IntroductionWelcome| 00:00 |
(MUSIC).
| | 00:04 |
Hi, I'm Mike Rankin, and welcome to
| | 00:06 |
InDesign CC interactive document
fundamentals.
| | 00:10 |
In this course, we'll explore all the
fundamentals of building interactive
| | 00:13 |
documents with InDesign.
We'll look at examples of the different
| | 00:17 |
kinds of interactive documents you can
make, which features work in each kind of
| | 00:20 |
document, and which ones don't.
We'll dig into the details of InDesign's
| | 00:25 |
tool set, and we'll consider the work
flows and best practices for building each
| | 00:28 |
kind of document.
And I'll take you right up to the start of
| | 00:32 |
your project by showing you how to set up
InDesign for building interactive documents.
| | 00:36 |
We'll get your work space set up, and
create a basic document structure to get
| | 00:40 |
things started off in an organized way.
So, let's get started now with InDesign
| | 00:45 |
CC: interactive document fundamentals.
| | 00:49 |
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| What you should know before watching this course| 00:00 |
Since this is a fundamentals course, you
don't need to know anything about
| | 00:03 |
InDesign's features for building
interactivity before you start.
| | 00:07 |
However, you should have a basic
familiarity with InDesign.
| | 00:10 |
You should know your way around the
interface including the document window,
| | 00:13 |
the tool set and the panels.
You should understand how to create and
| | 00:18 |
save documents, how to place photos in
text and arrange them to compose a page layout.
| | 00:22 |
And you really should know how to format
text with style.
| | 00:33 |
Basically, if you can layout a page with
style and images and then print it, you're
| | 00:35 |
ready for this course.
If you need some more basic instruction on
| | 00:38 |
how to level on understanding.Check out
David Blatner's InDesign Essential
| | 00:40 |
Training in the lynda.com library.
| | 00:42 |
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| Using the exercise files| 00:00 |
If you're a premium lynda.com subscriber,
you'll have access to the exercise files
| | 00:03 |
I'll be using in this video series.
I recommend you download the exercise
| | 00:08 |
files and put the main folder on your
desktop.
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Inside the exercise files folder, you'll
find subfolders for each chapter.
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And inside those, the files for each
movie.
| | 00:18 |
If you're not a premium subscriber, you
won't have access to the exercise files.
| | 00:22 |
But I still recommend that you follow
along using your own files.
| | 00:25 |
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1. Setting Up InDesign for Working with Interactive DocumentsSetting preferences| 00:00 |
InDesign offers a lotta preference
settings you can use to customize it to
| | 00:03 |
the way you want to work.
And to the kinds of documents you're building.
| | 00:07 |
So let's examine some of the preferences
and settings that can help you work faster
| | 00:11 |
and easier with interactive documents.
The first thing that's important to
| | 00:16 |
understand about InDesigns preferences is,
that some are global, meaning they apply
| | 00:20 |
to all documents you work with, while
others are document-specific, affecting
| | 00:24 |
only the current document.
That idea's not hard to understand, but
| | 00:28 |
unfortunately, there's no indication in
the Preferences dialog box, as to which
| | 00:32 |
ones are global, and which ones are
document-specific.
| | 00:36 |
It would be really helpful to tell one
kind from the other, when you're setting
| | 00:39 |
your preferences.
This is why I created the visual guide to
| | 00:42 |
InDesign preferences which you can find at
indesignsecrets.com.
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The guide is a PDF file that you can
download with screenshots of the
| | 00:49 |
preferences dialogue box, and the document
specific preferences are all highlighted.
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Okay, so now that we know there are two
main kinds of preferences, and how to tell
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them apart, lets go over to InDesign and
make some adjustments.
| | 01:04 |
I'll press command or control K to open
InDesign preferences dialogue box.
| | 01:08 |
And the first big choice you'll be faced
with now is an interface appearance.
| | 01:13 |
Where we now have color themes to choose
from.
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The default is this medium dark, but you
can choose anything from light.
| | 01:22 |
All the way to dark or any brightness
level in-between by dragging the slider.
| | 01:30 |
Right now I'm going to stick with the
default of medium dark.
| | 01:33 |
This is really just a personal preference
that comes down to what you find readable
| | 01:36 |
and not distracting from your work.
You can also choose whether to have the
| | 01:40 |
pace bar to be white, or match to the
theme color.
| | 01:44 |
Note that some items might be really hard
to see on a dark pace board.
| | 01:48 |
Also on your interface, you might want to
turn off two settings.
| | 01:52 |
First is, enable multi-touch gestures.
Disable this if you find that they cause
| | 01:56 |
you to accidentally change the zoom level,
rotate objects and so-forth.
| | 02:00 |
Right under that is Highlight Object Under
Selection tool.
| | 02:03 |
I'm going to deselect that as well.
This can be very irritating for some
| | 02:06 |
people as it displays the frame edges of
every object you mouse over.
| | 02:11 |
This can be especially distracting on a
page with lots of objects.
| | 02:14 |
Down below in the Options, Live Screen
Drawing is set to be delayed by default.
| | 02:19 |
This means you won't see a full rendering
of objects unless you pause for a moment.
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Before you start to move your cursor with
them.
| | 02:26 |
If you'd rather see them always fully
rendered, change this to a mediate.
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In units and increments, you can change
the ruler unit to pixels if you'd like.
| | 02:34 |
But for all new documents, the intent,
which we look at in a different movie,
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will determine the units first displayed
in the rules.
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So if you choose web or digital publishing
intent, your rulers will automatically be
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switched to pixels.
Under display performance, consider
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setting the default view to high quality,
so seeing graphics that are full quality
| | 02:54 |
instead of low resolution, and while
you're there adjust the view settings, to
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turn on Greek type.
Set the value to 0, so you're always
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seeing your type.
Alright that's all for the preferences
| | 03:06 |
dialogue box.
So I'll click okay to accept those changes.
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And let's look at a few other things that
can increase your efficiency.
| | 03:13 |
Here on the MAC, I can go to window and
choose application frame.
| | 03:20 |
This puts all of InDesign's user interface
into one window that I can move as a whole.
| | 03:24 |
I love working with the application frame
on because it keeps everything together
| | 03:27 |
and it helps me concentrate by blocking
out distractions.
| | 03:31 |
If I maximize the view it takes over my
whole screen.
| | 03:34 |
Another preference you almost certainly
should change is in the pages panel menu.
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Select view pages and choose either
horizontally or bi-alternate layout.
| | 03:44 |
This will save you a lot of screen space
over the default and vertical.
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You can also get at the setting just by
right clicking in the pages panel and
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choosing view pages.
Note that this preference for viewing
| | 03:55 |
pages, is always a global setting, so it
doesn't matter if you have documents open
| | 03:59 |
when you set it.
Whatever you choose, applies to all documents.
| | 04:04 |
And in the extras menu, you can show or
hide all the controls that appear on
| | 04:07 |
selected frames.
Things like link badges, the content grabber.
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Live Corners and the Anchored Object
Control.
| | 04:13 |
These are meant to help you be more
efficient by putting controls right in
| | 04:16 |
front of your eyes.
But some folks find them distracting, so
| | 04:19 |
it's good to know that you can select just
the ones that you want.
| | 04:23 |
So now we've seen some ways to customize
and design to your liking.
| | 04:26 |
We looked at a few of InDesign's
preferences, saw a guide that can help you
| | 04:29 |
tell global preferences from document
specific ones, and saw some settings you
| | 04:32 |
can change to get more screen space,
clearer displays of your content and a
| | 04:36 |
less cluttered display.
| | 04:39 |
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| Customizing the workspace| 00:00 |
End Design has so many tools and panels,
that it's really important to keep things
| | 00:03 |
organized, so you don't waste time,
searching for the right tool and shuffling
| | 00:06 |
panels around.
That's why it offers work spaces, be it to
| | 00:11 |
create and save a customized arrangement
of panels.
| | 00:14 |
Let's create a customized work space for
use with interactive documents.
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Now, by default, End Design displays the
essentials work space.
| | 00:21 |
Which has just a few panels visible like
Pages, Layers, Links, Stroke, Color and Swatches.
| | 00:27 |
So, it's really not all that useful.
Adobe also provides a Digital Publishing
| | 00:32 |
work space and an Interactive for PDF work
space.
| | 00:36 |
So, let's customize the interactive for
PDF work space and make it even more
| | 00:39 |
useful for our purposes.
First, let's drag off the sample Buttons
| | 00:43 |
forms library and close it.
We can always get this library from the
| | 00:47 |
Buttons in the Forms panel menu.
And I'll drag Links and Layers in with
| | 00:51 |
pages, I'll pull off Page transitions
because they don't use that very much.
| | 00:58 |
And they also don't use Color or Gradient
very much so I'll pull those off and close them.
| | 01:05 |
I'll go to the Layout menu and choose
Liquid layout and add that to my top grouping.
| | 01:10 |
And I'll also choose the Articles panel.
And add it there as well.
| | 01:15 |
So, that's a nice set of panels at the top
for working with the structure of documents.
| | 01:20 |
Below that I'll create a set of panels for
formatting content.
| | 01:23 |
So, I have Stroke and Swatches there right
now.
| | 01:25 |
I'll open my Styles panels.
So, I'll add character styles and
| | 01:31 |
paragraph styles, and object styles.
And I'll also put the Align panel in there
| | 01:40 |
as well.
And I don't need the pathfinder.
| | 01:46 |
Next, let's create a grouping for inner
activity features.
| | 01:48 |
I'll add Buttons and Forms to hyperlinks
and bookmarks, I'll put Media in there
| | 01:53 |
too, and I'll also choose Animation and
Timing.
| | 02:00 |
Below that, I'll put my DPS panels, the
Folio Builder, and the Folio Overlays.
| | 02:10 |
I'll pull off the SWF preview.
And I'll open it to make it really large,
| | 02:14 |
so I'll get a nice large preview, and re
attach it at the bottom and I think this
| | 02:18 |
order has a nice logical flow to it.
At the top I have a panels for working
| | 02:24 |
with the overall document.
Then my panels for format and content.
| | 02:29 |
Then panels for creating managing and
previewing interactivity.
| | 02:32 |
And finally, let's drag our panels to
collapse them down to icons and give us
| | 02:36 |
even more room for our documents.
Now, to save this arrangement as a new
| | 02:41 |
work space, I'll go to the Workspace menu
and choose New Workspace.
| | 02:45 |
I'll call it Interactive Documents, and
now I can use my new Workspace.
| | 02:50 |
At any time, I can instantly jump to one
of the other work spaces just by choosing
| | 02:53 |
them from the Panel menu and go back to my
new one.
| | 02:57 |
The few minutes it takes to set up a
customized Workspace can save you lots of
| | 03:00 |
time over the long run.
And I think it makes you enjoy working
| | 03:04 |
with InDesign more, since everything is
where you need it to be.
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| Understanding document intent| 00:00 |
It's important to get your interactive
documents started out right from the beginning.
| | 00:04 |
When you create a new document, you have
to tell InDesign whether you're creating
| | 00:08 |
it for print, the web, or for digital
publishing.
| | 00:12 |
Of course you can always output any
document to any media later on.
| | 00:16 |
But selecting the right intent at the
start, can save you time and trouble.
| | 00:20 |
So, lets take a look at document intent,
and what impact it has on interactive documents.
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We'll start by creating a new document,
I'll just press Cmd or Ctrl+N to open the
| | 00:28 |
dialog box.
And let's turn on Preview, so that we can
| | 00:32 |
see the effect of our choices right away.
In the dialog box, the second item down
| | 00:36 |
from the top, right under the presets
menu, is this menu for intent, and it has
| | 00:40 |
three choices, Print, Web and Digital
publishing.
| | 00:44 |
We'll start with Print.
If I create a document with Print intent,
| | 00:48 |
and don't make any other changes in this
dialog box, I'll get a document with
| | 00:52 |
facing pages, letter sized.
In portrait orientation.
| | 00:57 |
My units will be in picas and my swatches
will be cmyk.
| | 01:01 |
What you don't see here, is that the
document will also be set to use cmyk
| | 01:06 |
transparency blend space, and the basic
preflight profile.
| | 01:11 |
Now if I switch to Web Intent, facing
pages is off.
| | 01:15 |
My page size is set to 800 by 600 pixels,
in landscape orientation, and now my
| | 01:20 |
swatches are all RGB.
And the transparency blend space will be
| | 01:25 |
RGB as well.
If I switch to digital publishing intent
| | 01:29 |
Primary text frame is selected and I get
the iPad preset 1024 by 768 in landscape.
| | 01:37 |
Again, I have RGB swatches and I'll be
using RGB transparency blend space.
| | 01:42 |
Documents started with the digital
publishing intent, will be set to use the
| | 01:45 |
Digital Publishing Preflight Profile,
although that profile doesn't really check
| | 01:49 |
for very much, just things like missing
links missing fonts, overset text and a
| | 01:52 |
few other things.
I'm going to click OK and create this document.
| | 01:57 |
And take a look in the Pages panel.
Creating a document with digital
| | 02:01 |
publishing intent also does something
slightly obnoxious in the interface.
| | 02:05 |
It switches the Pages panel to display
pages by alternate layout.
| | 02:09 |
I find this obnoxious because the
preference for displaying pages is global.
| | 02:13 |
It applies to all documents.
You can have your panel set to display
| | 02:17 |
pages horizontally, but as soon as you
create a digital publishing document,
| | 02:20 |
you'll be viewing all your other documents
pages, by layout two.
| | 02:25 |
Fortunately you can change it pretty
easily, just by right-clicking in the
| | 02:28 |
pages panel.
And choosing View Pages, horizonatlly, if
| | 02:32 |
that's what you want.
Once you understand document intent, and
| | 02:35 |
how it impacts your new documents, you can
be sure you're starting them off correctly
| | 02:39 |
and have fewer things to fix or change
later on.
| | 02:42 |
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| Creating document presets| 00:00 |
In a previous movie we looked at Document
Intent, and how it's used to coordinate
| | 00:04 |
some of the settings in the New Document
dialogue box.
| | 00:07 |
To help you quickly get your projects off
to a good start.
| | 00:11 |
Now let's turn our attention to an even
more powerful feature, that lets you
| | 00:14 |
create fully customized groups of settings
to apply to your new documents.
| | 00:18 |
The feature's called Document Presets, and
you can find it at the very top of the New
| | 00:22 |
Document dialog box.
Which I'll open by pressing Cmd or Ctrl+N.
| | 00:27 |
If I look in the popup menu, there are
just two choices right now, Default and Custom.
| | 00:33 |
When I first open the dialog box, I'm
using the default settings, which are
| | 00:36 |
meant for a print document with Letter
Size Pages, Facing Pages, and so on.
| | 00:42 |
As soon as I make any change, including
switching to a different intent, the
| | 00:46 |
display changes to custom.
I can always reset everything by choosing
| | 00:50 |
Default again.
But what I'd like to do now is to add a
| | 00:52 |
choice to the menu with some settings that
are good for an interactive document.
| | 00:57 |
So I'll choose Digital Publishing from the
Intent menu.
| | 01:01 |
This gives me the Page Size and
Orientation I want, plus RGB swatches and
| | 01:05 |
RGB transparency blend space.
Which is important if I want to use any
| | 01:10 |
transparency effects.
I'll turn off Primary Text Frame since I'm
| | 01:13 |
not going to be needing that.
And I also want to tweak my Margins and Columns.
| | 01:18 |
I'll make sure that Preview is checked, so
I can see the effect of all my settings here.
| | 01:22 |
And I'll click the Chain icon, so all my
margins don't have to be the same.
| | 01:27 |
I'll set the Top Margin to 52 pixels, the
Bottom to 80 pixels.
| | 01:33 |
And since I want to use a grid to give
some structure to my page design, I'll set
| | 01:37 |
12 Columns and I'll put a little more
space between each, say a gutter of 16 pixels.
| | 01:44 |
Now that wasn't too hard to set up, but
wouldn't be it a lot simpler to have all
| | 01:47 |
those options set with just one menu
choice?
| | 01:51 |
That's what a Document Preset is for.
Now that I have the dialogue box set up
| | 01:56 |
exactly as I want, I just click on the
button to the right of the Preset menu.
| | 02:01 |
And I'll give it a name, I'll call this,
Presentation, and click OK.
| | 02:06 |
Now, no matter how I switch around the
settings in this dialogue box, I can
| | 02:09 |
always get back to what I want, by
choosing presentation from the Preset menu.
| | 02:13 |
And if I ever wanted to change the
settings in the Presentation preset.
| | 02:17 |
I just make the changes in the dialog box,
like say setting the Top Margin to 40 pixels.
| | 02:22 |
Clicking on the new Preset button, and
choosing Presentation from the menu.
| | 02:27 |
Click OK, and confirm that we want to
replace the old settings, I'll click Yes.
| | 02:33 |
Now the presentation preset includes a 40
pixel Top Margin.
| | 02:38 |
If I were really going to base a lot of
documents on this preset, I can even make
| | 02:41 |
it the default.
And have new documents created with these
| | 02:44 |
settings without even touching this
dialogue box.
| | 02:48 |
Here's how, first get all the settings the
way you want them then click on the Preset
| | 02:51 |
button, and name your new preset Default.
Include the brackets and the capital D,
| | 02:57 |
click OK, replace the default by clicking
Yes, this will overwrite the original
| | 03:03 |
Default Preset with yours.
Then when you press Cmd or Ctrl+N to open
| | 03:08 |
this dialogue box, it'll already have all
your favorite settings chosen.
| | 03:13 |
Now that's cool, but you can take it even
one step further.
| | 03:16 |
Since there's a keyboard shortcut for
bypassing the dialogue box and creating a
| | 03:19 |
new default document.
Press Cmd+Option+N or Ctrl+Alt+N to
| | 03:23 |
instantly create a new document with your
custom settings.
| | 03:27 |
Let's try that out.
I'll Close this dialogue box, Close the
| | 03:31 |
document and press Cmd+Option+N.
And there's my new document with my custom
| | 03:37 |
default settings.
| | 03:38 |
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|
|
2. Types of Interactive Documents You Can Make with InDesignOverview of interactive document types| 00:00 |
We'll start off this course with a look at
the different kinds of interactive
| | 00:03 |
documents you can build with InDesign, to
help you answer some important questions
| | 00:06 |
you might have.
Maybe you know you want to build some kind
| | 00:10 |
of interactive document, but you might not
know what your Options are or how to
| | 00:13 |
choose between them.
Maybe you just know you want to publish
| | 00:17 |
your documents to the iPad, but you're not
sure how to accomplish that.
| | 00:21 |
Or maybe you know you want to publish an
Ebook, but you don't know what tools
| | 00:24 |
InDesign has to help you with that.
So, in this chapter, we'll look at the
| | 00:28 |
different types of interactive documents
you can export from InDesign.
| | 00:32 |
We'll see examples of each.
We'll look at the strengths and weaknesses
| | 00:36 |
of each for format, and some key
techniques for working with each kind of document.
| | 00:41 |
By the end of this chapter, you should
understand what makes each kind of
| | 00:44 |
document interactive, and be able to use
that understanding to choose the right
| | 00:47 |
kinds of documents for your projects.
| | 00:50 |
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| PDF publications| 00:00 |
Here's an example of a PDF publication,
InDesign magazine.
| | 00:04 |
Not surprisingly, it's created almost
entirely with InDesign.
| | 00:08 |
It's got a fixed layout.
It has hyperlinks on the cover that jump
| | 00:11 |
to feature articles.
So I can click on this to jump to the article.
| | 00:16 |
And if I look in the bookmarks, there are
also bookmarks to content.
| | 00:21 |
It also have navigation buttons to go to
the table of contents and to go to the
| | 00:24 |
other pages.
Sometimes it also includes interactive
| | 00:29 |
quizzes and videos.
So let's look at some of the strengths and
| | 00:32 |
weaknesses of PDF as a digital publishing
format.
| | 00:37 |
The first and maybe biggest benefit of PDF
is that you can completely control the
| | 00:40 |
look of your design.
The position of all the elements, the
| | 00:44 |
fonts, the size of type, and so on, will
be just as you made them in InDesign.
| | 00:48 |
This is not the case when you use other
formats like EPUB, which give the reader
| | 00:52 |
control over fonts, and can also cause
text to re-flow.
| | 00:57 |
With PDF, you know what your publication
will look like to every reader.
| | 01:01 |
In terms of workflow, you can't beat the
simplicity of PDF.
| | 01:05 |
If you have InDesign and you know how to
use it, that may be all you need, although
| | 01:09 |
in some cases you may need to do some
touch-up work in Adobe Acrobat.
| | 01:14 |
Another great strength of PDF is that the
software to view PDFs is ubiquitous and
| | 01:18 |
it's free.
Nearly every computer in the world has the
| | 01:21 |
software to view your publication when
it's in PDF.
| | 01:25 |
And with PDF viewed on a computer, you can
also get a good amount of interactivity.
| | 01:30 |
You have hyperlinks and cross-references.
You can embed media like audio and video,
| | 01:34 |
and elements like tables of contents and
indexes can also be interactive.
| | 01:40 |
And you can create buttons people can use
to navigate through the publication and
| | 01:44 |
show or hide content.
The down sides of PDF for digital
| | 01:47 |
publications, are that the support for
interactive features and media, are
| | 01:51 |
inconsistent in Mobile apps.
Some PDF Readers will play an embedded
| | 01:55 |
video and others won't.
Some apps fully support buttons, other
| | 02:00 |
apps support only some kinds of buttons or
none at all.
| | 02:03 |
Another down side of PDF is related to it
being a fixed layout format.
| | 02:08 |
A PDF is not responsive, meaning it won't
adapt to a different screen size or orientation.
| | 02:13 |
So, sometimes it's necessary for the
viewer to zoom in or out or scroll around
| | 02:17 |
to see the content.
A standard EPUB, on the other hand, can
| | 02:20 |
adapt to the container it's being viewed
in.
| | 02:24 |
And finally, if your goal is to get your
publication into the Apple iBook store,
| | 02:27 |
Barnes and Noble, or Amazon.
You won't be able to do that with PDF.
| | 02:31 |
iBooks and Barnes and Noble use EPUB for
their eBooks.
| | 02:35 |
And Amazon uses a format called Moby,
which is similar to EPUB.
| | 02:39 |
But its Amazon's exclusive format.
So to sum up, a PDF can be great for a
| | 02:43 |
digital publication.
When you must have control over the
| | 02:46 |
appearance of the layout.
And you want to add some interactivity and
| | 02:50 |
media to be viewed on computers.
PDF is not as good on mobile devices.
| | 02:55 |
Where a lack of responsive design, and
full support for interactivity can make
| | 02:58 |
your publication seem a lot less
impressive than it does on a computer.
| | 03:03 |
And a lack of access to online retailers.
Like Apple and Amazon give you limited
| | 03:07 |
options for where you can sell a PDF
publication.
| | 03:10 |
| | Collapse this transcript |
| PDF forms| 00:00 |
Most business communication goes in one
direction, from the company to the consumer.
| | 00:05 |
But occasionally, you'll need to give
people a way to communicate back to you.
| | 00:08 |
Whether it's to give you feedback in a
survey or to submit information for a
| | 00:12 |
subscription, you need a way to organize
the information people send you.
| | 00:16 |
This is the perfect job for a form.
Here's an example of a PDF form from the
| | 00:21 |
Internal Revenue Service.
And if I click the button to highlight
| | 00:25 |
existing fields here in Adobe Reader, I
can see where I can type in the form and
| | 00:29 |
the check boxes I can select.
There are many ways to design and create a
| | 00:34 |
PDF form.
You can design a form in Word, you can
| | 00:38 |
make it entirely in Adobe Acrobat or you
can design it in an application like Illustrator.
| | 00:44 |
And then export it as a PDF and add the
form fields in Acrobat.
| | 00:48 |
Or if you want a solution that can give
you really great design tools, and the
| | 00:51 |
ability to add form fields, you can use
InDesign.
| | 00:55 |
With InDesign you can create any page
layout you want, and then add the form
| | 00:59 |
fields on top of that.
Using the Buttons and Forms panel, you can
| | 01:03 |
add text fields, listing combo boxes,
check boxes and radio buttons and even
| | 01:07 |
digital signature fields.
And you can set the properties on form
| | 01:12 |
fields, to control the size of text, to
make them required for submission, and to
| | 01:15 |
make them printable or not.
I don't want to make it sound like
| | 01:19 |
InDesign is a fully featured form
solution, it's not.
| | 01:23 |
Many times in order to finish your form,
you're going to have to take the PDF you
| | 01:26 |
exported from InDesign, and make some
fixes and adjustments in Acrobat.
| | 01:31 |
But, having the forms tools in InDesign
sure beats the alternative of having to do
| | 01:35 |
all the forms work as a post InDesign
process.
| | 01:37 |
Where you had to do some of the same steps
over and over each time there was a change
| | 01:41 |
in your layout.
In this course, we'll take a look at
| | 01:44 |
working with form objects in InDesign.
The different kinds there are, how to
| | 01:48 |
create and modify them and we'll see how
they look and act in an interactive PDF.
| | 01:52 |
We won't cover in detail creating, editing
and managing forms in other applications
| | 01:57 |
like Word or Acrobat.
If you're interested in that, check out
| | 02:02 |
Claudia McCue's course, Acrobat X,
Creating Forms.
| | 02:06 |
And if you need a high end solution for
forms, check out a resource like adobe
| | 02:10 |
forms central.
Here you can create and distribute PDF in
| | 02:14 |
web forms, plus gather and analyze the
data, collect payments and more.
| | 02:18 |
| | Collapse this transcript |
| Accessible PDFs| 00:00 |
In recent years, there's been a growing
awareness of the importance of making
| | 00:04 |
digital documents accessible for people
with disabilities, but what exactly does
| | 00:07 |
accessibility mean, and how do you create
it with InDesign?
| | 00:12 |
You may have heard the term Section 508
mentioned in relation to accessibility.
| | 00:17 |
In 1998, the US federal government enacted
a law commonly known as Section 508 that
| | 00:21 |
required federal agencies to make their
electronic documents accessible to people
| | 00:25 |
with disabilities.
The basic idea is that everyone, including
| | 00:29 |
those with disabilities, has a right to
access information.
| | 00:33 |
And that electronic documents should be
made in such a way that everyone can use them.
| | 00:38 |
Many states, academic institutions, and
other countries adopted similar laws and policies.
| | 00:44 |
Now there's nothing in Section 508 that
mandates private companies make their
| | 00:48 |
documents accessible.
But it's becoming common practice anyway
| | 00:52 |
because of the additional benefits, which
include higher search engine rankings and
| | 00:56 |
easier cross media publishing to formats
like HTML, XML, and ePub.
| | 01:01 |
What makes a PDF or other document
accessible is an underlying structure that
| | 01:05 |
doesn't rely on the visual presentation of
content.
| | 01:09 |
This structure must be both logical and
consistently applied.
| | 01:12 |
And it must be navigable by assistive
technology, like screen reading
| | 01:15 |
applications to present content in a way
that makes sense.
| | 01:20 |
There are several steps you can take in
InDesign to make a file you can export to
| | 01:24 |
an accessible PDF.
