Character Styles for this is
particularly important if you know that
| | 05:15 |
you're going to be re-purposing your
document later, let's say for ePub or HTML.
| | 05:19 |
Character Styles make the process of
re-formatting a document really a breeze,
| | 05:23 |
as long as you remember to use them.
| | 05:25 |
| | Collapse this transcript |
| Editing and redefining styles| 00:00 |
We've already seen how easy it is to edit
styles in InDesign.
| | 00:04 |
Just right click on the style in the
paragraph or character styles panel, and
| | 00:07 |
choose edit from the context menu.
But there's an even easier way.
| | 00:11 |
Let me show you.
I have my catalog file open from the
| | 00:14 |
exercise files folder, and I'm going to
jump to the previous spread in this
| | 00:17 |
document by pressing Option, or Alt, page
up.
| | 00:21 |
Now I'll use the command space bar trick
to zoom in on the lower left corner of
| | 00:24 |
the page.
And I'd like to redefine this style for
| | 00:27 |
these co |
|
|
