Adobe InDesignWhat is InDesign?| 00:00 | Adobe InDesign is the industry-standard
publishing application for print
| | 00:04 | publications, interactive PDF
documents, digital magazines, and EPUBs.
| | 00:09 | Print designers use InDesign for
creating rich typographic layouts, using
| | 00:13 | InDesign's powerful typesetting tools,
assembling photos and artwork into their
| | 00:17 | designs quickly and easily, creating
styles which allow them to instantly change
| | 00:22 | the look and feel of their document, and
packaging and pre-flighting their files
| | 00:26 | for commercial print in a
quick and organized manner.
| | 00:30 | Interactive designers use InDesign for
creating rich interactive documents with
| | 00:33 | audio, video, and HTML content, adding
slideshows to the digital publications to
| | 00:39 | showcase multiple images, building
interactive PDF forms to collect data from
| | 00:45 | customers, and delivering digital
publications to a wide variety of tablet and
| | 00:49 | mobile devices using DPS.
| | 00:53 | In addition to this, InDesign also
gives publishers the ability to quickly
| | 00:56 | convert their ordinary documents
into digital formats like EPUB and then
| | 01:00 | distribute those EPUB
documents across multiple marketplaces.
| | 01:04 | InDesign works in tandem with
applications like Photoshop and Illustrator
| | 01:08 | to assemble your artwork and photographs
into visually engaging documents like these.
| | 01:13 | No matter if you're a Print, Web or
Interactive Designer, InDesign allows you to
| | 01:18 | create a symbol and output
your documents to suit your needs.
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IntroductionWelcome| 00:04 | Hi, I am David Blatner, welcome
to InDesign CS6 Essential Training.
| | 00:09 | InDesign CS6 is a professional design
and layout tool used by almost every
| | 00:13 | graphic designer, magazine publisher,
book publisher, Newspaper, and ad
| | 00:18 | agency around the world.
| | 00:20 | In this course I'll show you everything
you need to know to start building your
| | 00:23 | high quality InDesign documents.
| | 00:26 | I'll show you how to create a new
document and build strong and flexible master
| | 00:29 | pages, which can really
speed up laying out your file.
| | 00:33 | I'll explain how to bring text and
graphics onto your page, manipulate them and
| | 00:37 | style them to make
effective and engaging designs.
| | 00:41 | And I'll discuss how to ready your
pages for final output, whether that's
| | 00:45 | Print, PDF or an iPad app.
| | 00:48 | As the co-host of InDesignSecrets.com
I've learned this program inside and out,
| | 00:53 | and I'm looking forward to
sharing its secrets with you.
| | 00:56 | Let's have some fun with
InDesign CS6 Essential Training.
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| Using the exercise files| 00:00 | Before we jump in and start learning
about InDesign's features and how to use
| | 00:04 | them let me say a quick word about the
exercise files available for you to use.
| | 00:08 | If you're a premium member of the lynda
.com Online Training Library or if you
| | 00:12 | own this title on disk, you have access
to the exercise files that I'll be using
| | 00:17 | throughout the training.
| | 00:18 | The files have been broken down into
chapters and if you're following along it's
| | 00:22 | important to open the
correct file for each chapter.
| | 00:25 | Many of the files have the same name
but are in fact different in order to show
| | 00:29 | off or discuss particular
features in the program.
| | 00:32 | To open this document, simply double-click
on it and it opens in InDesign.
| | 00:37 | If you see a dialog box like this one
that says there are missing or modified
| | 00:41 | links, go ahead and click Update Links.
| | 00:44 | That way InDesign will automatically
link the files to the Links folder inside
| | 00:48 | the exercise files folder.
| | 00:49 | Also if you see a dialog box saying
that you're missing fonts, you can go ahead
| | 00:53 | and replace them with fonts
that you have on your system.
| | 00:57 | One more thing about these files,
at the end of each movie after we've
| | 01:00 | moved objects around or changed text
or whatever you should choose Revert
| | 01:04 | from the File menu.