Here are a few.
| | 01:27 |
Keep text is live text, not as graphics or
outline text which is not readable by a computer.
| | 01:33 |
Or if you must use place graphics instead
of live text select the graphic and use
| | 01:37 |
Object export options to enter the actual
text, which can then be read by a screen reader.
| | 01:45 |
Clean up text, eliminate empty paragraph
returns and use correct punctuation.
| | 01:51 |
Also, define export tagging for every
paragraph style so your body text is
| | 01:54 |
tagged with paragraph tags, your headings
are tagged with H1, H2, and so on.
| | 01:59 |
Create PDF bookmarks too, whether you do
it manually or with the table of contents feature.
| | 02:07 |
Bookmarks are a valuable navigation tool
in accessible PDFs.
| | 02:10 |
Add alt text to every graphic so that
blind and low vision user can hear a
| | 02:14 |
description of the images.
Again, in InDesign select an image and use
| | 02:19 |
Object export options to set alt text.
Keep it descriptive but brief and use
| | 02:25 |
punctuation so screen readers will voice
it correctly.
| | 02:29 |
Anchor graphics to ensure that all text is
read at the correct point in an article.
| | 02:33 |
Tag non-essential graphics as artifacts so
they'll be ignored by screen readers.
| | 02:39 |
Set the reading order of stories with the
Articles panel.
| | 02:43 |
And when you export to PDF, choose PDF
print and select create tagged PDF.
| | 02:49 |
Include bookmarks, hyperlinks and optimize
for fast web view.
| | 02:53 |
Then once you export your PDF, Adobe
Acrobat has built in tools to help you
| | 02:57 |
check your document for accessibility
problems and fix them.
| | 03:03 |
Taking the steps to make your InDesign
content accessible can yield a lot of
| | 03:06 |
benefits that go far beyond helping those
with disabilities.
| | 03:09 |
When your content is accessible.
You'll be able to create better quality
| | 03:14 |
ePubs, XML, HTML and interactive PDF
documents.
| | 03:19 |
| | Collapse this transcript |
| PDF presentations| 00:00 |
With long standing powerful presentation
applications like PowerPoint and Keynote around.
| | 00:05 |
You might never think of creating a
presentation in InDesign, and delivering
| | 00:08 |
it in PDF format.
But here's an example of a PDF
| | 00:12 |
presentation built entirely with InDesign
complete with Navigation buttons and Page
| | 00:18 |
Transition effects, and even hyperlinks.
Okay, so if you have access to Keynote or
| | 00:25 |
PowerPoint, why would you want to make a
presentation in InDesign?
| | 00:29 |
What are the advantages?
First of all, you get to use InDesign
| | 00:32 |
tools to build your presentation.
If you already know how to use InDesign,
| | 00:37 |
you don't have to buy or learn another
application.
| | 00:40 |
And with all its precise control over
typography, color, and graphics, there's
| | 00:44 |
no more powerful tool for designing the
look of your slides.
| | 00:48 |
Second, when you're using InDesign, you're
going to create something unique.
| | 00:52 |
PowerPoint is ubiquitous and so are the
themes and templates it comes with.
| | 00:56 |
So, if you use one of those, even if you
customize it somewhat, it can still seem
| | 01:00 |
somewhat familiar to folks, who have seen
their share of presentations unlike a
| | 01:03 |
completely new design you create with
InDesign.
| | 01:08 |
The same goes for Keynote.
While Apple has made it easy to create
| | 01:11 |
beautiful, animated slides, the design
choices you can make with Keynote are more
| | 01:14 |
limited than what you can do with
InDesign.
| | 01:18 |
Also, when you use a PDF for a
presentation, you have all the benefits of
| | 01:21 |
working with that file format.
Virtually, every computer in the planet
| | 01:26 |
has software that can read a PDF.
So you know that wherever you go, you can
| | 01:30 |
deliver the presentation.
Also, PDF files are self-contained and portable.
| | 01:35 |
A presentation file will generally be
small in file size and contain all the
| | 01:38 |
necessary assets, including fonts and
images.
| | 01:43 |
And if you're delivering the presentation
on a computer, there's good support for
| | 01:46 |
interactivity and media in a PDF.
So you can have transition effect between
| | 01:50 |
slides, buttons to navigate, buttons to
show and hide other content.
| | 01:55 |
You can have hyperlinks to web content and
you can have video and sounds play in the presentation.
| | 02:01 |
You can also even set slides to advance
automatically or create a looping
| | 02:04 |
presentation that runs by itself.
So what are the downsides of using PDF
| | 02:09 |
from InDesign to presentations?
Probably, the biggest one is the lack of
| | 02:13 |
support for animation.
InDesign does have a set of tools for
| | 02:16 |
animating any content on the page, but
unfortunately, these tools are all based
| | 02:20 |
on Flash technology.
So animations won't work in a PDF that you
| | 02:25 |
output from InDesign without some messy
workarounds.
| | 02:30 |
Also, compared to Keynote and PowerPoint,
the transition effects that you can apply
| | 02:33 |
in between slides in a PDF are definitely
not as modern or fancy.
| | 02:37 |
But since these are really just eye candy,
you can debate how much a transition helps
| | 02:41 |
you create an effective presentation.
And in terms of workflow, using a
| | 02:46 |
presentation application can be a lot
simpler and faster than fussing with
| | 02:50 |
InDesign many tools and panels.
So to sum up, the virtues of PDF
| | 02:55 |
presentations are that you get to work
with a powerful tool set for creating
| | 02:58 |
unique designs and having files that are
compact and portable and play anywhere.
| | 03:04 |
The downsides are a lack of animation
support and high end page transition
| | 03:08 |
graphics and a more complicated workflow.
| | 03:12 |
| | Collapse this transcript |
| SWF presentations| 00:00 |
SWF or Flash Player format is another
Option for creating interactive documents,
| | 00:03 |
including presentations with InDesign.
Here's an example of a SWF presentation
| | 00:09 |
with all the bells and whistles.
It starts with an opening animated slide,
| | 00:14 |
and it has multiple ways to navigate,
including buttons, an animated pop up
| | 00:19 |
drawer with clickable thumbnails of each
slide, and the classic page curl effect.
| | 00:29 |
Let's consider the advantages and
disadvantages of SWF presentations.
| | 00:34 |
A swift presentation offers some of the
same advantages that you get with a PDF presentation.
| | 00:39 |
Namely, that you get to use InDesign's
tools to design the look of your slides
| | 00:42 |
and come up with a completely fresh lool,
unlike the templated presentations from
| | 00:46 |
Powerpoint or Keynote.
And SWFs are also compact, self-contained,
| | 00:51 |
and portable.
And unlike a PDF presentation, a SWF
| | 00:54 |
presentation can include any animation
that you make with InDesign's tools.
| | 01:00 |
So, you can have content moving, changing
in size, bouncing, or whatever else you like.
| | 01:06 |
The main weakness of a SWF presentation is
that you're limited to delivering it on a computer.
| | 01:11 |
You'll never be able to just plug an iPad
into a projector and deliver a SWF presentation.
| | 01:17 |
And as with a PDF presentation, creating a
SWF presentation in InDesign, requires
| | 01:21 |
more time and effort than you'd expend in
Keynote or PowerPoint.
| | 01:25 |
So, to sum up, SWF can be a viable choice
for a presentation you deliver on a
| | 01:28 |
computer, since it's a format that
supports all the interactivity you can put
| | 01:32 |
into a file with InDesign.
Including buttons, media and animation.
| | 01:38 |
The main down side to using SWF is the
lack of support for it on mobile devices.
| | 01:42 |
| | Collapse this transcript |
| EPUB ebooks| 00:00 |
EPUB is a file format that displays a
publication like a very simple website.
| | 00:05 |
It uses web technologies like HTML and CSS
to format the content.
| | 00:10 |
And when we consider the options for
publishing with EPUB, its important to
| | 00:13 |
distinguish between two kinds of EPUB.
First there's a kind of epub that's used
| | 00:18 |
for narrative fiction and other books with
very simple layouts.
| | 00:21 |
This kind of EPUB allows the user to
re-size the text, change the font and
| | 00:25 |
other aspects of the Ebooks appearance.
Here's an example, Alice's Adventures in Wonderland.
| | 00:32 |
So I have text and images, I can navigate
to different pages, I have a table of
| | 00:36 |
contents here on the left I can use to
jump to a different chapter.
| | 00:41 |
And in the software for reading the EPUB,
I have controls to alter the presentation.
| | 00:48 |
So I can change the Font Size, I can
change the Margins, I can even change the
| | 00:51 |
Background Color and the color of the text
if I want to.
| | 00:56 |
Now, in addition to this kind of EPUB,
there's also Fixed Layout EPUB, which, as
| | 00:59 |
the name suggests, do not allow the reader
to adjust the appearance of the page.
| | 01:04 |
Here's an example of a Fixed Layout EPUB,
which is a book of photographs.
| | 01:08 |
Fixed Layout EPUB are often used for
children's books, graphic novels,
| | 01:12 |
textbooks, and other publications.
Where it's really important to maintain
| | 01:17 |
control over the layout.
Let's consider some of the advantages and
| | 01:21 |
disadvantages of EPUB as a publishing
format.
| | 01:25 |
Some of the advantages are that EPUB can
include interactive elements like
| | 01:28 |
hyperlinks, media and animation.
And since EPUB are a text based format
| | 01:33 |
they can be small in file size and they
can sometimes be created by converting
| | 01:37 |
data you have in databases or other files.
And EPUB is the basis for the file sold in
| | 01:43 |
Apple's ibook store and Barnes&Noble.
Amazon by the way, uses it's own format
| | 01:49 |
for Ebooks, called Mobi.
An EPUB can by converted to Mobi, or you
| | 01:52 |
can use a plugin for InDesign published by
Amazon to help you create Mobi files.
| | 01:58 |
And since most EPUBs have reflowable text,
they naturally fit the different screen
| | 02:02 |
sizes of mobile devices, making for a
better reading experience.
| | 02:07 |
Okay, so what are some of the
disadvantages of EPUB?
| | 02:09 |
In terms of workflow, EPUB is definitely
not as simple to build.
| | 02:14 |
As something like a PDF can be.
There just more steps and more things to
| | 02:18 |
worry about when you're building an EPUB.
EPUB is a structured file format and has
| | 02:22 |
to be created according to a strict
specification.
| | 02:26 |
In order to be valid and to be accepted
into online stores.
| | 02:30 |
And at some point, someone with expertise
in HTML and CSS will have to work in the
| | 02:33 |
code to get a valid EPUB file that looks
the way that you want.
| | 02:39 |
In most cases, it involves significant
planning and effort to produce a
| | 02:42 |
professional quality EPUB.
So to sum up, if your goal is to get your
| | 02:46 |
publication into a major online bookstore,
like Apple or Barnes and Noble.
| | 02:50 |
EPUB is the file format that can get you
there.
| | 02:53 |
But you can't produce a professional
quality EPUB without a fair amount of
| | 02:56 |
technical work, including working in code.
EPUBs come in two main styles, Reflowable,
| | 03:01 |
where you as the publisher have limited
control over the appearance of the Ebook.
| | 03:07 |
And Fixed Layout which looks more like a
PDF but offers additional features of
| | 03:11 |
animation and interactivity that can be
built with HTML and CSS.
| | 03:16 |
| | Collapse this transcript |
| Digital Publishing Suite magazine and apps| 00:00 |
Adobe's Digital Publishing Suite, also
known as DPS, offers a way to publish
| | 00:04 |
highly designed interactive content from
InDesign to tablets either as single
| | 00:08 |
publications or bundled together in a
multi-issue app.
| | 00:13 |
Examples of DPS publications include major
magazines like Rolling Stone, Wired,
| | 00:17 |
Martha Stewart Living and National
Geographic.
| | 00:21 |
So let's take a look at Martha Stewart
Living.
| | 00:23 |
On the iPad, in the Newsstand app, I can
see my available issues that I've
| | 00:26 |
purchased or received as part of a
subscription.
| | 00:30 |
I'll tap to open the sample issue.
And I can swipe horizontally to view each
| | 00:34 |
article and ad.
I can swipe vertically to read an article.
| | 00:41 |
And on this page, I have a button I can
tap to reveal some recipes and when I'm
| | 00:44 |
done, an arrow button let's me jump back
to where I was in the article.
| | 00:50 |
Under the caption, Animals on Parade,
there's a button to tap and reveal the
| | 00:53 |
sources where you can buy the items that
were shown in the photo.
| | 00:57 |
I'll tab the JRballoon.com link.
And it takes me to the website of New
| | 01:01 |
York's largest walk-in warehouse for
balloon professionals.
| | 01:05 |
But since I'm a balloon amateur, I'll tap
Done and jump back to the article.
| | 01:11 |
I'll swipe down a few more pages.
And here's a slide show that I can tap to
| | 01:17 |
view the different images.
And on the next page there's a video I can
| | 01:22 |
watch to see how the cake toppers were
made.
| | 01:25 |
(MUSIC).
And when I'm done watching it, I can click
| | 01:34 |
Done, and go back to the layout.
A couple pages later There's a long recipe
| | 01:38 |
that wouldn't fit on the page, so there's
a scrolling frame.
| | 01:43 |
So, what are some of the advantages and
disadvantages of DPS publications?
| | 01:47 |
Well, first of all, you have full control
over the look of your pages, you can
| | 01:50 |
replicate the look of your end design
layouts, you can even create publications
| | 01:53 |
in single orientation, either horizontal
or vertical.
| | 01:58 |
Or dual orientation.
Another advantage of DPS publications is
| | 02:02 |
that you can make them fit a wide variety
of mobile devices.
| | 02:06 |
All iPads including iPad mini most iPhones
and iPhone touches plus Android tablets
| | 02:10 |
including the Kindle Fire and the Barnes
and Noble Nook.
| | 02:16 |
And if you already know InDesign getting
the hang of the DPS tools is generally not
| | 02:19 |
that hard.
Plus you can add many kinds of interactive
| | 02:23 |
elements to your projects including links,
media, slideshows, web content, and more.
| | 02:29 |
When it comes to the disadvantages of DPS,
one of the things to consider is file size.
| | 02:34 |
DPS publications can get very large
several hundred megabytes.
| | 02:38 |
So they can take a long time to download.
And they can take up a lot of space on a
| | 02:41 |
mobile device.
Another issue can be cost.
| | 02:45 |
Although you can create and share projects
with other people for free, there are
| | 02:48 |
significant costs associated with
publishing your project as an app.
| | 02:53 |
You can publish a single app for iPad only
to the Apple App Store.
| | 02:57 |
For a one-time $395 fee at the time of
this recording.
| | 03:01 |
Or with a paid creative cloud membership,
you can create unlimited single-issue apps
| | 03:05 |
for the iPad and then submit them to the
Apple Apps Store.
| | 03:10 |
There are also professional and enterprise
additions for large companies.
| | 03:14 |
Another issue with DPS publications is
having to play by Apple's rules.
| | 03:18 |
In order to appear in the App Store your
publication has to be approved by Apple
| | 03:22 |
and if it doesn't meet their criteria for
content and interactivity they will reject it.
| | 03:28 |
Of course, if you're just using DPS to
create your own apps and share them you
| | 03:31 |
don't need to pay Adobe anything or get
Apple's approval.
| | 03:35 |
So to sum up, with Adobe's DPS tools, you
can create and publish apps from your
| | 03:39 |
InDesign files with complete control over
the layout, plus interactivity.
| | 03:44 |
Many popular magazines are published to
the iPad with DPS.
| | 03:48 |
You can create and share DPS apps for free
or publish them by subscribing to Adobe's
| | 03:52 |
Creative Cloud or paying them separate
fees.
| | 03:55 |
| | Collapse this transcript |
|
|
3. Working with Interactive ObjectsOverview of interactive objects| 00:00 |
Before we get into the details of using
InDesign's features for creating interactivity.
| | 00:04 |
Let's just spend a few minutes talking
about what kinds of interactive objects
| | 00:08 |
you can create with InDesign and how
they're different from regular objects.
| | 00:13 |
There are three kinds of InDesign objects
that exist to be interactive.
| | 00:17 |
These are Buttons, Form fields and
multi-state objects.
| | 00:20 |
And we'll cover the details of working
with each one in later movies.
| | 00:24 |
But we'll start out here by just trying to
understand what they are.
| | 00:28 |
Here's an interactive PDF where I've
converted some text frames into buttons
| | 00:31 |
that can be clicked to view the different
images in an artist's portfolio.
| | 00:36 |
Notice that when I mouse over the buttons,
the text changes color.
| | 00:40 |
Buttons can change in appearance in
response to user input, like mousing over
| | 00:43 |
or clicking.
Buttons can also be used to do things like
| | 00:47 |
control the visibility of other buttons.
So, actually, each painting and caption is
| | 00:52 |
a button whose visibility is controlled by
the buttons on the left.
| | 00:56 |
So when I click, I can see different
images in the portfolio.
| | 01:01 |
And in the movie on buttons, we'll see how
to create this kind of interactivity.
| | 01:05 |
On page two of my PDF, I have a form that
was created with InDesign.
| | 01:10 |
Form field objects are very similar to
buttons.
| | 01:12 |
In fact, you use the same panel to work
with them, the Buttons and Forms panel.
| | 01:17 |
But form fields are different in that they
exist to accept user input.
| | 01:21 |
Like type text, or clicking on a check
box.
| | 01:23 |
Or choosing items from a list.
So with the form fields that I created in InDesign.
| | 01:28 |
I can fill out this form.
By doing things like adding my name.
| | 01:32 |
Selecting from check boxes.
And choosing items from lists.
| | 01:40 |
Okay, now that we've seen some of the
basic ideas for what buttons, form fields
| | 01:44 |
and multi-state objects are.
Lets start taking a closer look at how to
| | 01:49 |
create them in InDesign.
| | 01:51 |
| | Collapse this transcript |
| Understanding buttons| 00:00 |
You can add all kinds of interactivity to
documents that you export to PDF or SWF
| | 00:05 |
with buttons.
A button can be used to navigate to
| | 00:08 |
different pages or specific content on a
page.
| | 00:11 |
It can play movies, sounds and animations,
and it can even show and hide buttons,
| | 00:15 |
including itself.
So, let's take a tour of the buttons
| | 00:19 |
features inside InDesign, and use them to
add some interactivity to an artist portfolio.
| | 00:24 |
Here, I have a simple one page document
with the artist's name, the titles of
| | 00:28 |
three paintings, each in separate text
frames, and pictures of each painting,
| | 00:31 |
most of which are grouped with the
captions.
| | 00:36 |
I'd like to fit all the paintings on this
one page, but I really don't want to make
| | 00:39 |
them smaller since that would take away
from their impact.
| | 00:43 |
This is a problem that you can solve with
buttons, since you can control the
| | 00:46 |
visibility of each painting and show just
one of them at a time.
| | 00:51 |
To start, I'll select the first painting.
i'll go to the buttons in Forms panel, and
| | 00:56 |
down at the bottom right.
I'll click the button to convert this
| | 00:59 |
object to a button, and I'll give it the
name of the painting, "Blue Cliffs, Jade sea".
| | 01:13 |
Notice, when you have a button selected,
you'll see a dashed border that's thicker
| | 01:16 |
than what you normally see when you have a
regular InDesign object selected.
| | 01:21 |
When you convert an object or a group of
objects to a button, the button acts as a
| | 01:24 |
container around everything.
To select an item inside a button,
| | 01:28 |
double-click on it with the Selection
tool.
| | 01:31 |
So, I can double-click on the painting to
select it.
| | 01:33 |
Along with the idea of buttons as
containers for objects, the second
| | 01:37 |
important thing to understand is that
buttons can have more than one appearance state.
| | 01:42 |
Notice, in the buttons in the Forms panel,
where I have three appearance states:
| | 01:46 |
Normal, Rollover and Click.
Initially, there's only one active state
| | 01:50 |
in a button, but I can add a Rollover or
Click state just by clicking on them.
| | 01:55 |
And when I do, it's like I duplicated all
the objects in the normal state, and now,
| | 01:59 |
I can manipulate these new copies
independently of the original.
| | 02:04 |
You can add objects to a button state by
using the Paste Into command or the Layers panel.
| | 02:10 |
So, for example, if I wanted to add this
caption to my button, I could cut the text
| | 02:14 |
frame, select my button, and then choose
Edit > Paste Into, or I can go to the
| | 02:17 |
Layers panel.
So, I'll select the text frame, open the
| | 02:23 |
Layer panel.
Here's the text frame, I can tell by this
| | 02:26 |
little red square on the right side that I
have it selected.
| | 02:31 |
And I can just drag it into the Normal
button state.
| | 02:34 |
Now that text frame is part of my button.
Now, let's take a quick tour of the
| | 02:40 |
controls and buttons in the Forms panel.
At the top of the panel, there's a Type
| | 02:45 |
menu, where we can choose a regular button
or from several form fields.
| | 02:49 |
We'll cover forms in a later movie.
Under that, there's a field where you can
| | 02:53 |
name a button.
Names are very important for buttons,
| | 02:56 |
because you almost never create just one
button in a document.
| | 03:00 |
So, in order to know which button is
which, you need to have some descriptive names.
| | 03:05 |
Below that, there's an Event menu where
you can choose which event will make
| | 03:08 |
something happen.
The choices are on release or tap, on
| | 03:13 |
click, on rollover, on roll off, and on
focus and blur.
| | 03:20 |
Below that, we have the actions.
Actions are what will happen when the even occurs.
| | 03:25 |
Buttons don't have to have actions, but if
you intend for people to interact with a
| | 03:29 |
button by clicking on it or mousing over
it, you have to have an action.
| | 03:34 |
And actually clicking this plus sign and
choosing an action is a cool shortcut for
| | 03:37 |
creating a button.
Here are the potential actions.
| | 03:42 |
Note that some are PDF only, some are SWF
only and some work in both.
| | 03:48 |
You can also have a button hidden by
default in a PDF or SWF and only appear
| | 03:51 |
when you want it, which can be very useful
as we'll see shortly with this portfolio.
| | 03:58 |
Right down here is the Option, Hidden
Until Triggered.
| | 04:01 |
To convert a button back to an object, you
click the button at the bottom of the panel.
| | 04:06 |
There's also an Option to add a
description that will appear as a tool tip
| | 04:09 |
when someone mouses over the button, and
an Option to make the button printable or not.
| | 04:15 |
Okay.
Now that we've seen some of the basic
| | 04:17 |
ideas about buttons and the panel, let's
make some of the buttons here interact
| | 04:20 |
with this portfolio.
So, with the button I created earlier,
| | 04:24 |
Blue Cliffs Jade C, I'll select Hidden
Until Triggered and I'll select the second
| | 04:29 |
painting which is grouped with its
caption, and convert that to a button, and
| | 04:34 |
name it tiger lily.
And select Hidden Until Triggered, and
| | 04:44 |
I'll do the same for the third painting.
I'll select it, make it into a button and
| | 04:53 |
this one will be called prism shield, and
Hidden Until Triggered.
| | 05:03 |
Next, I'll select the top text frame.
And from the Actions menu, I'll choose
| | 05:09 |
Show/Hide Buttons and Forms, and I'll give
it a name, Show Prism Shield.
| | 05:22 |
And the event will be on release or tap.
I'll select the second text frame.
| | 05:29 |
The same action, show/hide buttons and
forms, and this one will be named show
| | 05:33 |
tiger lily.
I'll select the third text frame,
| | 05:43 |
Show/Hide Buttons and Forms, and this one
will be show blue cliffs, Jade sea.
| | 05:56 |
Now, let's move the paintings into
position on the page by selecting all
| | 05:59 |
three and using the align panel to align
the left edges.
| | 06:08 |
With the buttons all in place now, we're
about to see exactly why it's so important
| | 06:11 |
to name your buttons.
We'll select the Show Prism Shield button,
| | 06:16 |
and in the panel's visibility settings,
we'll click to set the visibility of other buttons.
| | 06:22 |
So, I'll click once on Prism Shield, to
show it.
| | 06:25 |
I can tell by the eye icon.
And that we also want to make this button
| | 06:29 |
always hide the other paintings.
S,o I'll click twice on Blue Cliffs Jade
| | 06:34 |
Sea and twice on Tiger lily.
I'll leave the other buttons alone.
| | 06:38 |
And so, clicking or tapping on this button
won't do anything to them.
| | 06:42 |
I'd also like to add a rollover
appearance, so that the color of the text
| | 06:45 |
changes when someone rolls over it.
So, I'll click once on the rollover state,
| | 06:50 |
then I'll double-click to select the text
frame.
| | 06:55 |
Select the text inside of it, and use the
Swatches panel to set the text fill to purple.
| | 07:02 |
I'll use this rollover color.
Now, let's repeat the process for the Show
| | 07:07 |
Tiger Lily button.
I'll select it, go to the Buttons and
| | 07:12 |
Forms panel, and set the visibility of the
other buttons.
| | 07:16 |
So, this will show tiger lily, hide blue
cliffs jade sea, and hide prism shield.
| | 07:25 |
I'll click to create a rollover state,
then double-click to select the frame.
| | 07:32 |
Click again to select the text, and use
the Swatches panel to select the rollover color.
| | 07:45 |
And one more time, we'll repeat the
process for the last button.
| | 07:51 |
This one will show blue cliff shade sea,
hide tiger lily, and hide prism shield.
| | 07:59 |
Add a rollover state, select the text, and
set the rollover color.
| | 08:11 |
Okay, let's export to PDF and see how our
buttons work.
| | 08:15 |
I'll press Cmd or Ctrl+E.
I'll export it to the desktop, leave my
| | 08:21 |
default settings and click OK, and let's
try out our buttons.
| | 08:29 |
As I mouse over each one, the color of the
text changes.
| | 08:33 |
And when I click, I see each painting in
the portfolio.
| | 08:41 |
In this movie, we saw some of the things
that buttons can do for us by making an
| | 08:44 |
artist portfolio interactive.
Buttons are great tools for adding
| | 08:49 |
navigation controls and for showing and
hiding content in a PDF or SWF.
| | 08:53 |
You can choose which event triggers a
button's actions, and you can also set
| | 08:57 |
changes in appearance that occur when
someone rolls over or clicks on a button.
| | 09:02 |
| | Collapse this transcript |
| Understanding form objects| 00:00 |
With form objects, you can create great
looking PDF forms that users can complete
| | 00:04 |
and submit.
You can add text fields people can type
| | 00:07 |
in, radio buttons, list boxes and combo
boxes to offer choices, and even create
| | 00:12 |
signature fields where users can digitally
sign a PDF.
| | 00:17 |
So let's check out PDF form objects.
Here I have a PDF of a college course
| | 00:22 |
application that was created entirely in
InDesign.
| | 00:24 |
In Adobe Acrobat I can click on highlight
existing fields to reveal my form fields.
| | 00:33 |
So now I can see this isn't just a static
document that you'd have to print out and
| | 00:36 |
complete manually, there are real form
fields for every entry.
| | 00:40 |
So I can click on first name.
And I can type in my name.
| | 00:47 |
Tab over to last name.
Tab again and I can press return or enter
| | 00:52 |
to select male and so on.
Also notice that the buttons for male and
| | 00:57 |
female are related.
When I select one, the other is
| | 01:00 |
automatically deselected.
And if I scroll down to the bottom of the
| | 01:04 |
form, there's even a field to apply a
digital signature, plus buttons to print,
| | 01:11 |
submit and clear the form.
Also notice that some of the fields like
| | 01:17 |
the signature and date are outlined in red
in Acrobat.
| | 01:22 |
This means that these fields are required,
and I can't submit this form without
| | 01:25 |
completing those entries.
Okay, now that we've seen what we can
| | 01:29 |
build, let's take a quick look at how some
of these things were created in InDesign.
| | 01:33 |
If I select the first object, right next
to the words First Name and go to the
| | 01:37 |
Buttons and Forms panel.
I can see in the type menu that it's a
| | 01:42 |
text field and it has the name, first
name.
| | 01:46 |
In the section at the bottom of the panel,
called PDF options, I could enter a
| | 01:49 |
description if I wanted to, which would
appear as a tool tip when someone moved
| | 01:52 |
their cursor over the field, and there are
also several attributes I can select like,
| | 01:56 |
is the form field printable.
Is it required do I want to have a assword
| | 02:02 |
on it and so forth.
I can also pick a font size for the text
| | 02:06 |
that the user types.
If I scroll over a bit to the right I can
| | 02:10 |
see the checkboxes vor male and female but
if I select them they're not just
| | 02:15 |
checkboxes they're actually a radio
button.
| | 02:21 |
That means that they are linked so that
only 1 of them can be selected at a time
| | 02:24 |
the way that you link them is to simply
give them the same name.
| | 02:29 |
Is also both have two appearance states
which I can see if I select 1 t a time.
| | 02:35 |
So I'll select the female and I can see it
has a normal on and a normal off for when
| | 02:39 |
its deselected and same for the male.
Down where I can select courses, I have
| | 02:47 |
what looks like those radio buttons, but
these are check boxes.
| | 02:53 |
These two have on and off appearance
states, but each one has a unique name.
| | 02:58 |
So selecting or deselecting one has no
effect on the others.
| | 03:02 |
I also want to mention the sample buttons
and forms library, that you can open from
| | 03:07 |
the Buttons and Forms panel menu.
There are many different kinds of check
| | 03:12 |
boxes, radio buttons, and fields in here,
that you can use as is, or you can adjust
| | 03:15 |
to your liking.
That can be a great time saver instead of
| | 03:19 |
just starting from scratch all of the
time.
| | 03:21 |
Another thing I want to point out is this
object where the person is supposed to
| | 03:24 |
fill in their state.
This is a list box.
| | 03:30 |
Down at the bottom of the dialogue I see
the list items.
| | 03:34 |
Here's a field where I can add additional
items or I can select list items.
| | 03:38 |
And remove them and I can also drag them
up and down to reorder them.
| | 03:44 |
In addition to the list box there's a
related type object called the combo box
| | 03:48 |
which I can see in the type menu the
difference between a list box and the
| | 03:51 |
combo box is that a combo box is also
suppose to allow user input like a text field.
| | 03:58 |
In addition to allowing the person to
choose one or more items from a list.
| | 04:02 |
Now, I say it's supposed to work that way,
because as of this recording, InDesign
| | 04:06 |
does not properly create combo boxes, and
if you want one, you'll need to edit the
| | 04:10 |
properties of the box in Adobe Acrobat to
allow user input.
| | 04:16 |
Another thing to be aware of when it comes
to form objects is tab order.
| | 04:20 |
Remember when we look at this PDF that I
was able to tab nicely from one field to
| | 04:23 |
the next.
Well, if I look in the object menu and
| | 04:27 |
choose Interactive, Set Tab Order, this is
where I can control that tab order.
| | 04:34 |
I can change the order by dragging items
or I can use the move up or move down buttons.
| | 04:43 |
I'll cancel out, and let's create one form
field at the bottom of our form so the
| | 04:47 |
user can fill in the date.
I'll scroll down, and right here.
| | 04:55 |
Zoom out just a little bit so I can see
the whole area.
| | 04:59 |
I'll take my rectangle frame tool And drag
the area where I want to create the form field.
| | 05:07 |
And for type, I'll choose text field.
For name, I'll call it date.
| | 05:13 |
And under PDF options, I'll want it to be
printable, I also want it to be required
| | 05:18 |
so I'll select that.
And I'll leave the other options as is.
| | 05:25 |
Last, I'll check the tab order to be sure
that this field is after the signature field.
| | 05:30 |
I'll choose Object > Interactive > Set Tab
Order.
| | 05:35 |
Scroll down, and I can see that since Date
was created last, it's last in the tab order.
| | 05:41 |
So I want to move it up a few, to go right
under the signature.
| | 05:45 |
There we go, I'll click OK.
Now let's export to pdf and check it out.
| | 05:51 |
I'll press command or control E, I'll just
export to the desktop, and I can click in
| | 05:59 |
my new form field and use it.
It's great to have the ability to create
| | 06:11 |
well designed PDF forms right in InDesign
and with the buttons in Forms panel you
| | 06:15 |
can create many kinds of form objects
(UNKNOWN) control their attributes.
| | 06:20 |
| | Collapse this transcript |
| Understanding multistate objects| 00:00 |
One of the most popular elements in any
kind of interactive document is a slide show.
| | 00:05 |
Slide shows can engage users with simple,
highly visual content, and they solve a
| | 00:08 |
fundamental design problem of how to fit a
bunch of large images into one space when
| | 00:12 |
otherwise you'd have to reduce the size of
the images, or spread them out over
| | 00:15 |
several pages.
In many cases the tool of choice for
| | 00:20 |
creating slide shows is a multi-state
object.
| | 00:23 |
So let's see how they work.
This document contains some pieces from an
| | 00:27 |
artist's portfolio, images of paintings
and related captions.
| | 00:31 |
And there are four in all, stacked on top
of one another.
| | 00:35 |
I'm going to include this portfolio in a
project that I published to the iPad with
| | 00:38 |
the Adobe Digital Publishing Suite.
And on this page, I'd like to create a
| | 00:42 |
slideshow of the paintings so the user can
navigate through the slideshow by tapping
| | 00:46 |
this forward and back buttons.
If I open the layers panel, in the images
| | 00:51 |
layer, I can see that I've named each one
of these groups with the name of the painting.
| | 00:58 |
So each group contains the image and a
text frame with a caption.
| | 01:03 |
The first step to making a multi-state
object is to convert all these separate
| | 01:06 |
objects into one multi-state object.
And I can do that by simply selecting them
| | 01:11 |
all, opening the object states panel, and
clicking the button to convert them to a
| | 01:15 |
multi-state object.
Notice how I don't see the stack on my
| | 01:19 |
page anymore?
I just see one object.
| | 01:23 |
And the object has an icon at the bottom
right to indicate that it's a multi-state object.
| | 01:28 |
And, if I look in the Object States Panel,
I can see that each of those groups has
| | 01:31 |
been converted to a state, and each state
has picked up the name that I applied to
| | 01:34 |
the groups in the Layers Panel.
Now, let's give this multi-state object a
| | 01:40 |
descriptive name, like Slide Show.
I can click on each state to view it.
| | 01:47 |
And when I click on a state, there's an
icon on the right side of the panel to
| | 01:51 |
tell me that I have just this one state
selected.
| | 01:56 |
So if I were to move or scale or transform
the content in any way, that
| | 01:59 |
transformation applies only to this state.
I can drill down further by
| | 02:04 |
double-clicking on an object to select it
within the state, and the icon in the
| | 02:07 |
panel changes to tell me that I have
content selected.
| | 02:12 |
Now, any transformations I do will affect
only this object and nothing else in this
| | 02:16 |
state or any other.
If I press escape, or click anywhere on
| | 02:20 |
the state in the panel, I select the whole
state again.
| | 02:25 |
And then I can click the button in the top
right of the panel or press escape again
| | 02:28 |
to select the entire mutli-state object.
Now any transformations I apply will
| | 02:33 |
happen to all the states.
If you want to edit a multi-state object
| | 02:37 |
by removing one of the states, you have a
choice.
| | 02:40 |
You can either release the objects in that
state so they're just regular InDesign
| | 02:44 |
objects, or you can delete them all
together.
| | 02:47 |
Just right click on a state and chose what
you want to do.
| | 02:49 |
Now I just have a 3 state multistate
object.
| | 02:56 |
I'll undo so I have a 4 state multistate
object once again.
| | 02:59 |
Copy and pasting is also a bit different
when you're working with multistate objects.
| | 03:04 |
If I draw a rectangle and I want to paste
it into a state.
| | 03:07 |
I can't just press Cmd or Ctrl V, even if
I had the state selected.
| | 03:13 |
So here I'll draw a rectangle.
I'll cut it to my clipboard.
| | 03:17 |
Select a state and try to paste it in by
pressing Cmd or Ctrl V.
| | 03:21 |
And it just stays as an independent
object.
| | 03:24 |
So I'll cut it again.
Select the multi state object and I have
| | 03:27 |
to use the controls in the panel.
I can click on the Star button to paste
| | 03:32 |
the object into the selected state or I
can click on the button to the right of
| | 03:35 |
that to create a new state containing just
what I have in my clipboard.
| | 03:40 |
I'm just going to paste the rectangle back
into the layout.
| | 03:43 |
Just so I can show you one more thing you
can do.
| | 03:46 |
If I select the rectangle, and shift click
to select my multi-state object, I have
| | 03:49 |
some new options.
On the left, I can click to add the
| | 03:53 |
rectangle to the currently visible state,
or I can click the new button to add the
| | 03:57 |
rectangle as a new state in this
multi-state object.
| | 04:01 |
Okay now that we've seen some of the ways
to create and modify multi state objects.
| | 04:06 |
Lets finish this slideshow and check it
out.
| | 04:09 |
I'll delete this rectangle since I don't
need it.
| | 04:12 |
And I'll work on my buttons.
So first I'll select the Forward button,
| | 04:15 |
go to the buttons and Forms panel.
Click on the plus sign to choose an action.
| | 04:22 |
and I'll choose Go To Next State.
And I'll click on my other triangle.
| | 04:27 |
And I'll choose the action Go to Previous
State.
| | 04:30 |
And remember we are using the object
slideshow.
| | 04:34 |
Also remember that we are creating this
slideshow for DPS.
| | 04:37 |
So this won't work in an interactive PDF.
We'll cover DPS in detail in later movies,
| | 04:42 |
so for now let's just work on setting up
the controls for the slide show, and
| | 04:45 |
previewing it.
To set the controls for the slide show and
| | 04:51 |
DPS we use the folio overlays panel, which
I can open by choosing Window > Folio Overlays.
| | 04:58 |
If I select my multi-state object.
The panel automatically displays the
| | 05:03 |
slideshow controls.
I have options to Autoplay, to play when
| | 05:06 |
the user taps, to control the cross fade
between the images and the speed with
| | 05:10 |
which it happens, and so forth.
I'm just going to leave all of these as
| | 05:16 |
they are, and click on Preview, Preview on
Desktop.
| | 05:20 |
This I'll build a folio file, and display
it in the Content Viewer application.
| | 05:25 |
And now I can click on the button to go
through the slide show and see the
| | 05:31 |
different paintings.
So here we saw an example of an important
| | 05:37 |
use for multistate objects, which is to
create slide shows and other kinds of interactivity.
| | 05:42 |
For Adobe DPS projects.
We saw how to create a multi-state object
| | 05:46 |
from separate objects, how to understand
what you have selected in a multi-state
| | 05:50 |
object as well as how to add and remove
states.
| | 05:54 |
Truly, multi-state objects are a great way
to add interactivity and creativity to a
| | 05:58 |
DPS project.
| | 05:59 |
| | Collapse this transcript |
|
|
4. Using Navigation ToolsUsing hyperlinks| 00:00 |
Hyperlinks are maybe the most fundamental
feature of interactive documents.
| | 00:04 |
In fact, its hard to imagine an
interactive document that doesn't have at
| | 00:07 |
least a few hyperlinks in it.
With InDesign, you can make any text,
| | 00:11 |
graphics or frames into links to pages or
specific locations within a document.
| | 00:17 |
And to webpages and other destinations
outside of your document.
| | 00:21 |
So, let's take a look at InDesign's
hyperlinks features.
| | 00:24 |
You create and manage hyperlinks in the
Hyperlinks panel.
| | 00:28 |
With text or an object selected, I can
click on the Hyperlinks panel and click on
| | 00:32 |
button at the bottom of the panel to open
the new Hyperlink dialogue box.
| | 00:38 |
Here I can choose what kind link I want,
the destination apply character style and
| | 00:42 |
set other attributes.
In the Link 2 menu I can select a URL, I
| | 00:46 |
can also link to a specific file but in
order for this kind of hyper link to work
| | 00:50 |
the person clicking on it would have to
access to that file on their local
| | 00:54 |
computer or network.
And there's also a Folder button you can
| | 01:00 |
use to choose the location of that file.
You can also make a link that creates an
| | 01:05 |
email message.
The next three choices create links to
| | 01:08 |
contents within documents.
You can link to a specific page.
| | 01:13 |
So, you'd choose the document, the page
and the zoom setting.
| | 01:16 |
You can choose a text anchor.
Again, by starting with the document, and
| | 01:20 |
then selecting from the text anchors that
have been created inside that document.
| | 01:24 |
And lastly, you can pick a shared
destination.
| | 01:28 |
Shared destinations allow you to borrow
the hyperlink destinations that have been
| | 01:31 |
saved in other documents.
Be a little careful using this feature.
| | 01:35 |
It can sometimes cause problems with
hyperlinks not working or documents
| | 01:38 |
opening when you don't want them to, and
other things.
| | 01:43 |
I generally steer clear of shared
destinations unless I have a reason to use them.
| | 01:47 |
Okay, so let's make some hyperlinks.
I'll cancel outta here.
| | 01:51 |
At the bottom left of all my pages, I have
this icon and some information on Roux
| | 01:55 |
Academy that I'd like to make into a
hyperlink.
| | 02:00 |
These are master page items.
So, to create a hyperlink that works on
| | 02:03 |
all pages, I need to set it up on the
master page.
| | 02:07 |
So, I go to the Pages panel.
Double click on my N nav master.
| | 02:12 |
And that's where these objects are.
I'll select them.
| | 02:15 |
And you can see that they're grouped
together.
| | 02:18 |
And I'll go to the Hyperlinks panel.
Here, I need to create the source of the hyperlink.
| | 02:23 |
A hyperlink is made up of two parts, the
source that you click on and the
| | 02:26 |
destination that you go to.
So, with the group containing the graphic
| | 02:32 |
and the text frame selected, I'll go to
the URL field and type in rueacademy.com.
| | 02:39 |
And hit Return or Enter.
Now, there are a couple of drawbacks with
| | 02:43 |
this method.
First, you can see that I didn't get an
| | 02:46 |
opportunity to name the hyperlink.
It's just called hyperlink.
| | 02:50 |
Although if I mouse over it you can see
the URL.
| | 02:54 |
And I can confirm that it's going to the
right web page by clicking the Do to
| | 02:57 |
Destination button at the bottom of the
panel.
| | 03:03 |
A second drawback I can see by editing the
hyperlink.
| | 03:06 |
And I can edit a hyperlink just by double
clicking on it in the panel.
| | 03:10 |
Here, I can see that I created a link to a
shared destination.
| | 03:14 |
And like I said, these can sometimes cause
problems.
| | 03:16 |
So, I'm going to remake this hyperlink a
different way.
| | 03:19 |
I'll cancel out.
And undo, so I no longer have any hyperlinks.
| | 03:24 |
This time, I'll make sure my group is
selected.
| | 03:27 |
And I'll click on the new Hyperlink
button.
| | 03:29 |
I'll link to a url, and type it in here.
rueacademy.com.
| | 03:37 |
(SOUND).
And deselect shared hyperlink destination.
| | 03:40 |
And click OK.
I'll test it.
| | 03:44 |
And it works.
I also want to mention an option that you
| | 03:49 |
can find in the Hyperlinks panel menu
called, Convert URLs to Hyperlinks.
| | 03:53 |
With this feature, InDesign can search the
whole document for URLs and convert them
| | 03:58 |
to hyperlinks.
It sounds good but the catch is this
| | 04:02 |
feature can't distinguish between a valid
URL and a simple typo where there's no
| | 04:06 |
space after a period.
So,you might want to avoid this feature or
| | 04:10 |
at least be very careful when you use it
or you may end up creating a bunch of
| | 04:13 |
bogus hyperlinks in your document that
don't lead anywhere.
| | 04:19 |
So, as we've seen here there are a few
different ways to add hyperlinks to your documents.
| | 04:23 |
You can use text or frames to link to
URLs, create email messages and also
| | 04:26 |
navigate to specific parts of your
document.
| | 04:30 |
Just be aware that some of the hyperlink's
features link shared destinations and
| | 04:34 |
create hyperlinks from URLs don't always
work as intended.
| | 04:38 |
| | Collapse this transcript |
| Using cross-references| 00:00 |
In a previous movie, we saw how you can
use InDesign's hyperlinks panel to create
| | 00:04 |
and manage clickable links between content
in your documents.
| | 00:08 |
And you can also use the hyperlinks panel
to create links that are dynamic in
| | 00:12 |
nature, so when the content on one end
changes, the other end can be updated to
| | 00:15 |
reflect the change.
These are called cross-references.
| | 00:20 |
Let's see how they work.
Here I have a college course catalog.
| | 00:24 |
It's made up mostly of course listings.
And at the end, there's a form that
| | 00:31 |
students can use to fill out and register
for courses.
| | 00:35 |
And each year, the names of the courses
might change.
| | 00:38 |
So, it might be good to have the course
names on the form be cross-referenced to
| | 00:42 |
the names in the listing pages.
That way when a course changes, I only
| | 00:46 |
have to make the change on the listing
page and then update the cross-references.
| | 00:52 |
To illustrate, let's change one of the
entries on the form from regular text to a cross-reference.
| | 00:58 |
I'll work on the one on the bottom of the
first column, Animating two-D with Adobe Flash.
| | 01:06 |
I'll select the text and in the hyperlinks
panel, i'll click on the anchor icon to
| | 01:12 |
create a new cross-reference.
I can choose what to link to, either a
| | 01:18 |
paragraph or a text anchor.
I'll choose paragraph.
| | 01:22 |
And when I do, I see all the paragraph
styles in this document.
| | 01:26 |
If I had other documents open, I could
choose them here.
| | 01:30 |
I'll choose the course name, paragraph
style, and now I see all the text that's
| | 01:34 |
set in that style.
I'll choose animating in 2D with Adobe Flash.
| | 01:39 |
And then I need to pick a cross-reference
format.
| | 01:43 |
Right now, I'm okay with full paragraph
but if I wanted a different format, I
| | 01:46 |
could choose it from the menu or edit them
to create a new custom cross-reference format.
| | 01:54 |
I'll click OK.
And I'll use the controls at the bottom of
| | 01:57 |
the hyperlinks panel to go to the
destination.
| | 02:01 |
This takes me to the original text.
So, let's make a change here.
| | 02:05 |
I'll change it from Adobe Flash to Adobe
Edge, then in the hyperlinks panel, I see
| | 02:13 |
an alert telling me my cross-reference is
out of date.
| | 02:20 |
I'll select it, go back to the source, and
then update.
| | 02:28 |
So, that's one use of cross-references
that can certainly help your workflow, but
| | 02:31 |
how is it interactive?
Well, if I export this document to PDF,
| | 02:35 |
the cross-reference will work as a
hyperlink, allowing me to click on the
| | 02:39 |
entry in the form and jump to the course
description; let's try it.
| | 02:45 |
I'll press Cmc or Ctrl+E to export, I'll
choose PDF Interactive.
| | 02:50 |
I'll just save it on the desktop.
And I'll just leave all the settings as
| | 02:54 |
they are.
And here's my PDF.
| | 02:55 |
I'll zoom it to a hundred percent and
maximize the window.
| | 03:07 |
Now, I'll go down to my form.
Here's my cross-reference, I'll click on
| | 03:13 |
it, and I jump to the course listing.
Another nice thing about cross-references
| | 03:21 |
is, they also work in EPUB exported from
InDesign, as well as PDF.
| | 03:26 |
So, here we saw some of the benefits of
working with cross-references.
| | 03:30 |
First they can save you some work when
you're content changes because you only
| | 03:33 |
have to update a cross-reference to
reflect changes elsewhere.
| | 03:38 |
Second, since there are kind of hyperlink,
they automatically become a live link to
| | 03:42 |
other text in your document when you
export it to PDF or EPUB.
| | 03:47 |
| | Collapse this transcript |
| Using bookmarks| 00:00 |
With bookmarks, you can allow people to
jump to any content in a document with a
| | 00:03 |
click or a tap.
And as we'll see in this movie, you can
| | 00:07 |
create bookmarks manually or InDesign can
create them for you, with features like
| | 00:11 |
the Table of Content.
Here I have opened an interactive PDF,
| | 00:15 |
which you can find in the exercise file
with this movie.
| | 00:19 |
And in Adobe Acrobat or Reader, I can
click on the Bookmarks button to reveal
| | 00:24 |
the bookmarks.
So I have bookmarks for each department in
| | 00:27 |
this course catalog, and, within each
department, I have bookmarks for the
| | 00:30 |
specific courses.
So I can click to the departments, or a
| | 00:35 |
specific course.
Also notice that the course bookmarks are
| | 00:39 |
nested inside each department name.
So I can show or hide all the bookmarks
| | 00:43 |
within a category by clicking the
triangles next to the names.
| | 00:48 |
So let's see where these bookmarks came
from in indesign, and how to make more.
| | 00:52 |
And in this document, I'll start by
opening the Bookmarks panel.
| | 00:56 |
In the panel, I can see that I already
have the bookmarks that we just saw in the
| | 00:59 |
pdf These were created for me
automatically by the table of contents
| | 01:02 |
feature that I show in detail in a
different movie.
| | 01:07 |
Let's take a quick look at the table of
contents settings that created these bookmarks.
| | 01:11 |
I'll choose Layout > Table of Contents.
And I see the paragraph styles for the
| | 01:18 |
different department names and the course
name.
| | 01:20 |
Under Options, I've selected Create PDF
Bookmarks, and also notice the levels.
| | 01:28 |
These are the levels that correspond the
the levels of the bookmarks.
| | 01:31 |
So course name is level two, and the
departments are all level one.
| | 01:36 |
That's what made the courses nest inside
the department bookmarks.
| | 01:40 |
I'll close the dialog box and look back at
the Bookmarks panel.
| | 01:44 |
Here I can edit the bookmarks so I can
click and drag.
| | 01:49 |
First I'll tip open the animation
department.
| | 01:51 |
I'll select a course name, and I can drag
it down and move it elsewhere.
| | 01:54 |
I can also edit the names just by clicking
and pausing and typing in a new name if I
| | 01:59 |
wanted to.
And I can delete bookmarks By clicking on
| | 02:02 |
the trash can.
In this case, I'll just leave it be.
| | 02:06 |
Any changes I make here will be preserved
in the PDF.
| | 02:10 |
And I can even use these bookmarks as a
navigation tool inside InDesign.
| | 02:15 |
I can jump to the destination of a
bookmark just by double clicking it here
| | 02:17 |
in the panel.
So let's create a few new bookmarks.
| | 02:22 |
The first one I'll create is a bookmark to
page two where we have our welcome to Roux.
| | 02:28 |
So I'll jump to page two, deselect any
bookmarks, and click on the new bookmark button.
| | 02:35 |
I'll call it welcome, and drag it to the
top.
| | 02:42 |
I can tell by its icon that this is a
bookmark to a page.
| | 02:46 |
Next, we'll navigate to page 10 and this
time I'll select some texts before I
| | 02:49 |
create the bookmark.
I'll select The Campus.
| | 02:55 |
And click the button to create a new
bookmark.
| | 02:58 |
And when I do that, I get a bookmark to a
specific piece of text.
| | 03:01 |
As noted by the anchor icon here, and it's
automatically named for the text that I
| | 03:05 |
had selected.
With this bookmark selected, I can create
| | 03:09 |
another bookmark, and nest it inside this
one.
| | 03:13 |
So, inside the campus, I'll select
'High-end computers', and create another bookmark.
| | 03:19 |
Most of these two bookmarks are specific
to the text selections I made on this page.
| | 03:25 |
If I cut this text frame and paste it onto
a different page, the bookmarks will not
| | 03:28 |
travel with it, they'll disappear.
If you need to maintain the length that
| | 03:32 |
you can cut and paste don't make a
bookmark to a text selection.
| | 03:36 |
Instead make a frame first before you make
the bookmark.
| | 03:40 |
One last thing to note.
Since most of the bookmarks where created
| | 03:44 |
by the Table of Contents feature, they
will change if items in the TOC change, or
| | 03:47 |
even if it's just updated and all the
content is the same.
| | 03:51 |
If I go to page 3 where the table of
contents is, I'll put my cursor in the
| | 03:55 |
frame and I'll choose layout Update table
of contents.
| | 04:00 |
Look what happened to my bookmarks.
The bookmarks I created manually weren't
| | 04:07 |
deleted, but they were moved out of order.
The welcome is still at the top, but now
| | 04:11 |
the campus and high-end computers have
moved from the end to above my TOC entries.
| | 04:16 |
And if I select and delete the frame
containing the table of contents, all its
| | 04:19 |
bookmarks will disappear.
So it's best to do any customizing of your
| | 04:24 |
bookmarks after you know your TOC is
finalized.
| | 04:28 |
Bookmarks can be a great feature to add to
your interactive PDFs.
| | 04:31 |
You can create them manually or have the
table of contents feature make them for you.
| | 04:35 |
And no matter how they're created, you can
use the Bookmarks panel to edit them.
| | 04:40 |
| | Collapse this transcript |
| Using a table of contents| 00:00 |
Tables of contents are one of the most
useful features in all of InDesign.
| | 00:05 |
Not only will InDesign allow you to build
and update TOC's from any style text in
| | 00:09 |
your document.
It can also create links and bookmarks for
| | 00:13 |
readers to use to navigate to content in
EPUB and PDF.
| | 00:17 |
So let's see how the TOC feature works to
build more interactivity into your documents.
| | 00:22 |
We'll start by looking at a finished PDF
of a college course catalog.
| | 00:26 |
Here on page 3, there's a table of
contents that was built using InDesign's
| | 00:29 |
TOC features.
It lists the different departments, and
| | 00:32 |
the courses that each department offers.
And if I move my cursor over each entry, I
| | 00:36 |
can see that there are links here.
I can click on one to jump to that page.
| | 00:42 |
Furthermore, if I click on the Bookmarks
icon on the left.
| | 00:46 |
I can see a list of PDF bookmarks that
correspond to each entry in the table of contents.
| | 00:51 |
The TOC feature built both those
hyperlinks and the bookmarks with almost
| | 00:55 |
no extra effort on my part.
Now let's switch over to Adobe Digital
| | 00:59 |
Additions and look at an EPUB of the same
catalog.
| | 01:03 |
Ignore for a moment that this is just a
really basic EPUB without images or all
| | 01:07 |
the text formatting that I'd like to see.