| | 01:05 | That's what I do, so you'll see a nice
clean file at the beginning of each movie.
| | 01:09 | The reason I do this is so that you can
jump right to any movie you want, even
| | 01:14 | if it's in the middle of a
chapter and you won't be lost.
| | 01:16 | There are a couple of exceptions to
this such as in Chapter 1 where each movie
| | 01:20 | actually does build on where we
left off in the previous movie.
| | 01:24 | On the other hand, if you're a monthly
or annual subscriber to the lynda.com
| | 01:28 | Online Training Library you won't have
access to these files, but, you can still
| | 01:32 | learn by either just watching what I
do or by following along using your own
| | 01:36 | text and image assets.
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1. Learn InDesign in Thirty MinutesGetting started| 00:00 | The goal in this section is to get you
acquainted enough with InDesign that you
| | 00:03 | can open and edit in InDesign File;
| | 00:05 | this is the basics of the basics,
step 0, just the facts ma'am.
| | 00:10 | If your boss handed you a file and you
need to open it and do something with it
| | 00:13 | before lunch today, start here.
| | 00:16 | Okay, let's dive in!
| | 00:18 | Everyone knows how to create a New File.
| | 00:20 | You go the File menu and choose New, but
InDesign it gives you three different options.
| | 00:25 | In this case we want choose New
Document, now the New Document dialog box has
| | 00:30 | lots of options and I am going to
cover all of these in the later chapter.
| | 00:34 | But for right now all you need to know
is does your document have Facing Pages
| | 00:39 | that is a left and right-hand
page like a book or a magazine?
| | 00:42 | If it does you want to turn on Facing
Pages, and if it doesn't, turn it off.
| | 00:48 | Next, you want to make sure that your
Page Size the final, what's called the
| | 00:51 | Trim Size of your document is chosen
here in the Page Size area and you set
| | 00:57 | their Margins down here, that's about it.
| | 01:00 | When you click OK, InDesign creates a
nice clean document for you to work with.
| | 01:04 | Now you can start with an empty
InDesign document, if you want to but I find it
| | 01:08 | is usually easier to start with a
Template, something that's partially created,
| | 01:13 | and then change the Text and Graphics as I work.
| | 01:15 | I have a template to work
with in my Exercises Folders.
| | 01:17 | So I' m going to switch to that and I
can open it right here within the folder
| | 01:22 | just by double-clicking on it, or I'll
go back InDesign, go to the File menu,
| | 01:26 | and choose Open, here is that file.
| | 01:29 | And when I choose it, there are three
different ways that I can open this, down
| | 01:33 | here at the bottom of the Open
dialog box, you'll see that I can open the
| | 01:37 | Normal, Original or Copy.
| | 01:39 | Generally you'd just use Open Normal, that
just opens the document unless you edit it.
| | 01:45 | Open Original is good if you're opening
a Template file, which we'll talk about
| | 01:49 | in a later chapter and you want to edit
that template itself or Open Copy, this
| | 01:54 | sort of make any file a template.
| | 01:56 | Because if you open this InDesign file,
it will open it as Untitled, ready for
| | 02:01 | you to Edit and then Save As with a new name.
| | 02:03 | Now I should mention that the Open
dialog box also lets be open QuarkXPress
| | 02:08 | files and PageMaker files.
| | 02:10 | That is, like the old QuarkXPress3
and 4 files and PageMaker 6 5 - 7 files.
| | 02:16 | If you have one of those files, just
select in the Open dialog box and click
| | 02:20 | Open and it'll translate it,
convert it into an Indesign file.
| | 02:24 | If you have a QuarkXPress document
created in a later version of express, like
| | 02:28 | Express 5 6 7 or 8 you can still open
that here, but you need a plug-in from a
| | 02:33 | company called Markzware.
| | 02:35 | The plug-in is called QX2ID.
| | 02:38 | Markzware also makes another plug-
in that let's you open a Microsoft
| | 02:41 | Publisher files in InDesign. That's great!
| | 02:44 | But in this case, I am simply
going to open up this InDesign file by
| | 02:47 | clicking Open, there it is.