What I want to show you here is that if I
| | 01:11 |
click on the button to display the
Navigation panel.
| | 01:15 |
I have my Table of Contents and the links
work just like they did in the PDF.
| | 01:19 |
And I also have an on page Table of
Contents with live links to content.
| | 01:25 |
So now that you've seen just how nicely a
table of contents can function in your
| | 01:28 |
interactive documents, lets see how it was
built.
| | 01:31 |
I'll switch back to InDesign.
And the first step before you can actually
| | 01:35 |
build the table of contents in InDesign is
to consistently style all the text in your
| | 01:39 |
document that you want to have in the TOC.
InDesign builds a TOC by searching for
| | 01:45 |
texts with certain styles applied to it.
So if your text isn't styled properly,
| | 01:50 |
there's no way you can use it to build the
TOC.
| | 01:54 |
In this document, the things that I want
to appear in the TOC are the department
| | 01:57 |
headings, like animation, and all the
course titles.
| | 02:01 |
If I select the courses, and look at my
Paragraph Styles panel.
| | 02:08 |
I'll see that they're styled with this
style, course name.
| | 02:12 |
And the departments are styled with styles
like Department Animation, Department
| | 02:16 |
Drawing, Department Fashion, Department GD
for Graphic Design, and so on.
| | 02:22 |
You might also notice that I've created
TOC versions for the department styles.
| | 02:26 |
We'll talk about why I did that a little
bit later, the second step after you have
| | 02:30 |
all your text styled, is to go to the
Layout menu.
| | 02:34 |
And either create a new TOC style or
simply modify the default.
| | 02:38 |
Creating a new TOC style is necessary if
you want to include more than one TOC in a
| | 02:42 |
document, and it can also be important, if
you are creating EPUBs.
| | 02:47 |
Where you might want to base the EPUBs TOC
on a different InDesign TOC style, than
| | 02:51 |
the one you used to create the on page,
TOC.
| | 02:54 |
In this case, I'm going to skip the TOC
style and go right to the TOC dialogue
| | 02:58 |
box, by choosing Layout >Table of
Contents.
| | 03:02 |
And here I can see the settings that was
used to make the TOCs, we saw in the PDF
| | 03:05 |
and the EPUB.
The title of my TOC is Courses, and it's
| | 03:10 |
set in a paragraph style called TOC Style.
Then in the section called Styles and
| | 03:15 |
Table of Contents, I told InDesign which
styles to look for in this document.
| | 03:20 |
And to put all the text formatted in those
styles into the TOC.
| | 03:24 |
So, I chose course name, and all the
department headings.
| | 03:28 |
And did you notice how Course name is
indented a little bit?
| | 03:31 |
That has nothing to do with the formatting
that will end up in my TOC, but it will
| | 03:35 |
affect the structure of my PDF Bookmarks
and my EPUB Navigation.
| | 03:40 |
The Coarse name is set to be a level two
entry which I can see down here.
| | 03:45 |
If you don't see that, click the More
Options button.
| | 03:49 |
The department headings are all set to be
level one.
| | 03:52 |
So the course titles will nest inside
their respective departments.
| | 03:56 |
And for each TOC entry, I chose a
paragraph style to format the TOC.
| | 04:01 |
This is what all those department TOC
styles were for.
| | 04:04 |
So, for example, Department Drawing, gets
formatted in the TOC as Department Drawing TOC.
| | 04:10 |
Department Animation, Department Animation
TOC, and so on.
| | 04:14 |
In the Options at the bottom of the dialog
box, I want to draw your attention to two items.
| | 04:19 |
First, Create PDF Bookmarks.
If you want bookmarks in a PDF that match
| | 04:24 |
your TOC entries, this is where you turn
those on.
| | 04:28 |
And second, below that, make text anchor
in source paragraph.
| | 04:33 |
This setting effects EPUB and specifically
what it does is make the entries in
| | 04:37 |
onscreen TOCs into live hyperlinks.
If you turn this off, you can still have
| | 04:42 |
the EPUB's navigational TOC work, but the
on-page TOC will just be static text.
| | 04:47 |
So there you have InDesign's TOC feature.
For PDF, you can use it to build nicely
| | 04:53 |
formatted Tables of Contents with
hyperlinks and PDF Bookmarks.
| | 04:57 |
And for EPUB, you can use the TOC feature
for both the navigational TOC, and the
| | 05:02 |
on-page TOC.
| | 05:04 |
| | Collapse this transcript |
| Using navigation buttons| 00:00 |
With InDesign's Button tools, you can
create navigation buttons that readers can
| | 00:03 |
use to move through the pages of your
document, let's see how.
| | 00:06 |
Here I have a document that's a college
course catalog, which I want to put up on
| | 00:10 |
a web site as a downloadable pdf, and I'd
like to add some navigation buttons at the
| | 00:14 |
bottom of each page.
That readers can use to go through the
| | 00:20 |
document page by page and also to jump to
the table of contents.
| | 00:24 |
So in order for those buttons to appear in
each page, the best place to put them is
| | 00:27 |
on the master page, that way, I can just
place them once and they'll automatically
| | 00:31 |
be on all the pages that are based on the
master.
| | 00:35 |
In this document, I'm going to put those
buttons on the A master because every
| | 00:39 |
other page is directly based on A or it's
based on the B or C masters which are
| | 00:42 |
based on A.
So I'll go to the Pages panel and I'll
| | 00:47 |
double-click on the A-Master to jump to
it.
| | 00:51 |
And I want my Navigation buttons to always
appear on top of the other page items.
| | 00:55 |
So before I create them, I'll go to the
Layers panel and just confirm that I'm on
| | 00:59 |
the buttons Navigation layer.
First, I'll create a button to jump to the
| | 01:03 |
next page of the document.
So I'll select my Polygon tool and click
| | 01:08 |
and drag.
For this button, I want a triangle, so
| | 01:11 |
this is exactly what I want.
But if I were seeing more sides, I could
| | 01:15 |
just tap the space bar, and use my up,
down arrow keys until I had the right
| | 01:18 |
number of sides.
I'll hold Shift to constrain the shape and release.
| | 01:24 |
Now to rotate it so I have one of the
points pointing to the right I'll press my
| | 01:28 |
V key on my keyboard to get my selection
tool and I'll hold the Shift key and drag
| | 01:32 |
to rotate the triangle 90 degrees.
Next, I'll use the Swatches panel to apply
| | 01:38 |
a fill of a medium dark grey.
So I'll target the Fill I'll choose black.
| | 01:44 |
I'll choose a tint of about 70% and I'll
remove the stroke.
| | 01:50 |
Now, I'll move the triangle into position.
Shift drag a corner to scale it down.
| | 01:57 |
And I'll zoom in a bit so I can see what
I'm doing.
| | 02:05 |
And it's a little big so I'll scale it
down a little bit more.
| | 02:09 |
That looks pretty good.
Now hold optional alt and drag, make a
| | 02:13 |
copy and I'll use the control panel flip
button, flip horizontal.
| | 02:20 |
And move it into position.
So now I have two triangles one for going
| | 02:24 |
forward a page and one for going backward
a page.
| | 02:28 |
And for the Table of Contents button, I'll
again hold Option or Alt and drag and to
| | 02:33 |
convert this triangle to a rectangle.
I'll choose Object > Convert Shape > Rectangle.
| | 02:43 |
I'll grab the top control handle and drag
down, and I'll again hold Option or Alt
| | 02:48 |
plus the Shift key, and drag up until I
have a few copies.
| | 02:58 |
I'll Shift+Click to select them all.
Again, Option or Alt drag, but this time
| | 03:03 |
horizontally, and then I'll grab the left
side and reduce the width until they look
| | 03:08 |
like squares.
Then I'll go back to the Object menu and
| | 03:15 |
choose Convert Shape > Ellipse.
I'll shift drag to select my other
| | 03:21 |
rectangles and group it.
And that'll be the basis for my Table of
| | 03:25 |
Contents button.
Now, I'll select the triangle on the
| | 03:28 |
rights, and use the Buttons and Forms
panel to make it into a button.
| | 03:32 |
I'll click the plus sign next to the word
Actions to open the menu and the action I
| | 03:36 |
want is Go To Next Page.
I'll give this button a name, Next Page.
| | 03:47 |
And I'll make sure I've selected the event
on release or tap, that way it's possible
| | 03:50 |
for this button to work on a tablet.
And in the appearance section I can use
| | 03:55 |
the appearance state to change the look of
the button when a user mouses over it or
| | 03:58 |
clicks on it.
I'll select the rollover state.
| | 04:03 |
and I'll use the swatches panel to change
the fill color to paper.
| | 04:07 |
Now lets repeat the steps for the button
to jump back a page.
| | 04:12 |
I'll select it, go to the Buttons and
Forms panel, click on the plus button, and
| | 04:17 |
this time I'll choose, go to previous
page.
| | 04:23 |
We'll give it a name, Previous page.
The event is on release or tap.
| | 04:31 |
We'll add a rollover state where the fill
color changes to paper.
| | 04:36 |
And for the Table of Contents button, I
want the action to be, to go to a specific page.
| | 04:42 |
So I'll select it and I'll go to the
buttons in Forms panel and in the Actions
| | 04:47 |
menu there is an action Go to page, but
notice it's in the SWF Only set of actions
| | 04:51 |
so this is not going to work in a PDF.
Instead what I need to do is make the page
| | 04:58 |
where the table of contents is a
destination And then use the Go To
| | 05:01 |
Destination action.
So I'll press commander control J to jump
| | 05:06 |
to page 3 where my table of contents is.
I'll zoom out and I'll use the hyperlinks
| | 05:14 |
panel to create a new hyperlink
destination.
| | 05:17 |
For the type I'll choose Page, I'll give
it a name Toc, and click OK.
| | 05:25 |
Now I'll press Command or Ctrl+J again,
and press A to jump back to my A Master page.
| | 05:33 |
Select the object I'm going to convert to
a button.
| | 05:37 |
Use the Buttons Informs panel Chose the
action, go to destination and then I'll
| | 05:42 |
chose the current document, the
destination TOC that we just created, and
| | 05:46 |
I'll leave the zoom at Inherit Zoom.
I'll also add a rollover state, so it
| | 05:54 |
matches the other buttons, change the fill
to paper.
| | 06:00 |
Now let's export to interactive PDF and
test our navigation buttons.
| | 06:04 |
Press command or control e.
I'll export this to the desktop and call
| | 06:10 |
it navigation.
Here's my PDF.
| | 06:20 |
I'll roll over the buttons, see that they
change their color.
| | 06:26 |
And I'll click on them.
I can go forward, back, and I can jump to
| | 06:32 |
the table of contents.
Now I should mention that these buttons
| | 06:37 |
when the PDF is viewed on a computer.
But on tablets and other mobile devices,
| | 06:42 |
PDF reading apps don't always support
buttons like these, and the features of
| | 06:46 |
those apps are always changing.
Currently, in an app like PDF Expert, all
| | 06:51 |
these buttons can be displayed and used as
expected, but if I were to view this PDF
| | 06:55 |
with the iBooks app on iPad, I wouldn't
see these buttons at all, and I wouldn't
| | 06:58 |
be able to use them.
With the Adobe Reader app, the Next and
| | 07:04 |
Previous page buttons don't work, but the
Table of Contents button does.
| | 07:08 |
So, that means in order to have buttons
like the Next and Previous page work on
| | 07:12 |
Adobe Reader and the iPad, you'd need to
setup destinations for each page.
| | 07:18 |
In a document like this course catalogue
with only a few pages, that's going to be
| | 07:21 |
a little boring but it's definitely
doable.
| | 07:24 |
But if your document is 50 or 100 pages
long, you probably want to seek out an
| | 07:28 |
automated solution, or perhaps contact
someone with the skills to write a script
| | 07:31 |
for you.
So to sum up, you can make just about any
| | 07:36 |
InDesign object into a navigation button
for moving through the document page by
| | 07:40 |
page, or jumping to a specific
destination.
| | 07:44 |
And you can also make the button change
appearance when it's rolled over or clicked.
| | 07:49 |
Support for navigation buttons is very
good on applications that run on a
| | 07:52 |
computer, but mobile apps don't always
support buttons.
| | 07:55 |
| | Collapse this transcript |
| Using page transitions| 00:00 |
As you move from page to page in an
interactive PDF, the change onscreen is by
| | 00:04 |
default instantaneous.
And most of the time that's what you'd want.
| | 00:09 |
But if you're using a PDF for a
presentation, that change might seem abrupt.
| | 00:14 |
This is why applications like PowerPoint
and Keynote have transition effects you
| | 00:17 |
can add in between slides.
And you can add similar effects between
| | 00:21 |
pages in InDesign that will appear in
interactive PDFs.
| | 00:24 |
So let's see how to do that.
I'll start our look at page transitions
| | 00:29 |
with this document.
Which is used for a presentation on the
| | 00:32 |
reasons by it's great to study at the Roux
Academy of Art, Media, and Design.
| | 00:37 |
Right now there are no transitions between
pages, but I can add them in either the
| | 00:40 |
Pages panel, or the Page Transitions
panel.
| | 00:44 |
Let's look at the Pages panel first.
I'll go to the Panel menu, and choose Page
| | 00:50 |
Attributes > Page transitions > Choose.
This opens the Page Transitions dialog box.
| | 00:58 |
Here I can see 12 different types of page
transitions.
| | 01:01 |
And as I move my cursor over them, I get a
preview of each effect.
| | 01:08 |
When I find one I like, I can click on its
name to select it.
| | 01:11 |
I'll click on Fade.
By default, the apply to all spreads
| | 01:15 |
option is selected.
So, if right now I click OK, the fade
| | 01:18 |
transition will be applied between all the
pages in my document.
| | 01:23 |
But since I want to show you some
different transitions in the file I export
| | 01:26 |
from this document, I'll deselect Apply To
All Spreads, and then click OK.
| | 01:32 |
Now, in the Pages panel, there's an icon
to the right of the first page.
| | 01:36 |
This indicates there's a transition that
has been added after that page.
| | 01:39 |
And if I right click on that icon, I get a
menu where I can reopen the dialog box to
| | 01:43 |
choose a different transition.
I can edit the current transition, or I
| | 01:48 |
can remove it by choosing Clear Page
Transition.
| | 01:51 |
I'll choose Edit.
This opens the Page Transitions panel, and
| | 01:56 |
here I have a Transition menu, so I could
choose a different transition or none at all.
| | 02:02 |
And I can also control attributes like a
direction and speed for some of the transitions.
| | 02:08 |
So if I change from Fade to Push, now I
can choose a direction for the push and
| | 02:12 |
the speed, slow, medium or fast.
And I also have a preview in the panel.
| | 02:20 |
If I like a transition, I can apply it to
all the pages in the document by clicking
| | 02:23 |
on the button at the bottom of the panel.
To compare some different transition
| | 02:27 |
effects in this document, Let's apply a
different kind after each page, and then
| | 02:31 |
we'll preview them with the SWF Preview
panel.
| | 02:35 |
So, I'll select each page one by one and
then apply a transition to it.
| | 02:42 |
I'll skip the Page Turn transition,
because that only works in SWF output.
| | 02:46 |
It won't work if you just export to PDF.
Okay, now let's preview the document by
| | 02:55 |
pressing Cmd+Shift+Option+Return, or
Ctrl+Shift+Alt+Enter.
| | 02:59 |
This opens the SWF Preview panel, and
previews the entire document.
| | 03:05 |
When I use the navigation buttons, I can
see each of my transitions.
| | 03:11 |
Now there's one thing I want to mention
about the SWF Preview panel.
| | 03:14 |
If you're trying to use it to preview
transitions and they're not working, there
| | 03:17 |
are a couple of things you can check.
First make sure you're previewing the
| | 03:21 |
entire document and not just one page.
You should see the last button in the
| | 03:25 |
bottom right selected, Preview Document
Mode.
| | 03:28 |
If you're previewing just a single page,
you won't see any transitions.
| | 03:32 |
Another thing to check is in the Panel
menu.
| | 03:37 |
Choose Edit Preview Settings and in the
General options, first make sure that
| | 03:41 |
background paper color is selected.
If you have transparent selected, you wont
| | 03:47 |
get transitions.
Second, in the Page Transitions menu,
| | 03:51 |
choose From Document.
If another choice is made here, it will
| | 03:55 |
override what you set in the Pages or Page
Transitions panel.
| | 04:00 |
Now let's export to PDF and see our
finished transitions.
| | 04:03 |
I'll press Cmd or Ctrl+E.
Choose Format PDF Interactive, click Save,
| | 04:10 |
and in the Export Interactive PDF dialogue
box.
| | 04:14 |
In the Presentation options, I can set the
document to open in full screen mode.
| | 04:21 |
And since transitions will only be visible
in my PDF when it's viewed in full screen
| | 04:25 |
mode, I'll make sure that's selected.
I also have a Page Transitions menu where
| | 04:29 |
I can remove all the transitions.
Or override them again.
| | 04:32 |
I'll make sure it's set to From Document
and click OK.
| | 04:37 |
My PDF opens in Adobe Acrobat on this
computer, and I can just click through the
| | 04:43 |
pages to navigate through the document and
see my transitions.
| | 04:50 |
So, here we saw how to use the Pages panel
and the Page Transitions panel to create
| | 04:55 |
and modify transition effects between
pages and an interactive PDF presentation.
| | 05:01 |
We also saw how to preview them with the
SWF Preview panel.
| | 05:04 |
And a few things to check in the Panel
menu if you're not seeing the transitions
| | 05:07 |
you expect.
| | 05:08 |
| | Collapse this transcript |
|
|
5. Multimedia ToolsUnderstanding media formats| 00:00 |
Since InDesign is primarely a page layout
tool, with its origins in print production
| | 00:04 |
you might be surprised to know that its
offered support for playing audio and
| | 00:07 |
video all the way back to CS2 days.
And now you can export InDesign files as
| | 00:13 |
PDFs, SWFs, EPUBs and mobile apps, with
embedded or streaming video and audio.
| | 00:19 |
So, let's take a look at the details of
InDesign's media support, and some best practices.
| | 00:25 |
The first thing to know when it comes to
working with media in InDesign, is which
| | 00:29 |
formats are supported for placing and
output.
| | 00:33 |
When it comes to putting audio in your
InDesign documents, you should use MP3 format.
| | 00:38 |
If you have audio in other formats, you
can use iTunes or Mac or Windows to
| | 00:42 |
convert to MP3.
For video, you can place files in Flash
| | 00:47 |
Video format, FLV and F4V files, H.264
encoded files like MP4s and M4Vs, and SWF files.
| | 00:57 |
Of those formats, the recommended best
practice, is to use the H.264 encoded files.
| | 01:03 |
Because they're fully supported within
InDesign, so you get to use all the
| | 01:05 |
controls in the media panel.
And they're supported on Apple's iOS
| | 01:10 |
devices, so your video can be viewed on an
iPad.
| | 01:14 |
Another best practice when you're planning
to embed video in your projects, is to
| | 01:17 |
keep the file size down as much as
possible.
| | 01:20 |
By trimming clips to the length you intend
viewers to see, and choosing a size that's
| | 01:24 |
appropriate for your output.
Do these tasks before you bring the video
| | 01:29 |
into InDesign.
Common sizes like 400 by 300 and 640 by
| | 01:33 |
360 often work well.
If you're planning to publish to the iPad,
| | 01:38 |
and you want full screen video, make it 10
24 pixels wide.
| | 01:43 |
When you need to convert or edit video,
you can use applications like Adobe Media
| | 01:46 |
Encoder, available with a creative cloud
subscription, or the open source
| | 01:50 |
application, Handbrake, to convert video
to different formats, to change the
| | 01:54 |
cropping, aspect ration, frame rate, and
compression level.
| | 02:00 |
The goal is to find the right mix of file
size and video quality.
| | 02:04 |
Obviously, you want your video to look as
good as possible, but not at the expense
| | 02:07 |
of creating huge files that are slow to
transfer and load.
| | 02:12 |
So let's take a quick look at how to use
Adobe Media Encoder CC to convert video formats.
| | 02:18 |
Here in the Finder, I have a video that's
in H264 encoded, Quick Time format with
| | 02:22 |
the extension MOV.
I can see that it's pretty large, in fact,
| | 02:26 |
over 105 megabytes.
In fact, it's so large that it won't be
| | 02:30 |
included in the exercise files for this
course, so don't worry when you don't see
| | 02:33 |
it in the folder for this movie.
So let's bring this file into Adobe media encoder.
| | 02:41 |
I'll just grab it and switch over to media
encoder, and I can drop it in here on the
| | 02:45 |
left side into the queue.
If I hover my cursor over the video, I can
| | 02:51 |
see it's specs.
The size is 640x360, and it plays at 30
| | 02:55 |
frames per second.
I also have popup menus where I can pick
| | 03:00 |
formats and other settings.
I'll use the preset menu to choose my
| | 03:05 |
output format.
I'll choose Apple TV, ipad, iphone 3G, and
| | 03:10 |
newer 360p widescreen.
This'll preserve the 640 by 360 screen
| | 03:15 |
size, but it will still reduce the file
size significantly; and, very important to
| | 03:20 |
me, it'll work on an iPad.
Also, if I want to change output file
| | 03:25 |
settings, like the location or the file
name, I can click the output file, and
| | 03:29 |
change it here.
In this case, I'll save it as Rue, and
| | 03:33 |
save it on the desktop.
Then I just click the Play button, to
| | 03:38 |
start the conversion.
I can see the progress down below.
| | 03:47 |
And when it's done the Format and Preset
menus are grayed out, and I can click the
| | 03:51 |
output file path, to get at my file.
And you can see we've really reduced the
| | 03:57 |
file size, going from 105 megabytes, down
to just over 13.
| | 04:01 |
I'll hit the space bar on my keyboard to
preview.
| | 04:08 |
And the file looks good.
So to sum up, when working with media in
| | 04:13 |
interactive documents its important to
understand which formats to use, so your
| | 04:18 |
media will look good and function on
devices like Ipads.
| | 04:23 |
Remember to use the H264 encoded video in
mp4 format and use mp3's for audio.
| | 04:28 |
Also for best results, crop and trim your
videos and make the file sizes as small as possible.
| | 04:34 |
| | Collapse this transcript |
| Using the Media panel| 00:00 |
Video can help to make your interactive
documents more engaging in ways that no
| | 00:04 |
other content can match.
And the good news is placing videos into
| | 00:07 |
your InDesign documents is no harder than
placing a photograph.
| | 00:11 |
Plus you can use the Media panel to
control the appearance and playback of
| | 00:14 |
your video, and preview how it looks.
So let's take a look at the controls
| | 00:19 |
inside the Media panel.
Here in my InDesign document I have a page
| | 00:23 |
where I'd like to add a video.
To place the video in my layout I can just
| | 00:27 |
choose File place or I can use the Media
panel.
| | 00:31 |
So, I'll open the Media panel, down at the
bottom there's a button I can click to
| | 00:35 |
place a video so, I'll go to the Links
folder inside the Exercise files.
| | 00:41 |
Scroll down.
And I'll choose roux.mp4.
| | 00:44 |
And click Open.
I get a loaded cursor.
| | 00:50 |
I'll just click in my layout, and place
the video.
| | 00:53 |
Now at the top of the Media panel, I have
a preview of the video I can play.
| | 00:58 |
And I can see it's two minutes and 22
seconds long.
| | 01:01 |
I can turn the audio on or off.
(MUSIC).
| | 01:08 |
And I can drag the scrubber bar around to
jump to a different part of the video.
| | 01:16 |
I also have options I can set, including
one to make the video start playing as
| | 01:19 |
soon as the page is viewed.
And I can make it loop, but notice that
| | 01:24 |
this control doesn't work in interactive
PDF.
| | 01:27 |
Also notice on the page, the frame
containing the video is black, just like
| | 01:30 |
the first frame of the movie.
If I want something a little more
| | 01:33 |
appealing than a big, black rectangle on
my page, I can use the poster settings.
| | 01:38 |
I can choose none to make the video not
appear until it starts playing.
| | 01:42 |
I can choose Standard to have a little
film icon, I can choose Image to select a
| | 01:47 |
photo as the poster, or I can choose From
Current Frame, and with this, I can pick
| | 01:52 |
any frame from the movie as the poster.
So, I can either play the movie or drag
| | 01:59 |
the controller until I see a frame I'd
like to use as the poster.
| | 02:03 |
I think I saw one back at about nine
seconds.
| | 02:07 |
So go around there and then I'll click the
button on the right side to set the poster.
| | 02:14 |
The next menu gives me a bunch of options
for choosing a controller.
| | 02:17 |
I can have a controller with all the
options per play, stop, seek, mute,
| | 02:21 |
caption and so on.
With Skin Overall, or I can select a
| | 02:25 |
subset of these controls.
I'll choose a really basic one like Skin Overplay.
| | 02:30 |
This is just a Play, Pause button.
And I'll also select Show Controller on
| | 02:35 |
Roll over, so it's only visible when
someone mouses over it.
| | 02:39 |
Now I can't preview what the controller
looks like here in the Media panel, but I
| | 02:42 |
can do that in the Swift Preview panel.
So to preview this page, I'll press the
| | 02:47 |
short cut Cmd+Shift+Return, or
Ctrl+Shift+Enter.
| | 02:50 |
And I can click the video to play it.
(MUSIC).
| | 02:56 |
When I move my cursor away, the controller
goes away (MUSIC) and when I move it back,
| | 03:01 |
the controller comes back.
And I can play and pause the video.
| | 03:06 |
I'll close the Preview panel, and go back
to the Media panel.
| | 03:10 |
Another thing I can do in the Media panel
is to set navigation points in the video
| | 03:14 |
that someone can jump to just by clicking
a button.
| | 03:17 |
So in the Media panel I'll drag the
controller to about 24 seconds and under
| | 03:21 |
navigation points I'll click the Plus
sign.
| | 03:26 |
I'll give it a name, quote, because this
is where one of the inspiration quotes
| | 03:30 |
about Roux Academy appears.
Now in order for someone to play the video
| | 03:35 |
from this point I have to create a button.
We'll cover buttons more in other movies.
| | 03:39 |
But for now let's just quickly create one
to test our navigation point.
| | 03:43 |
I'll drag out a rectangle.
And use the Swatches panel to give it a fill.
| | 03:53 |
And in the Buttons and Forms panel, I'll
click actions, the Plus sign, and choose Video.
| | 04:02 |
Here's our video, Roux.mp4, the option
will be Play From Navigation Point.
| | 04:07 |
And the point that we just created is
here, Quote.
| | 04:11 |
Now let's click the Swift Preview button
at the bottom of the panel, to test our button.
| | 04:20 |
(MUSIC).
And the video plays from that point.
| | 04:25 |
Okay, let's go back to the media panel for
a couple more things to note.
| | 04:30 |
I'll select my video.
I have two other controls at the bottom
| | 04:33 |
for placing a video from a URL, and PDF
options.
| | 04:38 |
First, let's take a look at the PDF
options.
| | 04:40 |
I'll click that button.
In this dialog box, I can set a
| | 04:43 |
description for use when the video can't
be played or for visually impaired users.
| | 04:48 |
And the other control here allow me to set
the video to play in a floating window,
| | 04:52 |
where I can choose the size and position.
Alright let's check out that option to
| | 04:59 |
place a video from an URL.