| | 02:49 | There is that template that I'm going to use;
| | 02:51 | I am going to fill it out by
adding some Text and Graphics.
| | 02:54 | Now this Template file comes with the
exercise files, but there are lots of
| | 02:58 | InDesign templates available on the web,
including dozens of free ones on the
| | 03:02 | site that I run with Anne-Marie
Concepcion called InDesign Secrets.
| | 03:06 | Here at http://indesign.com/indesign-
tempelates there are dozens of free
| | 03:12 | templates that you can download and
use, including ones to create Books,
| | 03:16 | Brochures, menus and more.
| | 03:19 | Just download them, open them in
InDesign and you're good to go.
| | 03:22 | By getting your document open, is just a
first step on the adventure called InDesign.
| | 03:28 | Next, we need to learn how to get text
in here and make it look the way we want.
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| Adding or editing text| 00:00 | Okay, we have our document open, but
we have a problem, it's mostly empty,
| | 00:05 | empty document not good.
| | 00:06 | Let's look at how we can get some
text in here, edit it, and format it.
| | 00:11 | The main tool in InDesign for
manipulating text is the Type tool that's the one
| | 00:15 | over here in the tool panel with a T on it.
| | 00:18 | The Type tool lets me do two things in
InDesign, it lets me create text-frames,
| | 00:23 | that is frames that are going to
contain text and it also lets me edit the text
| | 00:27 | inside those frames.
| | 00:28 | First, I'm going to take that Type
tool and draw out a rectangle with it.
| | 00:32 | When I let go over the mouse button,
you'll see that the Type tool created a
| | 00:36 | text-frame and the text cursor is
flashing inside of here, I can go ahead
| | 00:41 | and start typing now.
| | 00:42 | In this case though I don't want to
type all the text that I want to put in
| | 00:45 | here, so I'll delete that, instead, I
want to place text from my hard drive.
| | 00:51 | I can place either a Word file or
an RTF file with fully-formatted text
| | 00:56 | inside of any text-frame.
| | 00:58 | I'll do that by going to the File menu,
choosing Place, and then choosing the
| | 01:03 | file I want to import.
| | 01:04 | In this case this brochure_intro.rtf
file, when I click Open all the formatted
| | 01:10 | text is placed inside the text-frame.
| | 01:13 | Over here on the right side of the
page I've an empty text-frame, and I can
| | 01:17 | place text inside of this by typing in it.
| | 01:20 | I'll click on top of the frame and
then just start typing. I'd like this text
| | 01:24 | to be in all caps, but instead of
typing it over in all caps, I'm going to
| | 01:28 | select it just by dragging over it and
apply some formatting that will make it
| | 01:32 | look like all caps.
| | 01:34 | You change your text formatting in the
Control panel, that's the panel that goes
| | 01:38 | across the top of your screen.
| | 01:40 | To make this all caps, I'll
simply select the All Caps button.
| | 01:45 | When I click on that the text becomes
all caps, it's not really all caps, it
| | 01:50 | just looks that way.
| | 01:51 | And if I click the button again it goes
back, let's make that all caps and then
| | 01:55 | let's change the color of one word,
I'll just drag over that second word and
| | 02:00 | change the fill color of the word.
| | 02:03 | Once again I'll go to the Control
panel and I'll choose a fill color from
| | 02:07 | the middle of the Control panel, this gives
me all the color swatches inside this document.
| | 02:13 | I'll talk about color swatches and how
to create new ones in a later chapter.
| | 02:17 | In this case I'm simply going to click
on the blue swatch and then click down
| | 02:21 | here, and then you'll see
that the text is now blue.
| | 02:25 | I'll make one more little
text formatting change here.
| | 02:27 | I'll select some text perhaps it's one
sentence at the end of this text-frame
| | 02:32 | and I'll make it italic.
| | 02:34 | I'll do that by going to the Style
popup menu on the left side of the Control
| | 02:38 | panel, I'll choose Italic and
the text changes to italic. Oops!
| | 02:43 | I missed one letter, I better select
that one letter and make that italic.
| | 02:48 | I'm going to use a keyboard shortcut,
I love keyboard shortcuts, I'm going to
| | 02:51 | press Command+Shift+I or Ctrl+Shift+I
and that changes it to italic as well, it
| | 02:57 | does the same thing as
choosing it out of the Control panel.
| | 03:00 | Now as you can see there are many
other features up here in the Control panel
| | 03:04 | for formatting text.
| | 03:05 | InDesign is a text and typography
powerhouse and I'm going to be covering lots,
| | 03:09 | lots more about text in later chapters.
| | 03:12 | Now this document is starting to come
together, but you know what Shakespeare
| | 03:15 | would say about this, Words, words, words!
| | 03:18 | Bring on the pictures, hold on
wheel, that's where we're headed next.
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| Adding or replacing graphics| 00:00 | It's easy to get graphics into InDesign,
and you may be tempted to copy them out
| | 00:05 | of one program and paste
them in here. But don't do it.
| | 00:08 | Resist the urge.
| | 00:10 | Instead, you want to place them, that
is go to the File menu and choose Place.
| | 00:16 | When you choose Place InDesign gives
you a list of all the different files that
| | 00:20 | you can place inside this document.
| | 00:22 | In this case, I'm going to place the
logo file, this .AI or Adobe Illustrator
| | 00:27 | file, and when I click Open, InDesign
loads that graphic up into the Place
| | 00:33 | cursor sometimes called the Place Gun.
| | 00:35 | The Place cursor let's me insert or
place this graphic inside of a frame that I
| | 00:40 | already have, or it will create a frame for me.
| | 00:44 | But it's important to pay
attention to the Place cursor icon.
| | 00:47 | In this case, you'll see that the icon
has a sharp edge on it, and that means
| | 00:52 | it's going to create a new frame.
| | 00:54 | If I move on top of this empty
graphic frame on the right side of the page,
| | 00:58 | you'll notice that the cursor changes
slightly to rounded corners, kind of
| | 01:03 | like parenthesis.
| | 01:04 | That means that the image is
going to be placed inside this frame.
| | 01:07 | I'm going to comeback here and click
in this blank area where there are no
| | 01:11 | frames, and when I click, InDesign
creates a frame and places the graphic into it.
| | 01:18 | Let's go ahead and get another graphic.
| | 01:20 | I'll go to the File menu, choose Place
or you could press Command+D or Ctrl+D on
| | 01:24 | Windows, and I'll choose this spirals image.
| | 01:28 | Click Open, and you'll see that the
image is placed inside that same graphic
| | 01:33 | frame that I had selected.
| | 01:35 | That's actually not what I intended to do.
| | 01:37 | I wanted to put those spirals
over here inside this frame.
| | 01:40 | By default, InDesign will replace one graphic
with another, when you use the Place command.
| | 01:46 | If that's not what you intended,
like here, you can undo that by going to
| | 01:51 | the Edit menu and choosing Undo, or
in this case, I'll just press Command+Z
| | 01:54 | or Ctrl+Z on Windows.
| | 01:56 | That undoes the Place, but it loads
the Place cursor and you can see that now
| | 02:01 | this graphic is on my Place cursor icon.
| | 02:04 | I'll come over here, click, and
that graphic goes inside this frame.
| | 02:09 | The graphic is too large for the
frame, but I'll deal with that later.
| | 02:12 | I'm going to bring in a couple of more
graphics, but I'm going to deselect this
| | 02:17 | graphic frame by clicking in this
area off on the right where there are no
| | 02:20 | frames, that deselects it.
| | 02:21 | That way my new image
won't go into that same frame.
| | 02:25 | Now I'll go back to the Place dialog
box by pressing Command+D or Ctrl+D on
| | 02:29 | Windows, and I want my graphic here, this
logo to go at the bottom part of this page.
| | 02:36 | But I can see by looking at that icon, that
if I click it's going to go inside of a frame.