I'll go to the next page in my document,
| | 05:04 |
and first I have to have a frame selected,
so I'll just grab my Rectangle Frame tool
| | 05:07 |
and again just drag out a frame.
I'm not going to care too much about
| | 05:12 |
exactly what size it is right now, and
I'll take my type tool and I'll select
| | 05:16 |
this URL where I know there's a streaming
video I can link to.
| | 05:23 |
Copy that to my clipboard.
Select my frame and go back to the Media panel.
| | 05:30 |
I'll click the button to Place Video from
URL.
| | 05:33 |
I'll paste it in and notice that the video
must be compliant with the flash player.
| | 05:39 |
I'll click OK, and the video is placed.
Now I can use the controls in the Media
| | 05:44 |
panel, just like the other video we placed
in this document.
| | 05:50 |
Now the other thing worth noting here, is
that it doesn't matter how I crop these
| | 05:53 |
videos with the frames on the page in
InDesign, in all cases the entire video
| | 05:56 |
will be displayed in the output.
That's why I didn't care too much about
| | 06:01 |
how I drew this frame here.
Lets export to interactive PDF and check
| | 06:05 |
out our movies.
I'll just call the file Video and put it
| | 06:10 |
on the desktop and this dialog box
basically tells me that the entire video
| | 06:14 |
will be displayed in my PDF.
It won't be cropped inside the frames I
| | 06:19 |
put on the page in InDesign.
I'll click OK, and can click to Play My Movie.
| | 06:27 |
I can use my controls.
I can use my button.
| | 06:38 |
And on the next page, we'll check out our
streaming video (MUSIC) which also plays.
| | 06:47 |
In this movie, we took a look at how to
use InDesign's Media panel.
| | 06:51 |
As long as you stick to the recommended
formats for video, you'll have full access
| | 06:54 |
to the options in the Media panel to
control the display of your video and your output.
| | 06:59 |
You can also use the Swift Preview panel
to preview the various controllers you can
| | 07:02 |
add to your videos.
And you can add navigation points and
| | 07:06 |
buttons to let viewers jump to specific
parts of a video.
| | 07:09 |
| | Collapse this transcript |
| Using the Animation panel| 00:00 |
With InDesign's animation panel, you can
make objects move, change size, position,
| | 00:04 |
or visibility.
Unfortunately, since InDesign's animation
| | 00:08 |
tools are based on Flash, there aren't
many file formats that support these animations.
| | 00:13 |
Basically, you're limited to exporting a
SWF file.
| | 00:16 |
InDesign's animations won't work if you
directly export them to an interactive PDF.
| | 00:21 |
And they won't work in ePub or DPS
projects, either.
| | 00:25 |
Still, if you need SWF output, InDesign's
animations will work and they can add a
| | 00:28 |
lot of interactivity and visual interest
to your documents.
| | 00:32 |
So let's take a look at InDesign's
Animation panel.
| | 00:36 |
And I'll select the text frame with the
artist's name and the little ornament on it.
| | 00:41 |
This icon with the three circles on the
frame tells me that animation has been applied.
| | 00:45 |
And in the panel, I can see that this
animation has been named Artist.
| | 00:48 |
And it uses the preset, Fade In.
If I move my cursor over the butterfly
| | 00:53 |
logo, I can see a preview of the fade in.
In the Preset menu, I have a list of all
| | 00:59 |
the animation presets that InDesign
offers.
| | 01:03 |
And there's also a choice, None at the
top, that I can use to remove an animation
| | 01:06 |
or clicking on the trash can at the bottom
of the panel accomplishes the same thing.
| | 01:12 |
Next we have the event or events that will
trigger an animation.
| | 01:16 |
Note that without an event to trigger it
an animation won't play.
| | 01:20 |
There are five events that can trigger an
animation.
| | 01:23 |
On page load, when the page is loaded into
the Window, on Page Click, when the user
| | 01:27 |
clicks anywhere on the page.
On Click Self, when the user clicks on the object.
| | 01:34 |
On Roll Over Self, when the user rolls a
cursor over the object.
| | 01:39 |
And On Button Event, which is currently
grayed out, because I don't have a button
| | 01:42 |
triggering this animation.
I can create a button trigger using the
| | 01:46 |
control just to the right of the event
menu.
| | 01:49 |
So let's try that out.
Below the author's name, I have a simple
| | 01:52 |
InDesign frame over here that I'll convert
into a button.
| | 01:56 |
With the animation selected in the layout,
I'll click Create Button Trigger and my
| | 02:00 |
cursor becomes a target.
And I can just click on the frame to make
| | 02:04 |
it the button trigger for the animation.
When I do that, the Buttons and Forms
| | 02:09 |
panel opens up.
So I can check and customize any of the settings.
| | 02:13 |
I should give it a descriptive name like
Show Artist.
| | 02:20 |
I can see that on the Event, On Release or
Tap, the animation artist will play.
| | 02:24 |
And if I check the options menu I can see
the other things the button can do with animation.
| | 02:29 |
It can play it, stop it, pause it, resume
it, play backwards, stop all animations.
| | 02:36 |
Another thing that's key to understand
about events is that you can have more
| | 02:39 |
than one event trigger an animation.
This can actually trip you up if you're
| | 02:43 |
not paying close attention but the
animation selected and looking at the
| | 02:46 |
Animation panel.
Under events, I can see that there are two
| | 02:51 |
events listed, On Roll Over Self, and On
Release.
| | 02:54 |
So right now, the fade in of the artist's
name will be triggered by both of those things.
| | 03:00 |
To remove the rollover event, I can just
simply select it from the menu.
| | 03:06 |
Now the only thing that will trigger the
fade in is our button.
| | 03:08 |
Alright, let's preview it.
We'll click the button at the bottom of
| | 03:13 |
the panel, tap the button, and the
artist's name fades in.
| | 03:18 |
Now I'll close the SWF preview panel and
look at some of the other controls in the
| | 03:21 |
Animation panel.
Duration is just how long the animation
| | 03:26 |
takes from start to finish.
I can use play settings to set a specific
| | 03:30 |
number of times an animation will play or
I can set it to loop continuously.
| | 03:35 |
Speed can be a little confusing, speed
isn't actually how fast the animation
| | 03:39 |
plays, that's controlled by the duration.
Speed actually means the change in the
| | 03:45 |
speed, which is also sometimes called
easing.
| | 03:48 |
Many of the animation presets have easing
built into them, which you can turn off by
| | 03:52 |
choosing None.
Or you can have an animation ease in to
| | 03:56 |
make it go slower at the start, or ease
out to make it slow down at the end, or both.
| | 04:04 |
In the Properties section, the first
choice is Animate, and there are three
| | 04:07 |
options here.
From current appearance to current
| | 04:11 |
appearance and to current location.
This can also be a little tricky.
| | 04:15 |
So lets go over them.
From current appearance means use the
| | 04:18 |
objects current appearance as the start of
the animation.
| | 04:22 |
To current appearance means to use the
objects current appearance at the end of
| | 04:25 |
the animation so this is the opposite of
from current appearance.
| | 04:30 |
To current location, tells InDesign to use
the object's current appearance as the
| | 04:33 |
starting point in its current location as
the end point in the animation.
| | 04:39 |
Let's take a look at each of these options
so you can see what I'm talking about.
| | 04:42 |
I'll go to the next page of my document.
Here I have three black squares, each one
| | 04:48 |
has been animated with a preset, move and
scale, move left and grow.
| | 04:53 |
And the animations will happen on page
click.
| | 04:56 |
The top square is set to animate from
current appearance and it has the green
| | 04:59 |
arrow indicating it's going to move left.
The second square, is set to animate two
| | 05:05 |
current appearance.
Notice the motion path is in the same
| | 05:08 |
place but now the arrowhead points to the
right in the middle of the object.
| | 05:13 |
So it's going to start on the left and
move to where it is right now.
| | 05:18 |
The third square is set to animate to
current location.
| | 05:21 |
Now the motion path is on the other side
of the square and the arrow's pointing left.
| | 05:25 |
So the square's going to move left but now
it's going to start out over here and end
| | 05:28 |
at it's current location.
Okay I'll press Cmd+Shift+Return or
| | 05:33 |
Ctrl+Shit+Enter to preview those
animations.
| | 05:37 |
So from current appearance, to current
appearance, and to current location.
| | 05:42 |
Those options are the trickiest ones to
master in all the animation controls, so
| | 05:46 |
if you can understand them, the rest of
the controls are pretty straight forward.
| | 05:51 |
Again, I'll close the preview panel and go
back to the Animation panel.
| | 05:55 |
And look at the rest of the options.
So I can apply a rotation to make an
| | 05:59 |
object turn, I can also change its scale,
and I can set a point of origin for those transformations.
| | 06:07 |
I can use the Opacity menu to make an
object fade in or out.
| | 06:12 |
And finally, the visibility settings let
me hide an object before and after the
| | 06:16 |
animation plays.
And at the bottom of the panel, I have a
| | 06:19 |
button I can click to preview the spread
in the Swift Preview panel.
| | 06:24 |
Next to that, I have a control for showing
the animation proxy, which is a great
| | 06:27 |
preview of the opposite end of the
animation.
| | 06:30 |
So if I select my three rectangles one at
a time, I can see that the top one is
| | 06:34 |
going to start out here and move left.
The middle one is going to start big on
| | 06:40 |
the left side, and shrink and move right.
And the bottom one's going to start out on
| | 06:45 |
the right and move left, but notice
there's no proxy over here to show me the
| | 06:48 |
change in size.
I also have a button to open the timing
| | 06:52 |
panel at the bottom of the animation
panel.
| | 06:55 |
We'll cover the details of using the
timing panel in a later movie.
| | 06:59 |
And finally I have a control converting a
path to a motion path.
| | 07:03 |
To see what that does, I 'll delete the
bottom two squares and remove the
| | 07:06 |
animation applied to the top square by
clicking on the trash can.
| | 07:10 |
Now I'll take my Pen tool, and click three
times, to draw a zigzag path.
| | 07:20 |
I'll select both the square and the path.
Click on the button to create a motion path.
| | 07:26 |
I'll actually make it last a little bit
longer.
| | 07:28 |
We'll set the duration to five seconds and
preview.
| | 07:36 |
So you can see the square follow the path
that I drew.
| | 07:39 |
So that concludes our tour of the
Animation panel.
| | 07:42 |
You can create some really fun and
interesting effects with it.
| | 07:45 |
Just remember that the animations that you
create with this panel are really intended
| | 07:49 |
for SWF output only.
| | 07:51 |
| | Collapse this transcript |
| Using the Timing panel| 00:00 |
When you're working with animations,
you'll often find you need to exert some
| | 00:03 |
control over their order and timing.
For that, you can use the Timing panel,
| | 00:07 |
let's see how it works.
Here I have a page that could be used in a
| | 00:11 |
presentation, and it's a list of the eight
reasons it's great to study at the Roux Academy.
| | 00:17 |
And I'd like to animate this list, so the
reasons appear one at a time in sequence.
| | 00:21 |
For that they need to separate objects,
which is why I have eight separate text
| | 00:25 |
frames here, instead of just one.
With all the frames selected, I'll open my
| | 00:30 |
Animation panel and I'll just a preset
Fade In.
| | 00:35 |
I'll preview and the reasons fade in but I
have a couple of problems here.
| | 00:46 |
State of the art facilities and world
class teaching come in last.
| | 00:51 |
Well, why is that?
InDesign isn't using the arrangement of
| | 00:53 |
frames on the page to set the order of
animations.
| | 00:57 |
It's using the order in which these frames
were created.
| | 01:00 |
And when I made this list, I forgot
World-Class Teaching and State-of-the-Art
| | 01:04 |
Facilities, so I added those last and
moved them into position on the page.
| | 01:09 |
The problem for my animation is that In
Design still knows that these were the
| | 01:12 |
last frames created, so they fade in last.
To fix this, I'll use the Timing panel,
| | 01:18 |
I'll close the Swift preview, open the
Timing panel and here I can see a list of
| | 01:22 |
my animations in the sequence that they'll
play.
| | 01:26 |
And sure enough, State-of-the-Art
Facilities and World-Class Teaching are last.
| | 01:31 |
So, to fix them I'll just drag them in
place where I want them.
| | 01:34 |
I want World-Class Teaching first and
State-of-the-Art Facilities fourth.
| | 01:41 |
And I'll preview again.
And the order is correct this time.
| | 01:50 |
This idea of timing being set initially by
the order in which objects were created,
| | 01:54 |
is important to remember since you can
disrupt the time of your animations by
| | 01:57 |
doing things like cutting and pasting
objects.
| | 02:02 |
For example, if I cut the frame containing
Inter-Disciplinary Study and just paste it
| | 02:06 |
in place, it looks the same on the page,
but check out the Timing panel.
| | 02:13 |
It's now last.
So, I have to fix that by dragging it back
| | 02:17 |
where it belongs.
Another useful thing you can do with the
| | 02:21 |
Timing panel is set delays.
So, if I were using this page in a slide
| | 02:24 |
presentation and talking over these points
as they appeared, I'd want to slow them down.
| | 02:30 |
To do that, I can first select them in the
Timing panel, and then I can apply a delay.
| | 02:35 |
So, I'll click and then Shift+click at the
end to select all of my animations.
| | 02:40 |
And then I can use the Delay menu to add a
one second delay in between the animations.
| | 02:45 |
I'll preview again and now the animations
are spaced out a little bit more.
| | 02:56 |
Another thing you can do with the Timing
panel, is to link animations so they play together.
| | 03:01 |
So, if I wanted these list items to appear
in pairs rather than one by one, I can go
| | 03:04 |
back to the Timing panel.
I'll remove the delay, and now I can
| | 03:10 |
select the animations that I want to play
together.
| | 03:14 |
So, I'll just Shift+click on the first two
and I'll click the button at the bottom of
| | 03:18 |
the panel to play together.
Repeat the process, and preview.
| | 03:26 |
And now they appear in pairs.
Here we saw how to use the Timing panel to
| | 03:33 |
make a sequence of animations play in the
order that we wanted.
| | 03:37 |
And we also saw how to link animations, so
they play at the same time.
| | 03:40 |
And how to further control the timing of
animations with delays.
| | 03:45 |
| | Collapse this transcript |
| Adding HTML animation from Adobe Edge| 00:00 |
InDesign has built in tools for animating
content.
| | 00:03 |
Unfortunately, the animations you can
create with these tools are based on Flash technology.
| | 00:08 |
So, they won't work in most kinds of
interactive output or on mobile devices
| | 00:12 |
like iPad.
But you can use a separate application
| | 00:16 |
called Adobe Edge Animate to create
animations, then bring them into InDesign
| | 00:20 |
and use them in Epubs and Adobe DPS
projects.
| | 00:24 |
So, let's take a look at Adobe Edge
Animate.
| | 00:27 |
Adobe has created resources for learning
Edge Animate including sample files you
| | 00:31 |
can download and experiment with like
these.
| | 00:35 |
Here's an interactive content rotator, a
game, an interactive infographic and
| | 00:39 |
another game.
Let's view the info graphic.
| | 00:45 |
So, when I mouse over a continent, I see
its name and I can click to view some
| | 00:51 |
data, all with some nice animations.
I'll close it and go back to the initial view.
| | 01:03 |
Now, for an example, I've used the link
above this page to download the
| | 01:08 |
Infographic File, and I've opened it in
Edge Animate.
| | 01:12 |
So, let's see how to publish this in a
format that we can place in InDesign, and
| | 01:15 |
then preview it.
You can see right away that Edge has lots
| | 01:19 |
of tools for creating animations.
Including a stage, and timeline and
| | 01:23 |
several other panels for managing assets
and actions.
| | 01:28 |
Since this project has already been pretty
much completed, all we're going to do here
| | 01:31 |
is publish it in a format that we can
place in In Design.
| | 01:34 |
The first thing I'll do is set a poster
image.
| | 01:37 |
That's the static image that will appear
on the page before the animation starts.
| | 01:42 |
Over on the left side, there's a
Properties panel and then that, there's a
| | 01:45 |
place where I can create a poster image.
I'll click on the Camera and click on Capture.
| | 01:53 |
Now, what was on the stage has been
captured as a static image.
| | 01:57 |
Now, I'll click on publish settings, I'll
select the middle choice, Animate
| | 02:01 |
Deployment Package, I'll click on it.
And here I can set a target directory.
| | 02:08 |
Right now it's going to go to my desktop,
and a published name.
| | 02:11 |
I'll select Infographic and click Publish.
Now, I can switch over to InDesign and
| | 02:19 |
press Cmd or Ctrl+D to place the edge
animate file.
| | 02:26 |
I'll click in My Document and there it is.
So, what I'm seeing right now is the
| | 02:31 |
poster image that we created.
To see the animation and interactivity, I
| | 02:35 |
need to preview this file on an iPad or
using the Adobe content viewer on my desktop.
| | 02:41 |
I'll use the content viewer.
So, I'll go to my Folio Builder panel and
| | 02:46 |
Chose preview, Preview on Desktop.
Here's the poster and I can click.
| | 02:58 |
And now I see the same kind of animation
and interactivity I saw on the web.
| | 03:05 |
So, when it comes to animation, Adobe Edge
will give you more publishing options than
| | 03:09 |
InDesign's built-in tools.
Of course, this means you have to learn a
| | 03:13 |
separate application, but once you do, the
process of bringing an Edge file into
| | 03:17 |
InDesign and publishing it is very
straightforward.
| | 03:21 |
| | Collapse this transcript |
|
|
6. Tools for Creating Digital Publishing AppsUnderstanding the Digital Publishing Suite| 00:00 |
The Digital Publishing Suite or DPS for
short, is Adobe's solution for publishing
| | 00:05 |
InDesign documents to mobile devices like
Apple's iPad, Amazon's Kindle Fire, and
| | 00:09 |
other Android tablets.
DPS allows you to take your InDesign
| | 00:14 |
layouts and add interactivity to them, and
then share them or publish them
| | 00:17 |
commercially, either as an individual app
or bundle together on a muli-issue app.
| | 00:24 |
In terms of cost, the basic DPS tools in
InDesign are included with the application.
| | 00:30 |
So, there's no extra cost associated with
creating and sharing DPS projects with
| | 00:33 |
other people.
However, there can be additional cost
| | 00:37 |
associated with publishing your project as
an app.
| | 00:40 |
You can publish your single app for iPad
only to the Apple App Store, for a
| | 00:44 |
one-time fee of $395 as of the time of
this recording.
| | 00:49 |
If you're a paid Creative Cloud
subscriber, you can create an unlimited
| | 00:53 |
number of single-issue apps for the iPad
at no extra cost.
| | 00:57 |
If you're going to be making a large
number of DPS apps, or you want to publish
| | 01:00 |
them to both Apple and Android devices,
you need a Professional Edition
| | 01:04 |
subscription in which you pay Adobe a
monthly or annual platform fee plus a
| | 01:07 |
small fee for each download.
With a Professional Edition subscription
| | 01:14 |
you can create an unlimited number of apps
for both iPad and Android devices.
| | 01:19 |
And for high-end customers Adobe offers an
Enterprise Edition which allows large
| | 01:23 |
companies even more flexibility to create
unique branded apps.
| | 01:28 |
For up-to-date information on features and
pricing, check out the DPS family page on adobe.com.
| | 01:34 |
Now let's talk a little bit about what a
DPS publication actually is, and what you
| | 01:38 |
can do with it.
In a DPS publication your InDesign layout
| | 01:41 |
is essentially rendered as a background
image, either in PDF or a purely
| | 01:45 |
pixel-based format.
Like JPEG or PNG, and on top of the
| | 01:49 |
background image, you add interactive
overlays.
| | 01:54 |
These overlays can contain hyperlinks,
slideshows, audio and video, 360 degree
| | 01:58 |
panoramas, web content, and more.
So, you get to preserve the look of your
| | 02:04 |
InDesign layout, while adding all kinds of
interactivity to it.
| | 02:07 |
In the DPS workflow, the basic unit of
publication is called a Folio.
| | 02:12 |
A Folio is often an issue of a magazine,
although it can also be a separate one off publication.
| | 02:17 |
There are two DPS panels inside InDesign,
the Folio overlays panel, for adding
| | 02:21 |
interactive overlays, and the Folio
Builder, for creating creating Folios,
| | 02:25 |
adding InDesign layouts to Folios and
uploading them to Adobe's acrobat.com
| | 02:29 |
servers, where you can complete the steps
for sharing your app or publishing it to
| | 02:33 |
the app store.
DPS tools also include a separate
| | 02:38 |
application called the Content Viewer,
which allows you to preview you work
| | 02:42 |
locally before you upload it.
Although, it's definitely recommended that
| | 02:47 |
you test your publication on a mobile
device, to see how it would really look
| | 02:50 |
and act for your readers.
Okay, that was a quick overview of what
| | 02:54 |
DPS publications are, and the workflow
inside InDesign.
| | 02:58 |
In the next movie, we'll look at how to
create a DPS project in InDesign, using
| | 03:02 |
the Folio Builder panel.
| | 03:04 |
| | Collapse this transcript |
| Using the Folio Builder panel| 00:00 |
In the DPS workflow, a folio is the basic
unit of production, and folios are
| | 00:04 |
composed of one or more articles.
In InDesign, you use the folio builder
| | 00:09 |
panel to create folios and add articles to
them.
| | 00:12 |
You can open it by choosing Window, Folio
Builder and you don't have to have any
| | 00:17 |
InDesign documents open to see the folios
you've created.
| | 00:21 |
Folios can either be locally stored on
your computer, or they can be in the cloud
| | 00:26 |
at Acrobat.com.
They can also be shared with others or be private.
| | 00:31 |
And the Folio Builder panel can be
configured to show you any of these
| | 00:34 |
categories of folios or all of them.
Right now, my panel's just showing me one
| | 00:39 |
local folio here.
And that's because I'm not signed in.
| | 00:42 |
So, I'm going to sign in using the panel
menu, using my Adobe id, and now the panel
| | 00:52 |
indicates that I'm signed in with a filled
in circle up here.
| | 01:06 |
And I can see the folios I've previously
created and uploaded to the cloud.
| | 01:11 |
I can hover over each one and get some
info about it.
| | 01:16 |
And I can see this one has been shared.
And I also have the document sizes.
| | 01:20 |
In each case it's 1024 by 768 here.
When I select a folio, I get different
| | 01:26 |
choices in the panel menu.
So I can rename the folio, I can add
| | 01:32 |
content to it by choosing Import Article,
Add Article, or Import HTML Resources.
| | 01:39 |
And I can define properties.
So I can give it a publication name,
| | 01:43 |
choose a viewer version compatibility, a
size, and cover previews.
| | 01:49 |
And for local folios, I can upload them to
the cloud.
| | 01:52 |
For folios already in the cloud, I can
share them.
| | 02:01 |
I can double click on a folio name, to see
the articles in that folio and at the
| | 02:05 |
bottom of the panels, are buttons to
import articles or to add the current End
| | 02:10 |
Design document, as an article and if I
double click on an article, I can see the
| | 02:14 |
layouts in that article.
DPS projects can be either single or dual
| | 02:21 |
orientation, and you can see here that
this is a dual orientation project with
| | 02:25 |
both landscape and portrait layouts.
I can click the arrow on the left to go
| | 02:31 |
back to the articles level and again to go
back to the folio level.
| | 02:34 |
Okay, so let's create a new folio with
some articles and add some in design layouts.
| | 02:39 |
Our folio will contain the course catalog
from the Roux Academy, and the document
| | 02:43 |
showing the eight reasons it's great to
study at Roux, the two InDesign documents
| | 02:46 |
that I currently have open.
So at the folio level, I'll click the new
| | 02:52 |
folio button, and I'll call this Roux
Academy 2013.
| | 02:57 |
The target devices is an Apple iPad.
It's going to be a duel orientation folio,
| | 03:01 |
and I'll leave the default format at PDF.
Which will give me a sharper image and
| | 03:07 |
smaller file sizes in many cases and I'll
add the cover preview images, you'll find
| | 03:12 |
these in the links folder inside the
exercise files.
| | 03:17 |
So RouxCatalog-cover-V.jpeg.
(SOUND) And Roux Catalog-cover-H.jpg and
| | 03:27 |
we'll click OK and the folio is created
but note that it doesn't have any content yet.
| | 03:34 |
So, I'm prompted to add an article.
I'll add the Open End Design document.
| | 03:39 |
I'll call it Catalog.
And click OK.
| | 03:41 |
And it can sometimes take quite a while to
create an article, depending on the
| | 03:46 |
complexity of the layout.
Okay, the catalog article has been added,
| | 03:50 |
now let's add the reasons article.
I'll switch to that InDesign document, and
| | 03:55 |
click Add Open InDesign Document, and
we'll call this one Reasons.
| | 03:59 |
Click OK.
Okay, with both my articles added to the
| | 04:04 |
folio, I'll click the arrow at the top of
the panel to go back to the folio view and
| | 04:08 |
at the bottom of the panel I'll click
Preview, Preview on Desktop.
| | 04:17 |
And the Adobe content viewer app opens,
and I can use the View menu to zoom in or
| | 04:22 |
out and I can switch between landscape and
portrait views because this is a dual
| | 04:27 |
orientation folio.
I can scroll through the catalog using my
| | 04:32 |
mouse or keys.
And where I have interactive overlays,
| | 04:36 |
like this scrollable content, I can
preview them.
| | 04:40 |
I'll scroll all the way to the bottom or
even have a video I can play.
| | 04:47 |
(SOUND) So here we've taken a quick look
at the controls and the Folio Builder
| | 04:51 |
panel, and seeing how to use them to
create and view folios, add articles, and
| | 04:55 |
then preview them on the desktop with the
Adobe Content View application.
| | 05:01 |
Next we'll take a look at how to use the
other DPS panel in InDesign, the Folio
| | 05:05 |
Overlays panel, to add some interactivity.
| | 05:08 |
| | Collapse this transcript |
| Creating folio overlays| 00:00 |
Overlays are the interactive elements in
DPS projects.
| | 00:04 |
They're called overlays because when you
add an InDesign layout to a DPS project,
| | 00:08 |
all the non-interactive items are
converted to background images.
| | 00:12 |
And the interactive overlays sit on top of
the background images of each page.
| | 00:17 |
To create and manage overlays, you use a
panel called the Folio Overlays panel.
| | 00:22 |
Which I can open by choosing Window >
Folio Overlays.
| | 00:25 |
And there are eight kinds of interactive
overlays.
| | 00:30 |
So, we have hyperlinks, slideshows, image
sequences, audio and video, panoramas, web
| | 00:38 |
content pan and zoom, and scrollable
frames.
| | 00:44 |
For some overlays, you create or place
objects in InDesign and then use the Folio
| | 00:48 |
Overlays panel to edit them.
The overlays that work this way are
| | 00:53 |
hyperlinks, slideshows, audio and video,
pan and zoom and scrollable frames.
| | 00:59 |
For the other three kinds of overlays ,the
image sequences, panoramas and web
| | 01:04 |
content, you have to first draw an empty
rectangle.
| | 01:08 |
And then use the Folio Overlays panel to
place content into that frame.
| | 01:13 |
So, let's take a look at a couple
different kinds of overlays, slideshows,
| | 01:16 |
and hyperlinks.