| | 02:42 | The frame is that big,
black box behind the page.
| | 02:46 | I don't want it to do that.
| | 02:47 | I want to make a new frame, so instead
of clicking I'm going to click and drag,
| | 02:53 | and when I click and drag, InDesign
makes a frame exactly that size, places the
| | 02:58 | graphic into it and scales it to fit that frame.
| | 03:02 | Okay, let's go ahead and grab the last image.
| | 03:04 | I'll click out here, go back to my
Place dialog box, choose this Photoshop
| | 03:09 | file, click Open, and then I'm going
to simply click out here to place that
| | 03:14 | graphic inside my document.
| | 03:16 | Again, InDesign makes a frame,
and places the picture into it.
| | 03:19 | You'll notice that InDesign honors
the transparency from this Photoshop
| | 03:23 | file, that is, where there is
checkerboard background in Photoshop, is
| | 03:27 | transparent here in InDesign.
| | 03:29 | So I can see right through that background area.
| | 03:33 | But there's something else here, that
you don't see and that is, that InDesign
| | 03:37 | is linking to the file on disk.
| | 03:39 | Every time you place an image in
InDesign, it doesn't actually embed the image
| | 03:44 | into the InDesign document. It links to it.
| | 03:46 | It creates a link between the InDesign
document and the high-resolution file on disk.
| | 03:52 | And you can see that link
by going to the Links panel.
| | 03:55 | Over on the right side of your page in
what's called the dock, I'll click on Links.
| | 04:00 | That open the Links panel and we can
see that because the image is selected on
| | 04:04 | the page it's also
highlighted here in the Links panel.
| | 04:08 | There's my Photoshop file and we can
see that this image is linked to, that
| | 04:13 | Photoshop file on disk.
| | 04:15 | There's much more to say about pictures
and graphics and links, and I'm going to
| | 04:18 | cover all of that in detail in a later chapter.
| | 04:20 | For now, we finally have a document
that has text and graphics, but it's
| | 04:24 | definitely far from finished.
| | 04:26 | Next, I'm going to show you how to
move these objects around, to get just
| | 04:29 | the look that you want.
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| Moving objects around| 00:00 | We've just been kind of throwing text and
graphics onto this page and it is a mess.
| | 00:05 | So let's go ahead and clean it up and head
toward a finished product that we can print.
| | 00:09 | The main tool that we're going to use
to move objects around our page is the
| | 00:13 | Selection tool, that's the first
tool up here in the tool panel;
| | 00:16 | also called the Black Arrow tool.
| | 00:19 | The Selection tool lets me move objects around
my page and even resize them and rotate them.
| | 00:24 | Let's see how to do it.
| | 00:25 | I'd like to move this graphic over.
| | 00:27 | So I am going to click on it to
select it and now I can drag it around, and
| | 00:32 | you'll notice as I drag it, I see all
these green lines flashing on and off.
| | 00:36 | Those are called Smart Guides and Smart
Guides are a great way to make sure that
| | 00:41 | objects are aligned or
distributed on your page properly.
| | 00:44 | So I am going to drag this over until I
see a green vertical line that shows me
| | 00:49 | that this graphic, this logo is
centered with the frame underneath it.
| | 00:53 | When I let go of the cursor,
you'll see that it's lined up perfectly.
| | 00:57 | I will do the same thing
with this logo down here;
| | 01:00 | drag until I see the green line, and let go.
| | 01:03 | Now I am going to move this image down
in the lower-left of this photographer.
| | 01:07 | If I click in the image out here,
around the edge, and drag, you will see that
| | 01:12 | the image actually moves.
| | 01:13 | Now, it's different than if I click on
this little icon in the middle, that's
| | 01:17 | called the Content Grabber;
| | 01:19 | the thing that looks
like a bagel or a lifesaver.
| | 01:22 | The Content Grabber actually lets
me move the picture inside the frame.
| | 01:26 | For example, if I click and drag, you'll see
that the image moves but the frame doesn't.
| | 01:31 | That's actually a very important thing
for you to understand about InDesign.