In this document, I've set up a
| | 01:19 |
multi-state object, with the images that I
want to display in a slideshow.
| | 01:23 |
And if I look in the Object States panel,
I can see that it's called slideshow and
| | 01:28 |
that it has eight states.
And I can click through to see them.
| | 01:35 |
I've also created buttons to play this
slideshow, that's these two black arrows
| | 01:38 |
up at the top.
And if I open the Buttons and Forms panel,
| | 01:43 |
I can see this button's named previous and
on release or tap, it will go to the
| | 01:47 |
previous state of the slideshow
multi-state object.
| | 01:52 |
I cover the details of working with
multi-state objects and buttons in other
| | 01:55 |
movie in this course.
Now, if I select my multi-state object and
| | 01:59 |
look in the Folio Overlays panel, I can
see that it's automatically selected the
| | 02:03 |
slideshow as the type of overlay.
And now I have a bunch of options I can
| | 02:08 |
set to control the behavior of the
slideshow in my folio.
| | 02:11 |
I can have it start playing by itself with
Autoplay or I can let the user tap to play
| | 02:15 |
and pause the slideshow.
If I do that I can set the intervals so,
| | 02:21 |
how long each slide displayed for and I
can set cross fade effects and so forth.
| | 02:26 |
Note that, if I allow the user to tap, to
start and stop the slideshow, that's going
| | 02:29 |
to over ride my buttons and they won't
work.
| | 02:32 |
So, I'm going to deselect that for now.
Also I this page, there were two other
| | 02:36 |
buttons that I've created that service
hyper links.
| | 02:39 |
To the home page of the Roux Academy and
also to send an email to them, to the
| | 02:42 |
admissions office.
And for the link to the Roux Academy
| | 02:47 |
homepage, if I look in the Folio Overlays
panel, I've set it to open in the device
| | 02:51 |
browser and to ask the user first.
Now, let's test these overlays by pressing
| | 02:57 |
the Preview button at the bottom of the
panel and selecting Preview on Desktop.
| | 03:03 |
The Adobe Content Viewer application
launches and here's my preview, so I can
| | 03:07 |
click on the buttons to test out the slide
show, it can go forward and back.
| | 03:13 |
And, if I view this folio in an iPad, I
can see that the email link works.
| | 03:19 |
I'll cancel and go back to the content
viewer.
| | 03:21 |
And if I tap on the link to the Roux
homepage, I get asked if it's okay to open
| | 03:25 |
it in my browser, just like we selected in
the Folio Overlays panel.
| | 03:30 |
In this movie, we saw how to work with
hyperlinks and slide shows in the Folio
| | 03:34 |
Overlays panel.
We saw how the panel automatically
| | 03:37 |
recognizes what kind of interactive
content we've selected and offers options
| | 03:41 |
for how the user can interact with that
content.
| | 03:45 |
And we use the content viewer to preview
our overlays on the desktop.
| | 03:49 |
And we also looked at it on an iPad.
In the next movie, we'll take a look at
| | 03:52 |
the process of managing folios with the
folio producer, so you can share them and
| | 03:55 |
publish them.
| | 03:57 |
| | Collapse this transcript |
| Using the Folio Producer| 00:00 |
In previous movies we looked at how to use
the two DPS panels in InDesign, the folio
| | 00:04 |
overlays panel and the folio builder
panel.
| | 00:08 |
Now let's take a look at how to manage
Folios in the Folio producer, so you can
| | 00:11 |
publish them.
To open the Folio producer, go to the
| | 00:15 |
Folio Builder Panel menu, and choose Folio
producer.
| | 00:19 |
This'll launch your Web browser, and open
the Folio Producer web page, where you can
| | 00:23 |
see and manage the Folios you've
previously uploaded.
| | 00:27 |
Sign in if you need to do so, using your
Adobe ID.
| | 00:30 |
At the dashboard page click the Folio
producer, and here are my folios.
| | 00:39 |
I'll just drag so I can read some of these
columns a little bit better, and actually
| | 00:43 |
resize the window a little bit bigger,
there we go.
| | 00:47 |
All right, now that I can see everything,
I'll click on my Roux Academy 2013 folio.
| | 00:53 |
And on the right-hand side, I can see
folio details.
| | 00:56 |
So I can see the resolution, I can see
cover previews, and a description area.
| | 01:00 |
And the required properties of a folio are
marked with asterisks.
| | 01:05 |
So the description, the cover previews,
the folio name, the publication name that
| | 01:10 |
will actual appear in the iPad, and the
folio number.
| | 01:14 |
So in this case, I need to add a
publication name.
| | 01:17 |
I'll click in there and call it Roux
Academy Catalogue 2013.
| | 01:21 |
And I also need to give it a description
down here on the right.
| | 01:27 |
I'll just call it Roux Academy Course
Catalogue 2013 through 2014, then I'll
| | 01:33 |
scroll back up and click Publish.
I get to set these properties.
| | 01:39 |
I can make it private, it's free, and I
also need to add a product ID.
| | 01:45 |
I'll give it a unique identifier, I'll
call it com.roux.catalog.2013, and this is
| | 01:52 |
just my own naming convention.
And we've successfully started the
| | 01:59 |
publishing process, but we're not quite
done yet.
| | 02:01 |
I'll click OK, and then in the Organizer
view, I'll switch from All Folios to
| | 02:06 |
publish requests.
And here I can see the status of that
| | 02:11 |
publishing request of our Roux Academy
2013, and sometimes this can take quite a while.
| | 02:18 |
And now that the publishing process is
completed.
| | 02:21 |
I can switch over to my iPad and see the
folio and in the content viewer app.
| | 02:25 |
I see my new folio in the middle at the
top, I can tap on it, download it and
| | 02:31 |
there it is.
So here we saw how to use the Folio
| | 02:37 |
Producer tools on Acrobat.com.
If we were publishing an app for sale in
| | 02:41 |
the app store, there would be extra steps
involved.
| | 02:44 |
If you want to learn more about the DPS
publishing process, check out the courses
| | 02:48 |
on DPS in the Lynda.com library.
| | 02:51 |
| | Collapse this transcript |
|
|
7. Tools for Creating EPUBsUsing the Articles panel| 00:00 |
When you're creating ePubs from InDesign,
you have some choices for how to define,
| | 00:04 |
which items go into the ePub.
And where in the sequence they fall.
| | 00:08 |
You'll have the most control, and get the
results you want faster if you use the
| | 00:11 |
Articles panel.
Let's check it out.
| | 00:15 |
Here, I have my college course catalog.
And one of the formats I'd like to
| | 00:18 |
distribute it in is ePub.
It's a pretty simple document.
| | 00:22 |
Just a title page followed by a table of
contents and some course listings.
| | 00:29 |
So, without doing anything to prepare the
file, I'm just going to export to ePub and
| | 00:32 |
see what I get.
Press Cmd or Ctrl+E.
| | 00:36 |
I'll go to the Desktop, and we'll just
call it Catalog.
| | 00:43 |
Click Save.
And it won't change of the settings in the
| | 00:46 |
dialogue box.
So, here the file opens in Adobe Digital
| | 00:57 |
Editions and let's take a look at it.
First thing I think is, Gosh, this is kind
| | 01:02 |
of a mess.
The first thing I have here is a photo
| | 01:05 |
that was used as the background on the
title page.
| | 01:10 |
Then I have the title, followed by a image
by itself from the table of contents page,
| | 01:15 |
and some text from the table of contents,
followed by an image that was with the
| | 01:20 |
table of contents.
Another image, the course listings, and
| | 01:28 |
then at the end of the ePub, I just have a
bunch of photos.
| | 01:36 |
And these photos were all interspersed
with the course listings.
| | 01:40 |
So, what's going on here?
Why did my content get so mixed up?
| | 01:43 |
Well, for starters, it's key to understand
that a reflowable like this is a linear format.
| | 01:49 |
It's a sequence of content items from
first to last.
| | 01:52 |
So, this is a simple sequence of items but
in order to get a decent ePub, we need to
| | 01:56 |
be able to control, which items go into
the sequence and which ones are left out.
| | 02:02 |
Notice that there were some page items
that didn't make it into the ePub like all
| | 02:06 |
the footers.
They were left behind because they're
| | 02:08 |
master page items.
And InDesign considers master page items
| | 02:12 |
artifacts of the page layout and not
intended to be part of the ePub.
| | 02:16 |
But how do we ignore other items that we
don't want, like that background image at
| | 02:19 |
the start and some of the other extra
items on the table of content's page?
| | 02:24 |
We can find the answer by switching back
to end design and exporting to ePub again,
| | 02:29 |
and in the ePub Export Options dialog box,
under the general settings setup, we have
| | 02:35 |
Content Order.
And right now it's set to based on Page layout.
| | 02:42 |
I also have choices here for same as XML
structure, and same as Articles panel.
| | 02:47 |
Based on page layout, we'll put everything
on the page, starting from left to right.
| | 02:51 |
And then top to bottom, in that order.
There's no easy way to be selective about
| | 02:56 |
which items to include or to tweak the
order with this method.
| | 03:00 |
You could change the order by moving items
around on the page.
| | 03:03 |
But obviously that's going to be tedious
work and it's going to ruin the page layout.
| | 03:08 |
There's gotta be a better way.
And in fact there is.
| | 03:10 |
Instead of page layout, I'm going to use
the Articles panel as the basis for my
| | 03:14 |
ePub Content Order.
So, I'll cancel out this dialog box and
| | 03:17 |
I'll open the Articles panel and I'll
click the button to create a new article.
| | 03:23 |
I'll call it Roux Course ePub.
I'll make sure include when exporting is
| | 03:28 |
selected, and click OK.
.
| | 03:31 |
Now, I'll jump to the first page of my
document and start adding the content that
| | 03:35 |
I want to the ePub to the article.
I'll select the text frame with the title
| | 03:39 |
in it, and click the Plus button.
And I'll select this text frame and add it.
| | 03:46 |
And I'll leave that background image alone
because I don't want it in ePub.
| | 03:49 |
I'll go to the next page, I'll select my
Table of Contents, add it.
| | 03:55 |
And on the next page, I'll grab this photo
and the story containing the course listings.
| | 04:05 |
Note that I only have to add that story
once, even though it continues for a few pages.
| | 04:10 |
All the text in that story will be
included in the ePub.
| | 04:13 |
On the next page I'll grab these photos,
and this group containing two photos.
| | 04:25 |
I'll skip this photo because I already
have some containing fashion.
| | 04:30 |
And I'll grab these last too.
Once I've added items to the Articles
| | 04:33 |
panel I can double click on them in the
panel to jump to them in the layout.
| | 04:37 |
For example, I can double click on my
Table of Contents.
| | 04:42 |
I can also remove selected items by
clicking on the trash can or I can drag
| | 04:45 |
them up or down to change the order.
So much easier than trying to rearrange
| | 04:52 |
items on a page.
Okay, let's export to ePub again and see
| | 04:55 |
what we get this time.
Press Cmd or Ctrl+E.
| | 05:00 |
Click Save.
I'll replace.
| | 05:02 |
And this time I'll be careful to choose
same as Articles panel for the content order.
| | 05:09 |
Click OK.
Now, at the start I get the title and year
| | 05:16 |
and no background image, followed by the
Table of Contents with no unwanted items.
| | 05:25 |
Followed by a photo and the course
listings and then the photos I selected.
| | 05:32 |
But why did 1 photo come before the
courses and all the rest came after?
| | 05:36 |
Let's go back to InDesign and check the
Articles panel.
| | 05:39 |
Here's the first photo, which I can double
click to jump to it.
| | 05:44 |
And it's followed by the story containing
the course listings, but remember that was
| | 05:47 |
just one story that ran for several pages.
What we need is a way to make the photos,
| | 05:52 |
which are completely separate from the
story now, become part of that story.
| | 05:56 |
So, we can insert them in the precise spot
in the text where they should appear.
| | 06:00 |
The way we do that is to use anchored
items.
| | 06:03 |
And we'll see that in the next movie, but
for now, we've made some progress on
| | 06:06 |
getting a better ePub by adding the
content we want in the Articles panel and
| | 06:10 |
selecting same as Articles panel for the
content order in the ePub Export dialog box.
| | 06:17 |
| | Collapse this transcript |
| Using anchored objects| 00:00 |
In a previous movie, we saw how to choose
which InDesign objects will be exported
| | 00:04 |
into an EPUB, using the Articles panel.
And for the most part, you can also use
| | 00:08 |
the Articles panel to fix problems with
the EPUB content order, simply by
| | 00:11 |
arranging items as you want them in the
panel.
| | 00:15 |
But you will run into a problem you can't
solve with the Articles panel alone, when
| | 00:18 |
you have items that need to appear next to
a specific point in the text of a story.
| | 00:23 |
For that, you need to insert the items
into the story itself.
| | 00:27 |
And it would be nice if you could do that
without disrupting your page layout.
| | 00:30 |
Fortunately, you can do exactly that with
anchored objects.
| | 00:34 |
Let's see how.
So, here are my course listings that I'm
| | 00:36 |
going to export to EPUB and I've already
created an article with the content that I want.
| | 00:41 |
But I need to fix the problem where almost
all the images are coming at the end, when
| | 00:45 |
they really should accompany each new
department heading, like animation,
| | 00:48 |
fashion and graphic design.
In the EPUB I'd like for this photo of the
| | 00:52 |
student in the red shirt, to appear here
under the Animation heading.
| | 00:57 |
And to do that, I'm going to anchor the
photo, just after the word, Animation.
| | 01:01 |
To anchor it, I'll select it and use the
Anchored Object Control.
| | 01:05 |
If you don't see it, choose View > Extras
> Anchored Object Control.
| | 01:13 |
So, just click on this square and drag it
right after the word, Animation.
| | 01:17 |
Now this is great because I've anchored
the photo to that spot in the text, so it
| | 01:20 |
will come out there in the EPUB, but
notice that my layout looks completely unchanged.
| | 01:26 |
Anchoring the photo had no effect on its
position, it will however move if I edit
| | 01:29 |
the text.
The other thing to note is that this
| | 01:35 |
picture is no longer on the Pictures
layer, If I select it and look in the
| | 01:39 |
Layers panel, I can see it here on the
Text layer.
| | 01:44 |
That's because it's really part of the
text frame now.
| | 01:46 |
And if I look in the Articles panel, I'll
notice that the listing for this photo is gone.
| | 01:51 |
It used to be right here above the story,
again this is because the photo is now
| | 01:55 |
part of the story.
I'll go to the next page and anchor some
| | 01:59 |
more photos.
Again I'll just drag the Anchored Object
| | 02:04 |
Control right after the heading and repeat
the process on the next page.
| | 02:10 |
I'll skip this photo because I already
have some fashion photos and I'll take the
| | 02:14 |
two photos for graphic design.
Now, lets export to EPUB.
| | 02:22 |
I'll just export to the Desktop, I'll call
it Anchored.
| | 02:28 |
I'll make sure my Content Order is based
on the Articles panel and click OK.
| | 02:38 |
Alright, here is my EPUB, let's go through
it.
| | 02:43 |
And here's the photo of the guy in the red
shirt, right under the Animation heading.
| | 02:48 |
We'll continue on.
Under Drawing and Applied Arts, I have my
| | 02:53 |
two photos but they're separate.
They're not aligned the way that they were
| | 02:57 |
in the layout.
And if I look in Fashion & Textual Design,
| | 03:05 |
I have the same thing.
The photos are split up now.
| | 03:10 |
And again under Graphic Design.
Okay, we've made some progress in proving
| | 03:13 |
our EPUB output, by anchoring the photos
where they should appear under each heading.
| | 03:18 |
And we did that by dragging the Anchored
Object Control on the photos, to the right
| | 03:21 |
place in the text.
But we're not quite done yet, some of the
| | 03:25 |
photos aren't positioned and sized right.
So, for that we're going to use something
| | 03:30 |
called Object Export Options, which we'll
see in the next movie.
| | 03:33 |
| | Collapse this transcript |
| Setting object export options| 00:00 |
In previous movies, we've looked at the
process of exporting to EPUB, and how you
| | 00:04 |
can get better results by structuring
content with the Articles panel, and
| | 00:07 |
anchoring items like photos, so, they
appear in the right places.
| | 00:12 |
Next, let's take a look at how to control
the position, size, and other aspects of
| | 00:16 |
images with Object Export Options.
Here we have an EPUB that we exported in a
| | 00:20 |
previous movie, and we were able to get
the photos to appear in the right places
| | 00:24 |
inside the main story by anchoring them.
But in cases like this one, I wanted to
| | 00:29 |
have two photos side by side, under the
heading Drawing and Applied Arts.
| | 00:34 |
And right now, I have two separate photos.
So, let's go back to InDesign and figure
| | 00:38 |
out how to put them side by side.
The first thing we need to do is to
| | 00:43 |
unanchor these photos.
So, I'll click on each of them, right
| | 00:47 |
click and choose Anchored Object >
Release.
| | 00:50 |
And again, Anchored Object > Release.
I'll select both of them and group them.
| | 01:01 |
And now, I can go to the Object menu,
choose Object Export Options, EPUB and
| | 01:05 |
HTML, and I'll select this option, Custom
Rasterization.
| | 01:10 |
I'm just going to leave the rest of the
settings as they are, but note that I
| | 01:14 |
could make several adjustments here if I
wanted to.
| | 01:18 |
I could keep the size relative to the page
width, or I could make it fixed.
| | 01:23 |
I could choose a different image format, a
resolution and so forth.
| | 01:26 |
And let's not forget to anchor the group,
so, it appears in the right place just
| | 01:30 |
after the heading.
So, I'll grab the anchor object control
| | 01:33 |
and drop it there.
Let's export to EPUB again and see what
| | 01:37 |
difference is made.
I'll put it on the desktop, I'll call it
| | 01:41 |
object options and let's take a look at
the EPUB.
| | 01:44 |
And there we go.
We now have the images joined together
| | 01:47 |
side by side, filling the full page width
just as we had in the layout, and just
| | 01:51 |
like I wanted them to be in the EPUB.
And we could repeat that same process for
| | 01:57 |
the other images.
In this movie, we saw how to control the
| | 02:00 |
size, alignment, and spacing of photos in
our EPUB using Object Export Options.
| | 02:05 |
| | Collapse this transcript |
| Setting paragraph style export tagging| 00:00 |
When you export to EPUB, your InDesign
content and formatting is represented in
| | 00:05 |
HTML and CSS Code.
In order to effectively translate the look
| | 00:09 |
of your layout into the proper code, you
need to apply styles consistently to the
| | 00:13 |
text throughout your document and then map
those styles to HTML tags and classes.
| | 00:19 |
Let's see how it's done.
Here, I have my course catalog and I've
| | 00:22 |
exported it to EPUB and to some cases the
formatting looks pretty good.
| | 00:27 |
InDesign's automatic tagging was able to
create some decent results, but in other
| | 00:30 |
places, I see some things I want to
change.
| | 00:33 |
One thing in particular that I'm looking
at are the headings for each department,
| | 00:37 |
like Animation up here.
These headings were small in my InDesign
| | 00:41 |
document but I really want them larger
here in the e-pub.
| | 00:44 |
And that means tinkering in the HTML and
CSS code after it gets exported from InDesign.
| | 00:49 |
I'm going to have a lot easier time of
that if I take the time to set up mapping
| | 00:53 |
between my paragraph styles and the tags
that I want in my EPUB.
| | 00:58 |
Let's switch to InDesign and take a look
at the Paragraph Style options for one of
| | 01:01 |
those headings.
In my Paragraph Styles panel, I'll
| | 01:04 |
right-click and edit the department
Animation paragraph style.
| | 01:10 |
And if I look at the very last set of
options called Export Tagging, I can see
| | 01:14 |
that I have some control over the code
that's going to be applied to these headings.
| | 01:19 |
By default, the tagging is going to be
automatic, which means that InDesign is
| | 01:22 |
going to wrap this heading in a paragraph
tag, just like any other paragraph of text.
| | 01:27 |
The formatting that make it look like a
heading is created by a class, based on
| | 01:31 |
the style name and some corresponding CSS,
to set the size, color, and alignment of
| | 01:35 |
text, and so on.
If you think about it, InDesign has no
| | 01:40 |
idea what you consider to be a heading 1,
heading 2 or so on.
| | 01:44 |
It's all just paragraphs of text to
InDesign and that can make for some messy
| | 01:47 |
code that's hard to work with if you don't
take steps to fix it before you export.
| | 01:53 |
So my job here is to create some structure
in my HTML.
| | 01:56 |
And in this case, I want my department
headings to be represented as h2s in the EPUB.
| | 02:02 |
There are second level headings under the
Document title which would be h1.
| | 02:05 |
So in the Tag menu, instead of Automatic,
I'm going to select h2.
| | 02:11 |
And the department headings are not just
any h2s, they're specific kinds and that I
| | 02:15 |
want to have it's own unique formatting in
the EPUB.
| | 02:18 |
So I'll give them a class of department or
dept.
| | 02:23 |
And I also want each of these headings to
start a new page.
| | 02:26 |
So down here, I'm going to select Split
Document, EPUB only.
| | 02:30 |
Notice that I also have this option to
Emit CSS.
| | 02:33 |
If I select Emit CSS, then the CSS class
department will be defined based on this style.
| | 02:39 |
So if there's a conflict and I have
another paragraph with different
| | 02:43 |
formatting mapped to the same tag and
class the one with Emit CSS is the one
| | 02:46 |
that will prevail and be used in the CSS.
So I'll select Emit CSS and make this
| | 02:52 |
formatting the basis for everything that's
tagged with h2 and a class of department.
| | 02:59 |
I'll click OK.
Now, it's good to have the ability to set
| | 03:04 |
tag and class here in a Paragraph Style
dialog box, but it's much better to deal
| | 03:08 |
with all of your styles at once, in one
place, and for that, I can go to the
| | 03:12 |
Paragraph Styles Panel Menu and choose
Edit All Export Tags.
| | 03:19 |
Here, I can see all my paragraph,
character, and object styles in my document.
| | 03:23 |
I can choose a tag, enter a class name,
and select my options to split the EPUB,
| | 03:27 |
and Emit CSS.
So let's set up all the department
| | 03:31 |
headings to create some consistent tagging
in our EPUB.
| | 03:35 |
I'll scroll up till I find those styles.
So, here's department animation it's in h2
| | 03:41 |
the class of department and it will split
the EPUB and Emit CSS.
| | 03:46 |
We'll set up department drawing h2 to
dept, Split EPUB.
| | 03:56 |
And since I only need one of these styles
to Emit CSS, I'll deselect that here.
| | 04:00 |
I'll do the same for Dept Fashion, h2,
class of dept, Split the EPUB, don't Emit
| | 04:07 |
CSS and Dept Graphic of Design.
Gets the same treatment.
| | 04:18 |
I'll click OK, and let's export in EPUB.
I'll call it Tagging and export to the desktop.
| | 04:30 |
And now I know my headings are consistent
and I know they're semantically structured
| | 04:33 |
right as h2s.
But they're still too small, so to fix
| | 04:37 |
that, I made a little extra CSS that will
just override the font size and line height.
| | 04:43 |
Let's go back to InDesign.
We'll export again.
| | 04:47 |
Save over that EPUB.
Then I'll go to the advanced section of
| | 04:53 |
the dialogue box, under CSS Options,
Additional CSS, I'll click Add Style Sheet.
| | 04:59 |
And in the Exercise Files for this lesson,
there's a little CSS file called
| | 05:04 |
roux-simple-h2.css, and all it does is
change the font size to 2M and the line
| | 05:09 |
height to 2.
I'll click OK Let's take a look at those headings.
| | 05:18 |
And there, now, the department headings
have the formatting that I want.
| | 05:21 |
And just as importantly, the underlying
code is clean and consistent.
| | 05:25 |
With just a couple lines of CSS, we were
able to fix the formatting of all the
| | 05:28 |
department headings.
And that's thanks to our consistent use of
| | 05:32 |
styles in InDesign and the ability to set
paragraph style export tagging.
| | 05:37 |
| | Collapse this transcript |
|
|
8. Tools for Adapting LayoutsInDesign documents for mobile devices| 00:00 |
Nowadays it's likely that any interactive
documents you create are going to be
| | 00:03 |
viewed on a variety of devices, on
different screen sizes and orientations.
| | 00:08 |
And since you can't use InDesign to create
responsive layouts that automatically
| | 00:11 |
adapt to whatever screen they're being
viewed on.
| | 00:15 |
You have to either accept that your layout
won't fit some of the various screens, or
| | 00:18 |
you need to create separate layouts for
each screen size and orientation.
| | 00:22 |
For example, here's a PDF about the Roux
Academy that I'm viewing on my iPad in the
| | 00:26 |
Adobe reader app.
And when I hold the iPad vertically, the
| | 00:30 |
PDF looks pretty good.
That's because this document was made with
| | 00:34 |
the same aspect ratio as the iPad.
So, it fits the screen.
| | 00:38 |
I can swipe through and see my pages, and
it pretty much feels like I'm paging
| | 00:41 |
through a print version of this document.
But what happens if I turn the iPad screen?
| | 00:47 |
Well, now in order to see the whole page,
I have to view it at such a reduced size
| | 00:51 |
that almost half the screen is wasted
space.
| | 00:54 |
This makes all my contents smaller and
less impactful, and it makes the text a
| | 00:58 |
lot harder to read.
I can of course zoom to fit the full
| | 01:01 |
width, but then I see only a fraction of
the page.
| | 01:04 |
And the problem would be even worse on an
iPad Mini where the screen size is smaller.
| | 01:09 |
And even worse than that, on a device like
the Kindle Fire, because it has both a
| | 01:12 |
smaller screen and a different aspect
ratio.
| | 01:16 |
So, my document wouldn't fit the screen in
either orientation, very far from an
| | 01:19 |
optimal viewing experience.
Now, that was all using the PDF as an example.
| | 01:25 |
Let's contrast that to a project made with
Adobe's Digital Publishing Suite, where I
| | 01:28 |
can publish multiple versions of a
document for different devices and orientations.
| | 01:33 |
On the iPad, we'll switch over to the
Adobe content viewer app.
| | 01:37 |
And again, the document looks nice in
vertical orientation, but watch what
| | 01:41 |
happens when I turn it on its side.
The page elements are re-sized, the text
| | 01:47 |
re-flows, and they get a document that
fits the window.
| | 01:50 |
This is the benefit of using InDesign to
create separate versions of a layout for
| | 01:53 |
multiple mobile devices.
Now, that might sound like a lot of work,
| | 01:58 |
but Adobe has worked hard to build tools
for adapting layouts in InDesign.
| | 02:02 |
So, you don't have to do the work of
starting each document from scratch or all
| | 02:05 |
kinds of manual things like duplicating
documents, cutting and pasting, re-sizing
| | 02:09 |
objects, and so on.
So, next, let's start a look at InDesign's
| | 02:14 |
tools for adapting layouts.
| | 02:16 |
| | Collapse this transcript |
| Using Liquid Layout| 00:00 |
Let's start our look at InDesign's
features that can help you design for
| | 00:03 |
mobile devices with a look at Liquid
Layout.
| | 00:06 |
Liquid Layout in InDesign is both a panel
and a set of rules for adjusting the items
| | 00:10 |
in a layout when you change the page size.
It's not the simplest feature inside
| | 00:14 |
InDesign, but it's worth learning so you
can take advtange of its power if you need
| | 00:18 |
to create different size versions of your
documents.
| | 00:22 |
In this movie we'll use some very simple
examples, so you can get started
| | 00:25 |
understanding liquid layout.
On my page here I have just one placed
| | 00:29 |
photo, and one text frame.
I've made four exact copies of this page
| | 00:33 |
to demonstrate what happens to the photo
in the text frame when I change the text
| | 00:36 |
frame orientation from horizontal to
vertical.
| | 00:40 |
In the tools panel, I'll click on the page
tool.
| | 00:43 |
And notice up in the control panel, I a
width and height of 1024 and 768 using the
| | 00:47 |
iPad preset in landscape mode.
And to the right of that, I have the
| | 00:53 |
liquid page roll menu, and it's currently
set to off.
| | 00:57 |
Also notice that since I grabbed the page
tool, the page itself has control handles,
| | 01:01 |
just like frames do.
So if I drag one of those handles, the
| | 01:05 |
page size will change, but none of the
content moves.
| | 01:10 |
The reason nothing moved is the liquid
page rule being set to off.
| | 01:14 |
I have to choose a different liquid page
rule to make the content respond when the
| | 01:18 |
page size changes.
So let's experiment with some liquid page rules.
| | 01:22 |
First I'll select Scale.
If I drag the page with the page tool both
| | 01:27 |
the photo and the text frame will scale up
and down to fit inside the page.
| | 01:36 |
If I hold shift the shape of the page and
the objects is constrained.
| | 01:42 |
Now click the button in the Control panel
to switch from Landscape to Portrait.
| | 01:46 |
Then you can see that the page objects
were scaled down so they fit inside the
| | 01:48 |
page boundaries.
Now let's go to page two, and try the next
| | 01:53 |
Liquid Page Rule, which is Recenter.
As I drag the page, the picture and the
| | 01:58 |
text frame always stay centered on the
page.
| | 02:02 |
Now when I click on portrait in the
control panel, the frames stay centered,
| | 02:05 |
but they stick out into the paste board.
The recenter liquid page rule, doesn't
| | 02:09 |
scale objects at all.
So, it's probably only used for when
| | 02:13 |
you're going from a smaller page size to a
larger one.
| | 02:16 |
Now let's go to page 3, and try out the
next liquid page rule, which is object based.
| | 02:22 |
When I click on an object with the page
tool, there's a thick border around it.
| | 02:26 |
And controls that span the width and
height of the frame, plus these empty
| | 02:30 |
circles on all four sides.
I can click on the dotted lines inside the
| | 02:34 |
frame, to control whether the frame will
resize horizontally and/or vertically.
| | 02:38 |
I can click anywhere on the dotted line to
change from fixed width and height to
| | 02:42 |
flexible width and height.
The icon on the line shows a spring when
| | 02:46 |
the frame is flexible, and a lock when
it's fixed.
| | 02:49 |
So let's see what happens when both the
height and the width of this photo are locked.
| | 02:53 |
When I drag the page with the Page Tool,
the text frame resizes, but the image does not.
| | 03:00 |
Now, I'll unlock the width by clicking the
horizontal line and drag again.
| | 03:08 |
You can see the width changes, but the
height stays fixed.
| | 03:11 |
Now, I'll relock the width of the photo.
And let's look at how to control the
| | 03:14 |
spacing from the picture, to the edges of
the page.
| | 03:17 |
The circles outside the frame, can be used
for pinning it relative to each edge of
| | 03:20 |
the page.
When I click on a circle, it gets filled
| | 03:23 |
in to indicate the space between the edge
of the frame, and the edge of the page
| | 03:26 |
will stay the same when the page size
changes.
| | 03:31 |
I'll click on the circle to the left side
and drag the page so you can see the photo
| | 03:34 |
sticks to the left edge.
Next I'll pin the photo to the top by
| | 03:40 |
clicking the outer circle there, and drag
again.
| | 03:45 |
Now the photo sticks to the top as well.
You might be wondering what happens when
| | 03:51 |
you pin an object to opposite sides of the
page.
| | 03:54 |
Right now, the height of the photo is
locked, and it's pinned to the top, but
| | 03:56 |
what if I click on the bottom as well?
You can see the lock icon turned into a
| | 04:02 |
spring, meaning the photo will now re-size
vertically if the page size changes.
| | 04:07 |
So when there's a conflict between the
position and the size of an object, the
| | 04:10 |
position wins out.
Also notice that it's not possible to pin
| | 04:14 |
objects in relation to one another.
You can only pin them in relation to the
| | 04:18 |
page edges.So let's pin both the photo and
the text frame to the top and also make
| | 04:21 |
sure the photo is pinned to the left edge.
And, we'll allow the photo to resize.
| | 04:28 |
Now I'll switch to portrait, and both
objects kept their relation to the top
| | 04:32 |
edge and the photo stayed pinned to the
left edge.
| | 04:37 |
And both objects resized.
With some content it can be hard to see
| | 04:41 |
the icons to tell you whether an object is
fixed or flexible, and it can also be hard
| | 04:45 |
to click exactly where you need to to pin
and unpin an object.
| | 04:50 |
If that happens, use the Liquid Layout
panel.
| | 04:52 |
In the panel you can clearly see and set
any of these attributes, and you can also
| | 04:56 |
set a different liquid page rule here if
you want to.
| | 04:59 |
And there are controls to set content to
auto fit inside its frame.
| | 05:03 |
Okay, we have one more liquid page rule to
try out, and that's called guide-based.
| | 05:08 |
We'll go to page 4.
The guide based rule makes use of a
| | 05:11 |
special kind of guide called, a liquid
guide.
| | 05:14 |
You can create liquid guides by selecting
the page tool first and then dragging a
| | 05:17 |
guide from the ruler.
Or, if your using another tool, you can
| | 05:21 |
drag out a regular page guide and.
Then, click on an icon on the guide to
| | 05:25 |
change it to a liquid guide.
Even if when it's not selected you can
| | 05:29 |
tell a liquid guide by it's appearance
because a liquid guide is dashed and a
| | 05:32 |
regular guide is a solid line.
So, I'll drag out with the page tool.
| | 05:37 |
Here's my dash liquid guide and if I
switch to my selection tool.
| | 05:41 |
I can drag out a regular page guide, If I
select it I can see the icon.
| | 05:49 |
And how they're different.
And I can click on that icon to switch
| | 05:52 |
back and forth between a liquid guide and
a regular page guide.
| | 05:56 |
Objects that are touched by a horizontal
liquid page guide will re-size vertically.
| | 06:02 |
And objects that are touched by a vertical
liquid guide will resize horizontally.
| | 06:06 |
This might sound backwards but actually it
makes a lot of sense in practice.
| | 06:10 |
So I'll delete these two guides, switch to
my page tool and drag out a vertical
| | 06:14 |
liquid guide over the photo.
As I drag the page the photos width
| | 06:19 |
changes but it's height never does.
Notice also that the frame doesn't resize
| | 06:24 |
around the guide.
So it doesn't matter exactly where you put
| | 06:28 |
the guide, so long as it touches the
photo.
| | 06:30 |
The guide is really just a way to mark
page items you want to resize horizontally
| | 06:33 |
or vertically.
Now let's test the horizontal liquid guide.
| | 06:37 |
I'll take my selection tool, and select
and delete the vertical liquid guide,
| | 06:42 |
switch back to my page tool, and drag out
a horizontal one.
| | 06:49 |
Notice that this guide crosses both the
photo and the text frame.
| | 06:52 |
i'll drag again with the page tool, and
now the both resized vertically, but not horizontally.
| | 06:58 |
I can also add a couple of vertical liquid
guides to my photo and the text frame, So
| | 07:03 |
when I switch to portrait mode, I'll get
some good results.
| | 07:08 |
Both the photo and the text frame, we're
allowed to re-size horizontally and vertically.
| | 07:12 |
With the guide- based liquid page rule,
you don't have quite as much control as
| | 07:16 |
with object based.
But you definitly have more control than
| | 07:19 |
with the recenter or scale rules.
In addition to the four liquid page rules
| | 07:23 |
we tested, you might have also noticed an
item in the menu called Controlled By Master.
| | 07:28 |
This allows you to tell a document page to
use whatever liquid page rule was set on
| | 07:32 |
the master page.
That the document page is based on.
| | 07:35 |
Liquid page rules give you several options
for controlling how page content is
| | 07:39 |
positioned and sized when you change the
page size of a document.
| | 07:44 |
Even so, you should probably expect to do
some clean up work in a resized layout to
| | 07:47 |
get all the content looking the way you
want.
| | 07:51 |
If you're just getting started working
with liquid page rules, try them out on
| | 07:54 |
very simple page designs with just a few
objects so you can really understand how
| | 07:57 |
things are working.
| | 08:00 |
| | Collapse this transcript |
| Using alternate layouts| 00:00 |
Once you become familiar with Liquid Page
rules and Liquid Layout, the job of
| | 00:04 |
creating alternate layouts for different
screen sizes and orientations becomes a
| | 00:07 |
little easier to handle.
So, let's take a look at how alternate
| | 00:11 |
layouts work.
If I select the Page tool and look in the
| | 00:15 |
Control panel, I can see that this
document is 768 pixels wide by 1024 pixels
| | 00:20 |
high in a vertical orientation.
What I want to do now is create a second
| | 00:25 |
horizontal version because I want to
publish this document to the iPad and I
| | 00:29 |
want layouts that fit the screen both
horizontally and vertically.
| | 00:34 |
All the pages in this document are based
on the A master page.
| | 00:37 |
And if I view that master's page in the
Pages panel, I see that the object based
| | 00:41 |
Liquid Page rule is in effect.
And if I click on the picture frame.
| | 00:46 |
I can see that its width and height are
flexible, and it's pinned to the top and
| | 00:50 |
the sides.
The text frame has not been pinned
| | 00:54 |
anywhere, and its width and height are
flexible.
| | 00:57 |
Also I want to take a look at the options
applied to this text frame.
| | 01:00 |
I'll switch to the Selection tool by
pressing V on my keyboard.
| | 01:04 |
And then Option or Alt double-click on the
text frame, to open the Text Frame options
| | 01:07 |
dialog box.
I'll look in the third tab, Autosize,
| | 01:10 |
where it's set to Autosizing Height Only.
So, I see this text frame is set to
| | 01:14 |
expand, vertically from the top to fit the
text when the layout changes.
| | 01:19 |
And since all the other text frames in
this document are based on this one,
| | 01:23 |
they'll expand in the same way.
Now, let's create an alternate layout.
| | 01:29 |
I'll cancel out of the dialog box, and, in
the pages panel, I'll double click on page
| | 01:33 |
one again to view it.
And because I can see the name of the
| | 01:36 |
layout iPad V, I know that I'm viewing
pages in the Pages panel by Alternate Layout.
| | 01:42 |
If I want then I could just right click in
the Document Pages Area and choose that
| | 01:45 |
from the View Pages menu.
Now, I will click on the triangle next to
| | 01:51 |
the iPad V to choose Create Alternate
Layout.
| | 01:54 |
InDesign is going to create a horizontal
version of my layout and it's going to use
| | 01:58 |
that iPad vertical layout as the source
pages.
| | 02:01 |
For my liquid page rule, I'm going to
leave it at Preserve Existing, and I'll
| | 02:05 |
leave the options to Link Stories, Copy
Textiles to New Style Group, and Smart
| | 02:09 |
Text Reflow to their defaults.
And now I have an iPad horizontal layout.
| | 02:15 |
I'll click on the button in the bottom
right of my document window to split the
| | 02:18 |
layout view.
I'll click on the right side.
| | 02:21 |
And fit it in the window.
And then double click on page 1 of the
| | 02:25 |
IPad horizontal layout.
Now, I can compare my horizontal and
| | 02:29 |
vertical pages.
Unfortunately I can't move through the
| | 02:32 |
pages and keep the views in sync.
Instead I just to page down one side at a
| | 02:37 |
time to compare pages.
Also notice the link icon on the text
| | 02:41 |
frames in the new horizontal layout.
They're telling me that the text in those
| | 02:47 |
text frames is linked to another source.
In this case, it's the text in the
| | 02:51 |
original vertical layout.
So, if I change that text in the original
| | 02:55 |
layout, it will update here in the
alternate layout, so I have synchronized text.
| | 03:00 |
I also want to point out that in the
Paragraph and Character Styles panels,
| | 03:03 |
InDesign has created new style sets for
each layout.
| | 03:07 |
I have an iPad vertical style set.
And an iPad horizontal style set.
| | 03:11 |
So, if I needed to tweet the paragraph or
character styles in one layout.
| | 03:14 |
It won't mess up the text formatting in
the other layout.
| | 03:17 |
The options that made InDesign link the
stories and create the style sets were
| | 03:21 |
those defaults that I accepted in the
create Alternate Layout dialogue box.
| | 03:26 |
With InDesign's alternate layout features,
you can quickly build up different
| | 03:29 |
versions of a document for different
screen sizes and orientations.
| | 03:34 |
And the feature is also great for print
jobs when a document needs to be printed
| | 03:37 |
in different configurations.
And the fact that you can keep all those
| | 03:41 |
versions in the same InDesign file can
really simplify the job of keeping track
| | 03:45 |
of your assets.
| | 03:47 |
| | Collapse this transcript |
| Using primary text frames| 00:00 |
Primary Text Frames are an essential tool
for adapting layouts because they let you
| | 00:04 |
change your page designs by applying
different master pages without disrupting
| | 00:08 |
the main text flow.
Let's see how they work.
| | 00:12 |
Here I have a document that will be used
to create a college course catalog.
| | 00:15 |
And after the table of contents in the
introduction, there are several pages of
| | 00:19 |
course listings.
These document pages are all based on a
| | 00:22 |
master page called Courses.
I'll double-click it to take a look at it.
| | 00:27 |
Press the W key on my keyboard so I can
see the frame edges.
| | 00:31 |
And here's the main text frame, it has
three columns.
| | 00:35 |
And when I select it, notice the icon that
appears on the left side.
| | 00:39 |
This indicates the frame is a Primary Text
Frame.
| | 00:42 |
The first thing to know about Primary Text
Frames is that you can have only one of
| | 00:46 |
them on a page at a time.
So if I take my Type tool and drag out a
| | 00:50 |
new text frame on the page, and then
select it with the Selection tool, I can
| | 00:53 |
see that I have a different icon here.
This icon means this frame is not a
| | 00:59 |
Primary Text Frame, but I can change that
and designate this as the Primary Text
| | 01:03 |
Frame, just by clicking that icon.
Now the other frame is no longer a Primary
| | 01:09 |
Text Frame, but for this movie, I want to
keep the three column frame as my Primary
| | 01:12 |
Text Frame.
So I'll click the icon again and delete
| | 01:16 |
that new frame that I created.
The second thing to note about Primary
| | 01:21 |
Text Frames is that they cannot have any
texts in them on the master page.
| | 01:26 |
So if I would to type any text in here,
and then select the frame, I can see the
| | 01:30 |
icon has changed again.
And it's no longer a Primary Text Frame.
| | 01:35 |
I'll just Undo.
So once again this is a Primary Text Frame.
| | 01:39 |
Now to see what a Primary Text Frame can
do for us, let's go back to the document
| | 01:42 |
pages that were based on this master.
We can see that they have the courses
| | 01:46 |
listed in a three-column layout.
Now if I wanted to use a four column
| | 01:50 |
design in some places I can do so with no
trouble at all, thanks to the Primary Text Frame.
| | 01:56 |
First I'll create a new master page, I'll
right-click in the masters area of the
| | 02:00 |
Pages panel and choose New Master.
I base it on the courses master, and I'll
| | 02:06 |
give it name of 4 column.
I'll click OK and then on the masters page
| | 02:13 |
I'll select the three column text frame
and hold Option+Alt and double-click to
| | 02:18 |
bring up Text Frame Options.
I'll set the columns to 4 and click OK.
| | 02:25 |
Now, let's apply this New Master to some
of my document pages.
| | 02:29 |
In the Pages panel, I'll select pages six
and Shift-click to select page seven as well.
| | 02:35 |
And then I'll hold Option or Alt, and
click on the name of my new four-column
| | 02:40 |
master page.
Now I'll double-click to go to page six.
| | 02:45 |
And I can see I have that four-column
layout.
| | 02:47 |
And even better, my new four-column text
frames are still linked to the original
| | 02:50 |
text flow.
So if I click on the frame, I can see the
| | 02:53 |
text links going from the previous page
down to the next page.
| | 02:59 |
And if I wanted to change these pages back
so they use the three-column layout,
| | 03:03 |
that's no problem.
Again, I can just hold Option then click
| | 03:06 |
on the Courses Master.
And now I'm back to three columns.
| | 03:11 |
In this movie, we saw just how useful a
Primary Text Frame can be for adapting
| | 03:14 |
layouts to different designs.
It allows you to designate one and only
| | 03:19 |
one frame on a master page to hold the
main text flow.
| | 03:24 |
So you can change which master your
document pages are based on and have the
| | 03:27 |
text flow seamlessly with no additional
work.
| | 03:30 |
| | Collapse this transcript |
| Linking page items| 00:00 |
One of InDesign's features that can help a
lot when you're designing different
| | 00:03 |
versions of a document, is the place and
link feature.
| | 00:07 |
It allows you to create page items that
are linked to an original source.
| | 00:10 |
So, as you make changes, you can keep
things looking consistent across your
| | 00:14 |
documents, or you can set some attributes
of linked items to be independent of the original.
| | 00:19 |
So, let's take a look at linked page
items.
| | 00:22 |
Here I have my original document on the
left, and I've started a new version on
| | 00:26 |
the right, and I'd like to reuse this
photo in the new document.
| | 00:30 |
So, I'll select it, and choose Edit >
Place and Link.
| | 00:34 |
When I do this, the Content Conveyor
appears with the photo in it.
| | 00:37 |
Create link is selected and grayed out.
And also notice the link icon at my
| | 00:41 |
cursor, telling me that the photo I'm
about to place will be linked to the original.
| | 00:46 |
In the Conveyor, I'll choose Place
Multiple and Keep in Conveyor.
| | 00:50 |
So, I can place this item three times and
see some different Options.
| | 00:54 |
I'll go to my second document, and I'll
just click to place the new item at the
| | 00:57 |
same size as the original.
I can also click and drag to place it at a
| | 01:02 |
different size, and I can click and drag,
and hold the Shift key to crop the image differently.
| | 01:09 |
I'll press Escape to put away the Content
Conveyor, and go back to my original
| | 01:12 |
document and make a change to the photo.
In this case, I'll use the Control panel
| | 01:17 |
to set a rounder corner Option.
Here we go, so, the original has rounded corners.
| | 01:22 |
I'll switch to my other document, and I
can see that the link badges are now all
| | 01:26 |
updated to tell me the original has
changed.
| | 01:30 |
I can just click on the link badge to
update this photo.
| | 01:32 |
If I deselect, I can see the rounded
corners.
| | 01:35 |
And I can also Option or Alt click the
link badge icon to open the Links panel.
| | 01:44 |
In the Links panel, you might notice that
two items are selected.
| | 01:47 |
The top one is the JPG photo and the
bottom one is the linked page item.
| | 01:52 |
The tool tip shows me the file path.
I can right click on it and choose things
| | 01:56 |
like Relink to choose a different item to
link to, or Go to Source, which will go to
| | 02:00 |
the original document and select the item.
I can also choose and item and go to the
| | 02:10 |
Links Panel menu and choose Unlink to
break the link.
| | 02:13 |
And, if I want to customize which
attributes of this item are linked to the
| | 02:17 |
original, I can choose Link Options.
Here, I can set the link to automatically
| | 02:22 |
update each time I save the document.
I can have in design warn me if updating
| | 02:27 |
the link will override local edits I've
done in my other document.
| | 02:31 |
And I can select any of these options to
preserve local edits.
| | 02:34 |
If I hover over each one of them, I get a
tool tip with some details.
| | 02:39 |
Linking page items across documents allows
you to make changes to an item in one
| | 02:42 |
document and have those changes
automatically applied in your other documents.
| | 02:48 |
Also linked items don't have to be exact
replicas of the original.
| | 02:51 |
With Link options you can select some of
the attributes of linked items to be independent.
| | 02:56 |
| | Collapse this transcript |
| Using text style mapping| 00:00 |
The style mapping features in the Content
Conveyor give you the ability to instantly
| | 00:04 |
change the formatting of text when you
place it in a different document,
| | 00:07 |
potentially saving you a ton of time and
effort.
| | 00:11 |
So, let's check out the process of mapping
text styles.
| | 00:14 |
Here I have two documents and I want to
reuse all the content from the one on the
| | 00:17 |
left In the one on the right.
Note that even though the two documents
| | 00:21 |
have similar layouts, most of the text is
formatted differently.
| | 00:25 |
In the document on the left, I'll press
the b key to display the Content Conveyor
| | 00:29 |
and I'll click and drag over the frames I
want to reuse.
| | 00:33 |
This loads them into the conveyor.
Notice I have an option to map styles but
| | 00:36 |
it's grayed out.
That's because I need to switch to the
| | 00:40 |
Content Placer tool in order to make style
mapping available.
| | 00:43 |
I'll click on the Content Placer button.
And now Map Styles isn't grayed out anymore.
| | 00:48 |
This is one of those things that can be
confusing when you first start using the
| | 00:51 |
Content Conveyer.
Just to the right of the Map Styles button
| | 00:54 |
is another button called Edit Custom Style
Mappings.
| | 00:59 |
Note that it's called Custom Style
Mappings.
| | 01:01 |
If you just want to map styles with the
same names but different formatting
| | 01:04 |
definitions, then you don't need to set up
any custom style mapping.
| | 01:09 |
The formatting of the text will change
when you place it into the new document.
| | 01:13 |
But if you don't have styles with the same
names in your documents, then custom style
| | 01:16 |
mapping is going to be necessary.
I'll switch to my second document.
| | 01:21 |
And scroll down to a blank page, and then
I'll click on the Edit custom styles
| | 01:25 |
mapping button.
In the dialogue box, the first thing I
| | 01:30 |
need to do is chose the source document.
This is the document with the original
| | 01:34 |
formatting that I'm mapping from.
So I'll chose my original document, then
| | 01:39 |
for style type, I'll chose paragraph.
But the menu gives me options for
| | 01:43 |
character, table and cell styles also.
Next, I'll click on New Style Mapping and
| | 01:48 |
I'll click to select a source style.
I'll pick Body Text and I'll pick a style
| | 01:53 |
that I want to map body text to on the
right.
| | 01:57 |
That's a style called body text serif and
I'll repeat these steps First style's
| | 02:01 |
called number, which I'll map to Number
Black.
| | 02:06 |
And Reason which is the heading style,
will be mapped to Reason Purple.
| | 02:14 |
And click OK.
Now I have my style mapping set up.
| | 02:19 |
I can click in my new document and the
text is formatted with the styles I want.
| | 02:24 |
When you need to re purpose text, style
mapping can be the most useful features
| | 02:27 |
larking in the Content Conveyor.
All you need to do is be sure you're using
| | 02:32 |
the content placer, then setup your
desired custom style mappings, and you can
| | 02:35 |
instantly reformat text and save yourself
a lot of effort.
| | 02:40 |
| | Collapse this transcript |
|
|
9. Interactive Document WorkflowsDesigning for interactivity| 00:00 |
When it comes to choosing the right file
format for your interactive documents, one
| | 00:04 |
approach you could take is to think about
the features that matter most to you and
| | 00:07 |
then see which file formats support those
features.
| | 00:11 |
In this movie, we'll take a look at a very
handy table that shows every in InDesign
| | 00:15 |
for building interactivity and which file
formats support those features and which
| | 00:19 |
ones don't.
You can find the PDF in the exercise files
| | 00:24 |
folder in Chapter 9, Lesson 1.
The first page of the PDF shows the kinds
| | 00:28 |
of files you can export with
interactivity.
| | 00:31 |
Interactive PDF, SWF, EPUB, and HTML and
the Adobe Digital Publishing Suite or DPS.
| | 00:39 |
So let's go through this table and talk
about some of the items in it.
| | 00:42 |
First, we have preserve layout appearance,
which is one of the fundamental questions
| | 00:46 |
you ask when you are planning to convert
or create documents for interactivity.
| | 00:52 |
Are you trying to use InDesign as the
primary design tool for your layout, or
| | 00:55 |
will you create formatting some other way?
The formats that will replicate the look
| | 01:00 |
of your InDesign pages are interactive
PDF, SWF, and DPS.
| | 01:05 |
EPUB HTML is a different story.
Although, you do have some control over
| | 01:10 |
the formatting of text and objects that
you can set up in In Design, there's
| | 01:13 |
always going to be additional work after
you export with things like CSS code.
| | 01:19 |
And in most cases, these formats allow the
person viewing your document to change its
| | 01:23 |
appearance, changing the fonts and size of
text and so on.
| | 01:27 |
Fixed layout EPUBs give you more control
over the final product.
| | 01:30 |
If acessibility is important to you then
you're limited to the formats where you
| | 01:35 |
can export structure content, PDF and EPUB
HTML.
| | 01:40 |
Remember what creates the look of pages in
DPS is essentially and image.
| | 01:43 |
If you want to be able to adapt layouts to
fit multiple screen sizes and orientations
| | 01:47 |
on mobile devices, your only choice is DPS
when it comes to animation, you're limited
| | 01:51 |
to SWF if you want to use InDesign's
Animation tools.
| | 01:56 |
But you can put animations created with
Adobe's Edge into EPUB, HTML and DPS.
| | 02:01 |
Buttons for navigating and interacting
with content on the page have mixed
| | 02:05 |
support in most file formats.
There's a lot of detail you can get into
| | 02:11 |
when it comes to buttons.
So there's a separate table dealing with
| | 02:14 |
them on page 2 of this PDF that we'll look
at in a minute.
| | 02:18 |
Right here, the point is that buttons
don't work in EPUB and HTML.
| | 02:22 |
If you want to use InDesign's From tools,
your only choice is PDF.
| | 02:27 |
Hyperlinks, and media like audio and video
are supported in all formats, but if you
| | 02:31 |
want the animated page turn effect your
only choice is SWF.
| | 02:35 |
And remember that swift is based on Adobe
Splash technology so it won't work on
| | 02:39 |
mobile devices like the iPad.
Multistate objects which can be very
| | 02:44 |
powerful tools for creating interactivity
are only supported in SWF and DPS.
| | 02:49 |
Okay, let's look at table two on the next
page and see the details of button support.
| | 02:54 |
Here we have the same file formats, and on
the left are all the possible actions you
| | 02:57 |
can attach to a button.
Again, you'll notice that none of these
| | 03:01 |
work in EPUB and HTML.
The greatest support for buttons is in
| | 03:05 |
interactive PDF, where almost all actions
work.
| | 03:08 |
But the exceptions are some important
ones.
| | 03:11 |
You can't click a button to go to a
specific page in an interactive PDF.
| | 03:15 |
Instead, you might create a specific
destination on the page where the button
| | 03:18 |
can take you.