| | 01:35 | Images and frames are two separate things.
| | 01:38 | There is another way to select the
image inside the frame, and that is,
| | 01:41 | by double-clicking.
| | 01:43 | Double-click with the Selection tool
and you select the image inside the frame.
| | 01:47 | You'll notice that the highlight changed,
and also the cursor changed to a hand
| | 01:51 | cursor and that means I'm now
moving the image around, not the frame.
| | 01:56 | I will move that down to more or less
where I want it, so I can see the picture,
| | 02:00 | and now I will double-click
again and the frame is selected;
| | 02:03 | the frame that contains that image.
| | 02:06 | So when I click and drag, I
actually move both the frame and the image.
| | 02:10 | The Selection tool also lets
me change the size of frames.
| | 02:14 | For example, I may want to
change the size of this text frame.
| | 02:17 | I will move it down a little bit, and
then I will drag over the lower-right
| | 02:22 | corner, this corner handle, and as I
drag that down, it resizes the frame.
| | 02:27 | Of course, by doing that, some of the
text ended up going behind the image.
| | 02:32 | That's not so good.
| | 02:33 | I really wish that the text could see where
the edge of the image is, and wrap around it.
| | 02:38 | To do that, I am going to select the
graphic, this image that I want the text to
| | 02:42 | flow around and I am going
to open the Text Wrap panel.
| | 02:46 | All the panels live up here in the
Window menu, so I will choose Text Wrap
| | 02:49 | from the Window menu, and I am going to
choose the third button in the Text Wrap panel.
| | 02:55 | The Text Wrap panel has lots of options that
I am going to be covering in a later chapter.
| | 02:59 | But for right now, I will just go through
this quickly, just the basics, remember.
| | 03:03 | I am going to select that third one, and
then I'm going to come down here to the
| | 03:06 | Contour Options pop-up menu and
I'm going to choose Detect Edges.
| | 03:10 | That tells InDesign to draw a line, a
text wrap line around the image itself.
| | 03:16 | It's a little bit too close to the
image, so I better increase this amount to
| | 03:20 | let's say 9 points, p9.
| | 03:23 | Now, you will see that blue line
that it drew is slightly outside.
| | 03:27 | That line won't print.
| | 03:28 | It's just there to
indicate where the text should go.
| | 03:31 | I will select the text frame again and
resize this until I can make sure that I
| | 03:36 | see all the text that I want. There you go!
| | 03:38 | Now, there are two other
problems that I see on this page.
| | 03:41 | One is that this graphic
does not fit inside the frame.
| | 03:45 | I can make it fit by selecting it,
going to the Control panel and choosing the
| | 03:50 | second button up here in the Fitting
field called Fit content proportionally.
| | 03:56 | And when I click that, the entire graphic
will be resized so that it fits inside the frame.
| | 04:02 | Finally, I see that down here, this
photograph is obscuring even more text.
| | 04:07 | In this case, I'm not going to make it
wrap, I'm just going to move the stacking
| | 04:11 | order, what's on top of what.
| | 04:12 | I will select this text frame, and
then I will Shift+Click on this text frame
| | 04:16 | down here and I want to move them up
above the image of the photographer.
| | 04:22 | So I will go to the Object menu, choose
Arrange, and then choose Bring to Front.
| | 04:27 | Bring to Front means stack these frames
on top of everything else on the page.
| | 04:33 | Okay, this is finally really coming
together, and there is so much more that I
| | 04:37 | will be talking about in later
chapters about grouping, and distributing
| | 04:40 | objects, and organizing them onto layers,
making starbursts, anchoring them into text.
| | 04:45 | We are going to have great fun.
| | 04:46 | But before we jump into all of that,
there are two more things that we need to
| | 04:50 | do to this document;
| | 04:51 | print it and export it as a PDF.