Also notice that multi-state object
| | 03:22 |
actions are not supported by PDF.
Support for buttons is also very good in
| | 03:26 |
SWF, including Multistate objects, but
again SWFs aren't going to work on mobile
| | 03:30 |
devices like iPads.
In DPS, you have good support for page
| | 03:35 |
based navigation buttons, but you can't
use the goto destination action.
| | 03:40 |
You also can't show and hide other
buttons, but you can more than make up for
| | 03:43 |
this loss with the full support of going
to states in a multi-state object.
| | 03:49 |
So with the information in this table as a
guide, you can start to narrow the choices
| | 03:52 |
for what kind of interactive document is
right for your purposes.
| | 03:56 |
Next, we'll start our look at the
workflows for each kind of interactive document.
| | 04:00 |
| | Collapse this transcript |
| Interactive PDF workflow| 00:00 |
While everyone's workflow can be
different, generally speaking, you can
| | 00:03 |
divide the job of creating interactive
PDFs into two main parts.
| | 00:08 |
The work that you do in InDesign and the
work that takes place afterwards in a
| | 00:11 |
program like Adobe Acrobat, and within
these two phases.
| | 00:16 |
There are several common jobs to think
about and do.
| | 00:19 |
So let's take a look at the steps in an
interactive PDF Workflow.
| | 00:23 |
If you're starting a new project the
interactive PDF Workflow begins pretty
| | 00:26 |
much the same as any other InDesign
document.
| | 00:29 |
In order to build consistent professional
looking pages and do so with some amount
| | 00:33 |
of efficiency, you have to do some
pre-production work.
| | 00:37 |
Building things like styles for texts and
objects, swatches for color, and setting
| | 00:41 |
up your document with the proper layers
and guides.
| | 00:44 |
And if you're going to be creating similar
documents over and over, you might want to
| | 00:47 |
save a template, so you're always starting
from a clean slate.
| | 00:51 |
Then in the next phase, you put real
content into your document.
| | 00:55 |
You write or place text, you edit the
text, create tables, place images,
| | 00:59 |
illustrations and media.
Then comes a phase where you can build the
| | 01:03 |
connections between your content what I
like to call the document infrastructure
| | 01:07 |
because it involves things for navigating
the content, like cross references, table
| | 01:11 |
of contents, bookmarks and hyperlinks.
This is also when you create the necessary
| | 01:17 |
elements for accessibility like setting up
articles and tab order.
| | 01:21 |
And then comes the production of purely
interactive elements.
| | 01:25 |
Adding things like buttons to navigate
pages, or control the visibility of
| | 01:28 |
content, and adding PDF form objects.
When everything is complete and correct,
| | 01:34 |
you export the interactive PDF.
But you're not done yet.
| | 01:37 |
The second part of the workflow is
post-InDesign jobs that you do in a PDF
| | 01:40 |
editing application like Adobe Acrobat.
Some of the jobs are to add features that
| | 01:47 |
you can't create in InDesign, other jobs
are to fix common problems.
| | 01:51 |
These might include, combining documents,
adding or deleting pages and adding or
| | 01:54 |
editing bookmarks, duplicating navigation
buttons, which can make them work more
| | 01:58 |
efficiently than navigation buttons you
create in InDesign or adding additional
| | 02:02 |
features to forms.
Like a combo box that allows the user to
| | 02:07 |
type their own text in it.
If accessibility is important to you,
| | 02:10 |
you'd need to use Acrobat's tools to fix
or add accessibility features.
| | 02:15 |
And if file size is a concern, you might
use the PDF optimizing control to reduce
| | 02:19 |
file size.
So with all these potential jobs to do
| | 02:22 |
after you export from In Design You can
see that it's important to try and get as
| | 02:26 |
close as possible to the final content in
the PDF before you export.
| | 02:32 |
You don't want to have to do all the
post-export work over and over again
| | 02:35 |
because you keep noticing mistakes that
have to be fixed in InDesign.
| | 02:40 |
Finally, comes the testing and delivery of
the PDF, check everything, including links
| | 02:45 |
and bookmarks.
Play the media, use the buttons, and if
| | 02:49 |
you think your readers are going to be
viewing the PDF on a mobile device like an
| | 02:53 |
iPad, check it there.
Features support for interactive PDFs
| | 02:57 |
varies widely from app to app.
So you might want to test your PDF in
| | 03:01 |
multiple apps to know what your readers
are going to see.
| | 03:05 |
And finally, when you're satisfied that
everything in your interactive PDF is as
| | 03:08 |
good as it can be, comes the delivery.
Then you can sit back and enjoy the
| | 03:13 |
satisfaction of having built and delivered
a well-crafted interactive PDF.
| | 03:19 |
| | Collapse this transcript |
| SWF workflow| 00:00 |
Nowadays, with the lack of support for
Flash based content on mobile devices, the
| | 00:04 |
number of potential uses for SWFs has
declined.
| | 00:07 |
But they remain a viable Option for
something like a presentation that you
| | 00:10 |
create in InDesign, and then deliver on a
computer.
| | 00:14 |
So, let's take a look at the workflow for
creating a SWF presentation.
| | 00:19 |
The workflow can begin like any other
InDesign project.
| | 00:22 |
You can create your presentation file from
scratch, or if you're going to use the
| | 00:25 |
same format several times, you might
want to design a template file.
| | 00:29 |
Next, you create your slide designs, and
then fill them with text and images plus
| | 00:33 |
any audio or video that you want to show.
As you go, you can add interactive
| | 00:37 |
elements to enhance the presentation, like
animations built with InDesign's tools.
| | 00:43 |
You can also use buttons to show and hide
content or play media, and slide shows
| | 00:46 |
built with multi-state objects.
And you can add transition effects that
| | 00:52 |
will play as you go from slide to slide,
either in the Pages panel or in the SWF
| | 00:55 |
Export dialog box.
After you export from InDesign, you can
| | 01:00 |
deliver the presentation either by viewing
the SWF with the flash player application,
| | 01:04 |
or by using the flash player to save the
SWF as a flash projector file.
| | 01:10 |
This is a stand alone viewer that can
display your SWF file without any other software.
| | 01:14 |
So, even though there are fewer uses for
SWFs than in years past, they can still be
| | 01:18 |
used for things like a presentation, with
animations, slide shows, media and more,
| | 01:23 |
all from InDesign.
| | 01:26 |
| | Collapse this transcript |
| EPUB workflow| 00:00 |
The workflow for making EPUB eBooks is
more complicated than other kind of
| | 00:03 |
interactive documents, but you can make
sense of it and deliver great looking
| | 00:07 |
EPUBS from in design content if you take a
thorough careful approach.
| | 00:12 |
Keeping in mind that the key steps in end
design are the structured content and set
| | 00:16 |
export options, let's take a look at this
workflow.
| | 00:21 |
In many cases, the EPUB workflow can be
divided into three phases.
| | 00:24 |
The first one is a planning phase, where
you examine your content and identify what
| | 00:28 |
work needs to be done to get from your
InDesign layout to EPUB.
| | 00:33 |
The next phase is the InDesign work, where
you apply structure to InDesign content,
| | 00:37 |
choose export options, clean up potential
problems, and export your EPUB.
| | 00:43 |
And the third phase is post-InDesign work,
where you check, fix, and deliver what you exported.
| | 00:49 |
Let's take a closer look at what you might
do in each phase.
| | 00:52 |
Keep in mind that not everything has to be
done in this exact order.
| | 00:56 |
You might have other steps that you have
to do.
| | 00:58 |
And it might make sense for you to move
some tasks around, depending on your situation.
| | 01:03 |
In the first phase of pre-InDesign work,
you might do things like identify content
| | 01:07 |
that worked in print, but not in an eBook,
the so-called print artifacts.
| | 01:12 |
Things like page references or directions
like, see above that might not make sense
| | 01:16 |
in an EPUB.
You might have to redesign large elements
| | 01:20 |
like photos or art that span across a
spread or really long tables.
| | 01:25 |
You might find font problems where the
characters in your layout will become
| | 01:28 |
garbled if the user chooses a different
font when they view the EPUB.
| | 01:32 |
You should also look at your file naming,
and make sure that your files aren't named
| | 01:35 |
with any characters that won't work in an
EPUB.
| | 01:38 |
Basically, all files should be named with
just letters, numbers, underscores, and hyphens.
| | 01:44 |
You also need to get licenses and
permission to use assets like photos and
| | 01:47 |
fonts in new media.
Once you've figured out the answers to
| | 01:51 |
these production questions, then you have
some work to do in InDesign.
| | 01:54 |
You might need to clean up text in order
to remove characters people use to cheat
| | 01:57 |
when arranging text on a page.
Things like multiple spaces, soft returns,
| | 02:02 |
and tabs which were used to make a layout
look right can cause problems when you
| | 02:06 |
export to EPUB.
You also need to be sure, that all text is
| | 02:10 |
formatted with the correct styles, because
those styles will be used to create the
| | 02:14 |
code, for the formatting in the EPUB and a
document with messy, inconsistant styling,
| | 02:18 |
will produce an EPUB that not only looks
bad, but may be very hard to fix.
| | 02:24 |
To control how text formatting is
controlled in the EPUB.
| | 02:28 |
You need to set up export tagging for
paragraph and character styles; you also
| | 02:31 |
need to control what items in the layout
go into the EPUB, and in what order.
| | 02:37 |
The best way to do this is with the
Articles panel.
| | 02:39 |
And finally, you need to set Object Export
Options to get the appearance of page
| | 02:43 |
items right in the EPUB.
You can choose things like size, position
| | 02:47 |
and resolution.
Once you export the EPUB the post-InDesign
| | 02:51 |
work begins.
It starts with validation where your file
| | 02:54 |
is tested by a script, application or
service to see if it complies with he EPUBspecification.
| | 03:01 |
Validation errors can prevent in EPUB from
being accepted for sale in online stores.
| | 03:06 |
So these problems have to be fixed and the
file rechecked until it passes validation.
| | 03:11 |
To format your content, you may be
developing a CSS at this point, which you
| | 03:14 |
insert into your EPUB.
And as you do so, you need to be testing
| | 03:18 |
the EPUB on mobile devices and in eReading
applications to know how it will display
| | 03:22 |
to other people.
Once all the fixes are made, you can
| | 03:26 |
deliver the EPUB.
So, as we've seen here, creating a
| | 03:29 |
professional level EPUB file is no trivial
task.
| | 03:33 |
And it does require some specialized
skills and tools outside of indesign.
| | 03:37 |
But by doing the important work of styling
and structuring content and setting up
| | 03:42 |
export options, you can save a lot of post
export clean up and go a long way towards
| | 03:46 |
making a great EPUB.
| | 03:49 |
| | Collapse this transcript |
| DPS workflow| 00:00 |
To publish content with Adobe's digital
publishing suite, there are two main phases.
| | 00:05 |
First, you do most of the work in InDesign
to create folios, add content to them and
| | 00:09 |
insert the overlays that make DPS apps
interactive.
| | 00:13 |
Then you use Adobe's Folio Producer tools
to share or publish your projects.
| | 00:18 |
So let's take a look at the details of
this workflow.
| | 00:21 |
In the DPS workflow, the file that you
create for publication is called the folio.
| | 00:26 |
And in many cases, the folio is an issue
of a magazine although it can also be a
| | 00:29 |
separate one off publication even
something like a design portfolio.
| | 00:34 |
So you begin your DPS project on the
desktop, by creating a folio using the
| | 00:38 |
Folio Builder panel in InDesign.
You choose options, like a target device,
| | 00:43 |
resolution, and orientation, plus the
image format for the content that will sit
| | 00:46 |
underneath the interactive overlays.
Then, once you have a folio, you add
| | 00:51 |
content to it in the form of articles.
Which can be imported, or created from an
| | 00:56 |
open InDesign document.
Then you create interactivity with the
| | 01:00 |
Folio Overlays panel.
Things like slide shows with buttons, and
| | 01:04 |
multistate objects, video, HTML content,
animation and more.
| | 01:08 |
To preview the look and interactiivty of
your folio, you can use a seperate
| | 01:11 |
application called the Content Viewer.
This allows you to preview your work
| | 01:16 |
locally before you upload it.
When you're satisfied, you can upload your
| | 01:20 |
folio to the Folio Producer part of
acrobat.com.
| | 01:23 |
There you can complete the steps necessary
for sharing your content, or publishing it
| | 01:27 |
with the Folio Producer tools.
These include adding properties, like a
| | 01:31 |
name, to appear on mobile devices.
A description, and an ID number.
| | 01:35 |
And then the final step is publishing your
folio so it can be viewed on a device
| | 01:39 |
using the mobile version of the Content
Viewer app, or submitting it to app stores
| | 01:42 |
for publication, which involves several
extra steps that go beyond the scope of
| | 01:46 |
this fundamentals course.
So, as we have seen here, the basic steps
| | 01:52 |
to get started working with DPS are to use
the Folio builder and the Folio Overlays
| | 01:56 |
panel in InDesign to create folios and add
interactive content.
| | 02:01 |
Then upload your folio to Adobe and use
the Folio Producer tools to deliver your
| | 02:05 |
project to mobile devices.
| | 02:07 |
| | Collapse this transcript |
| XML workflow| 00:00 |
XML is a mark-up language similar to HTML
but more flexible since you can create
| | 00:03 |
your own custom set of tags, to describe
the information you're working with.
| | 00:09 |
With XML workflows, you can bring
structured content into InDesign, and
| | 00:12 |
create pages in an automated way with
amazing speed.
| | 00:16 |
You can also tag InDesign content with XML
tags and export it for use in databases,
| | 00:21 |
on the web or even in other InDesign
documents.
| | 00:25 |
So, let's take a look at the steps in XML
workflows.
| | 00:29 |
The main purpose of bringing XML
structured content into InDesign, is that
| | 00:33 |
you can use it along with a tag template
to automatically create layouts.
| | 00:38 |
You can create in a matter of seconds what
would take you hours or days to do manually.
| | 00:42 |
The catch is that the pages have to be
very consistent so, something like a
| | 00:46 |
directory or a product data sheet, would
be appropriate for an XML workflow.
| | 00:51 |
Something with highly designed, unique
page layouts like a magazine, would not.
| | 00:55 |
The first step is to acquire the right set
of XML tags that you want to apply to your content.
| | 01:00 |
You can either create them from scratch or
even better, load them from an XML file
| | 01:04 |
that matches the structure you want.
Once you have the tags, they need to be
| | 01:08 |
applied to place all their text in frames.
The content in these frames will be
| | 01:13 |
replaced by your actual content, when you
import the XML later on.
| | 01:17 |
Then to insure that the content receives
the right formatting, you establish a
| | 01:22 |
connection between XML tags and styles, by
mapping tags to styles.
| | 01:27 |
You can map XML tags to paragraph,
character, table or cell styles.
| | 01:31 |
And then finally, you can import the XML
into InDesign.
| | 01:35 |
The content knows where to go, thanks to
the tagged placeholder frames and it knows
| | 01:38 |
how it should be styled, thanks to the tag
to style mapping.
| | 01:44 |
Now let's take a look at the basic steps
of a workflow, where you take structured
| | 01:47 |
content out of InDesign by exporting XML.
Again, the purpose of exporting XML is to
| | 01:53 |
reuse content.
Like with the XML import workflow, the
| | 01:57 |
first step here is to acquire the right
set of tags for your content, most likely
| | 02:00 |
by loading them from an XML fie.
Then these tags need to be applied to text
| | 02:05 |
and frames in the document.
Again, you can do the job manually or you
| | 02:10 |
can map styles to tags, to get tag content
much faster.
| | 02:14 |
Once you have tag content, you can use the
Structure pane to make adjustments, adding
| | 02:18 |
or deleting elements, rearranging them to
get the right order and applying attributes.
| | 02:24 |
And then finally when you have the content
in the right structure, you can export the XML.
| | 02:28 |
So, there you have the two basic XML
workflows.
| | 02:31 |
In one, you can use tagged placeholders
and tag-to-style mapping to create
| | 02:35 |
automatic layouts.
And in the other, you can apply tags to
| | 02:39 |
the texts and frames in your layout,
refine it in the structure pane and then
| | 02:42 |
export it for use in the web, in databases
or other document.
| | 02:48 |
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10. Advanced InDesign Workflows for Interactive DocumentsUsing layers in interactive documents| 00:00 |
Whether your intended output is EPUB, DPS,
PDF, or any other kind of interactive
| | 00:04 |
document, it's usually a good idea to
organize your content with layers.
| | 00:10 |
It takes a little time to set up and a
little care to maintain, but in the long
| | 00:13 |
run, it'll help you avoid trouble and give
you more flexibility.
| | 00:17 |
So, let's take a look at how to organize
layers in interactive documents.
| | 00:21 |
Now, I want to start by saying that while
I do think it's a good idea to keep your
| | 00:24 |
documents structured with layers, you
shouldn't go over board creating tones of
| | 00:27 |
layers and over complicating things.
In general, make your document as simple
| | 00:32 |
as possible to keep it easy to understand
and use.
| | 00:36 |
In most cases, I like to start out with
five layers: navigation, text, images,
| | 00:41 |
background, and guides.
And if you have media like audio and
| | 00:45 |
video, you might want to add a layer for
those.
| | 00:47 |
So, in my document, I'll open the Layers
panel.
| | 00:51 |
And right now, I have Layer one.
I'll click on it to rename it, and I'll
| | 00:55 |
call it Guides.
Now to create the second layer, I'll hold
| | 00:58 |
Option or Alt while I click on the button
to get a new layer.
| | 01:01 |
This opens the New Layer dialog box, and
I'll call this one Background.
| | 01:04 |
I'll repeat that process to create my
other layers.
| | 01:12 |
I put Navigation on top of everything
else, because this is the layer that'll
| | 01:15 |
hold things like buttons in an interactive
PDF that will allow people to jump to
| | 01:19 |
different pages.
And I never want those buttons to be
| | 01:23 |
covered up by other content.
This is also a good place to put things
| | 01:26 |
like page numbers, logos, branding, or
anything else that you want to be always
| | 01:30 |
visible on top of the main content.
I'll also recommend that you go to the
| | 01:34 |
Layers Panel menu and turn on Paste
Remembers Layers.
| | 01:38 |
With this selected, you can copy and paste
objects and they'll stay on their current
| | 01:42 |
layer regardless of what layer is selected
in the Layers panel.
| | 01:46 |
Otherwise, content gets pasted on the
currently selected layer, which makes it
| | 01:49 |
easier to accidentally paste items where
they don't belong.
| | 01:53 |
For interactive documents, the Layers
panel can also be handy for moving content
| | 01:57 |
into or out of button states and object
states.
| | 02:01 |
I'll switch over to this other document
where I've placed some images and created
| | 02:04 |
a button in a multi-state object.
Right here is my button, and I can look in
| | 02:09 |
the Layers panel in navigation, and it's
called Roux Button.
| | 02:13 |
I'll tip it open.
I can see the Normal state is showing
| | 02:16 |
right now.
And within the Normal state, there are two images.
| | 02:20 |
And if I wanted to add a third image, I
can drag this one and drop it inside the
| | 02:24 |
Normal button state.
And you can tell by the highlighting that
| | 02:29 |
goes around the button that the new image
has been included.
| | 02:33 |
If later I wanted to take it out, I could
just drag it back out.
| | 02:38 |
Now, it's not part of the button anymore.
We can do something similar with
| | 02:41 |
multi-state objects.
So, down here, this is a multi-state
| | 02:46 |
object, it's called Roux MSO.
State one is showing, and right now,
| | 02:51 |
there's just one photograph showing in
state one.
| | 02:54 |
But I could select this photograph and
drag it into state one.
| | 03:01 |
I just have to make sure that line that
appears while I drag is indented to the
| | 03:04 |
same level as the photo in that state.
I'll deselect.
| | 03:10 |
And now I can confirm this by going to my
Object States panel and looking at the
| | 03:14 |
different states.
There's state two, and here's state one
| | 03:19 |
with the photo that I just dragged in.
In this movie, we saw how you can
| | 03:23 |
structure your documents with a consistent
set of layers, which can make them more
| | 03:27 |
organized and easier to work with in the
long run.
| | 03:31 |
And we saw some tips for using the Layers
panel to move items into and out of
| | 03:35 |
buttons and multi-state objects.
| | 03:38 |
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| Using scripts for interactive documents| 00:00 |
InDesign is incredibly feature rich
application, but you'll find there are
| | 00:03 |
times when it just cant do what you really
need it to.
| | 00:07 |
Fortunately, there are plenty of fantastic
third party developers who've created all
| | 00:11 |
kinds of scripts and other add-ons to help
you.
| | 00:15 |
So let's take a look at how to work with
the Scripts panel and where to find some
| | 00:18 |
interesting scripts to help with
interactive documents.
| | 00:22 |
The first important thing to know about
working with scripts is how to install them.
| | 00:27 |
The greatest script in the world is no
good to you if you can't run it.
| | 00:30 |
In most cases you can run a script from
InDesign Scripts panel.
| | 00:34 |
So let's start by opening the Scripts
panel.
| | 00:36 |
I will choose Window, Utilities, Scripts.
In the panel there are two folders.
| | 00:43 |
An application folder with scripts that
come with InDesign and a user folder which
| | 00:47 |
is empty by default.
You can put new scripts in either folder,
| | 00:50 |
but I think it's generally a better idea
to keep them in the user folder to make
| | 00:51 |
them organized and easier to find.
And furthermore, you can create new
| | 01:00 |
subfolders inside the user folder to
organize your scripts even further.
| | 01:05 |
To make a script appear in the user
folder, you have to place it in a specific
| | 01:09 |
location on your computer, and the easiest
way to get to that folder is to right
| | 01:12 |
click on the user folder and choose Reveal
in Finder or Reveal in Explorer.
| | 01:19 |
This opens a window displaying the scripts
folder.
| | 01:21 |
And within that there's a Scripts panel
folder.
| | 01:24 |
I'll open that.
And anything I place in this Scripts panel
| | 01:28 |
folder will appear immediately in the
Scripts panel.
| | 01:32 |
For example, I just have these two scripts
handy.
| | 01:34 |
I'll drag and drop them into the Scripts
panel folder.
| | 01:38 |
Move it out of the way.
Go back to InDesign.
| | 01:39 |
And you can see they now appear in my user
folder.
| | 01:43 |
If later on I want to remove or delete a
script, I can right click on it and choose
| | 01:47 |
Reveal in Finder, reveal in Explorer or I
can delete the script right from here.
| | 01:54 |
I mentioned that you can also create sub
folders inside the Scripts panel folder to
| | 01:57 |
organize your scripts.
So again I'll just right click on the user
| | 02:01 |
folder, choose Reveal and Finder.
Go to this Scripts panel folder, and I'll
| | 02:06 |
create a new folder inside here.
I'll call it e-pubs scripts.
| | 02:15 |
And put my two e-pub scripts inside of it.
Back in InDesign, here's my e-pub scripts
| | 02:21 |
folder and within it, my scripts.
Note that the only files that you can
| | 02:25 |
actually open or execute from this panel
are valid script files.
| | 02:29 |
But you can display any other files by
choosing display unsupported files from
| | 02:33 |
the panel menu.
So you could keep a script read me file or
| | 02:36 |
other documentation inside your scripts
folders and then you could reveal it and
| | 02:39 |
read it.
Now that we know where most scripts need
| | 02:43 |
to go let's see where to find some great
scripts for working with interactive documents.
| | 02:48 |
I'll switch to my browser, and look at
some resources.
| | 02:51 |
If you're working with Adobe DPS a lot,
you'll definitely be working with
| | 02:54 |
multi-state objects and while you can
build cool stuff with multi-state objects,
| | 02:58 |
they can be quite a chore to setup.
That's why InDesign trainer and consultant
| | 03:03 |
Kieth Gilbert.
Created the digital publishing pack one,
| | 03:06 |
scripts for Adobe DPS.
These scripts can save you a lot of DPS
| | 03:10 |
drudgery and you can find out more about
them at gilbertconsulting.com.
| | 03:15 |
Another source of inexpensive and
extremely handy scripts is automatication.com.
| | 03:20 |
This is where you can find scripts like
multi-find change.
| | 03:23 |
Which allows you to create, save, and run
sets of fine change operations.
| | 03:28 |
It allows you to put together a whole
sequence of transformations and run them
| | 03:32 |
all with a single click.
So if you have to perform a repeated set
| | 03:36 |
of text cleanups before exporting ePUBs,
this can be a real life saver.
| | 03:41 |
Another great resource, is Rorohiko.com.
Where you can find a plugin called ePub
| | 03:46 |
crawler that allows you to create fixed
layout ePubs from InDesign documents, a
| | 03:50 |
task that otherwise might involve many
hours of tweaking code.
| | 03:55 |
And to find other scripting resources, you
can check out indesignsecrets.com, where
| | 03:59 |
there are many posts and forum discussions
about scripts.
| | 04:03 |
As well as a devoted page to plug-ins and
scripts.
| | 04:07 |
And back in InDesign, there's also a panel
you can use to find the add-ons.
| | 04:11 |
Choose Window, Extensions, Adobe Exchange.
This opens the Adobe Exchange panel.
| | 04:21 |
And it's like having a little marketplace
right inside InDesign, where you can shop
| | 04:25 |
for plug ins, extensions, and other
resources.
| | 04:28 |
Some are free, others cost money.
You can browse through the offerings or
| | 04:33 |
search for something specific.
Check out adobeexchange.com for more information.
| | 04:38 |
When you're struggling with the task in
InDesign, either because it's tedious or time-consuming.
| | 04:42 |
Or the InDesign just seemingly can't do
what you want, you should look for a
| | 04:46 |
script to help.
Chances are, other people have faced the
| | 04:50 |
same problem and maybe one of them has
written a script or created a plug-in to
| | 04:53 |
solve it.
In this movie, we saw how to install
| | 04:57 |
scripts, how to work with the Script
Panel, and where to find some amazingly
| | 05:00 |
powerful, yet inexpensive scripts to add
to your interactive documents workflow.
| | 05:06 |
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ConclusionNext steps| 00:00 |
This concludes our look at interactive
document fundamentals.
| | 00:04 |
I hope you found these videos informative
and useful, and that they help you get
| | 00:07 |
started building great things with
InDesign.
| | 00:10 |
And before I go, I just want to mention a
few related courses in the Lynda.com
| | 00:13 |
library, where you can build on what you
learned in this course.
| | 00:17 |
First of all, if you want to learn more
about PDF publications, check out my
| | 00:20 |
course, Creating an Interactive PDF
Magazine.
| | 00:24 |
If you want to learn more about creating
EPUBs from InDesign, check out Anne-Marie
| | 00:28 |
Concepcion's courses including InDesign
CS6 to EPUB Kindle, and iPad, and Creating
| | 00:32 |
a Fixed-Layour EPUB.
If you want to learn another Option for
| | 00:37 |
making multi-touch ebooks for Apple's
iBooks, check out my course, iBooks Author
| | 00:40 |
for Teachers Fundamentals.
And there are courses by other authors on
| | 00:45 |
things like forms, Adobe DPS, and Edge
Animate that you can check out as well.
| | 00:50 |
I'm Mike Rankin, thanks so much for
watching.
| | 00:52 |
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