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| Printing and creating a PDF| 00:00 | An InDesign document by
itself is fun to look at.
| | 00:03 | But it's not very
practical out in the real world.
| | 00:05 | Instead, you are going to want to print
this puppy or export it out as a PDF so
| | 00:09 | that other people can view
it or print it. No problem.
| | 00:13 | But before we go there,
let's go ahead and save this.
| | 00:15 | I will go to the File menu and choose Save As.
| | 00:18 | I will go ahead and choose where I
want to save the file, change its name and
| | 00:23 | then come down here and make sure
that InDesign document is saved in the
| | 00:26 | Format pop-up menu.
| | 00:28 | Note that you can also save this as
an InDesign CS4 or later file, also
| | 00:31 | called an IDML file.
| | 00:33 | This is how you back save your file,
in case you needed to open this in
| | 00:37 | InDesign CS5 or CS4.
| | 00:39 | But in this case, we are just going
to save this as a regular CS6 document.
| | 00:44 | Now everyone knows that to print, you
go to the File menu and you choose Print.
| | 00:48 | But there are couple of gotchas here in
this dialog box that you should be aware of.
| | 00:53 | This dialog box looks different than the
Print dialog box in most other programs.
| | 00:57 | But most of it, is pretty self-explanatory.
| | 00:59 | You change the number of copies that you want,
what pages you want to print, and so on.
| | 01:04 | Notice that we have a list of panes down
here on the left side of the dialog box.
| | 01:09 | I am going to choose the Setup Pane
and it's crucial that I choose the right
| | 01:12 | paper size for the
printer that I am printing to.
| | 01:16 | In this case it's regular US Letter.
| | 01:18 | Note that because this document is wider
than it is tall, InDesign is indicating
| | 01:23 | that it is going to print sideways on my page.
| | 01:26 | So that it fits the page best.
| | 01:28 | If I change the Orientation to Portrait
by clicking this first icon, you'll see
| | 01:32 | that there's a mismatch between the
InDesign page, that's the one that has a big
| | 01:36 | P on it, and the Printer page
that's the white page behind it.
| | 01:41 | So in this case, I am going to go back
and click on the second icon, so that it
| | 01:44 | rotates the page and it prints properly.
| | 01:47 | Now there are some features that you
maybe used to that you will not be able to
| | 01:50 | find here in this Print dialog box.
| | 01:52 | For example, if you have a double-sided
printer, a duplex printer, you won't be
| | 01:56 | able to find those printer
specific features inside this dialog box.
| | 02:00 | Instead, you need to go to the Printer
Driver dialog box and you get there by
| | 02:05 | clicking Printer down here at
the bottom of the dialog box.
| | 02:09 | Now InDesign will warn you that many
of the features in the Printer Driver
| | 02:13 | dialog box are overwritten by the ones in
InDesign's own dialog box. But that's okay.
| | 02:18 | We will click OK and up comes
the Printer Driver dialog box.
| | 02:22 | If this were a double-sided or duplex
printer, we would be able to turn that
| | 02:26 | feature on inside this dialog box here.
| | 02:30 | So you use this Printer Driver dialog box
to set up all your printer specific settings.
| | 02:35 | Then go ahead and click Print and it
returns you to InDesign's dialog box.
| | 02:40 | When you are ready to print,
go ahead and click Print here.
| | 02:43 | In this case, I am going to click Cancel
because I don't really want to print this.
| | 02:47 | I want to make a PDF.
| | 02:48 | Now back in the 20th Century the old
days, the way people usually made PDFs is
| | 02:53 | by printing PostScript to disk, and
then using Acrobat Distiller to turn those
| | 02:57 | poster files into PDF's.
| | 03:00 | You don't want to do that.
| | 03:01 | Instead InDesign lets you export
PDF directly right out of the program.
| | 03:06 | To do that you go to the File menu,
choose Export and then choose PDF from
| | 03:11 | the Format pop-up menu.
| | 03:13 | You'll notice that there are
two different PDFs to choose from.
| | 03:16 | If your document contains buttons and
movies and other interactive objects that
| | 03:21 | we will talk about in a later
chapter, then you'll choose Interactive.
| | 03:24 | But in most cases you're just
going to choose Adobe PDF (Print).
| | 03:27 | I will click Save and up comes
the Export Adobe PDF dialog box.
| | 03:33 | This is very similar to the PDF dialog
box that you'll see in most of the other
| | 03:37 | Adobe Creative Suite applications.
| | 03:38 | For example, you can choose any
of your standard Adobe PDF presets.
| | 03:43 | If you're sending this to a
commercial printer, you will probably choose
| | 03:46 | PDF/X-1a or PDF/X-3, but check
with your printer first to be sure.
| | 03:51 | If you are going to put your PDF on
your website for somebody to download and
| | 03:54 | view, you probably start with high quality
print, and then you might make a few changes.
| | 03:59 | For example, I turn on View PDF
after Exporting because I like to see my
| | 04:03 | PDF after it's done.
| | 04:05 | I am going to go to the Compression pane
and change the Resolution for all color
| | 04:09 | and gray scale image to 150 because I
don't need really high resolution images
| | 04:14 | for this PDF that I'm putting on my website.
| | 04:16 | I'm also going to change the Image
Quality down to Medium because I don't need
| | 04:21 | that super high quality either.
| | 04:23 | In the later chapter, I go into far
more detail about the options in the Export
| | 04:27 | PDF dialog box as well as ways to
export your InDesign documents to other
| | 04:31 | useful file formats.
| | 04:33 | But from now, I'm just going to
export this PDF, and wait for it to appear.
| | 04:36 | There we go, it opened the PDF and
I can see that it's looking great.
| | 04:41 | So that's it for our first section.
| | 04:42 | I hope you've enjoyed this very fast overview.
| | 04:45 | By now you know the basics enough at
least to make a simple document, maybe get
| | 04:50 | yourself into a little trouble.
| | 04:51 | Now that we've scratched the surface
though, it's time to really go ahead
| | 04:54 | and learn InDesign.
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|
|
2. Understanding Your WorkspaceExploring the application window| 00:00 | You can't play football or baseball
if you don't know your way around the
| | 00:03 | field, and you can't be efficient in
InDesign until you're comfortable with the
| | 00:07 | application window.
| | 00:08 | Because whether you create a new
document, or open an already created one,
| | 00:12 | you'll see the same things.
| | 00:14 | The first thing you see in InDesign
when you launch it is this giant welcome
| | 00:18 | window that's right in the middle of the screen.
| | 00:20 | This welcome window is great because
it gives you a list of all your recently
| | 00:24 | opened InDesign files, and it
also lets you create new files.
| | 00:28 | For example, I'll just
click Create New Document.
| | 00:31 | Up comes a New Document dialog box and
I'm just going to go with the default
| | 00:34 | settings here, click OK and we can see
a fresh new InDesign document right in
| | 00:38 | the middle of the screen.
| | 00:40 | In Windows, InDesign lives inside
what's call the application frame.
| | 00:44 | On the Mac, we don't have a frame by
default, so we can actually see behind
| | 00:48 | InDesign, in this case
back to that blue Desktop.
| | 00:52 | Or if there's other applications running,
we could see those applications back there.
| | 00:56 | To me that's really distracting.
| | 00:57 | So I like to turn on the Application
Frame and on the Mac you can do that by
| | 01:02 | going to the Window menu and
choosing Application Frame.
| | 01:06 | This puts InDesign into an Application
Frame which can take up a portion of the
| | 01:10 | window, or the entire window.
| | 01:12 | I typically wanted to fill the window.
| | 01:14 | So, I'll go up to the green maximize button,
click that and now it fills the window.
| | 01:19 | Again, you don't need to do that on
Windows because the Application Frame
| | 01:22 | is always on there.
| | 01:24 | Now let's take a look at what we're seeing here.
| | 01:26 | At the top of course there's all the
menus- File, Edit, Layout and so on, and
| | 01:31 | this controls many of the features that
we'll be using throughout this title, to
| | 01:34 | talk about how to create InDesign documents.
| | 01:37 | Just below the menu is
what's called the Application bar.
| | 01:41 | The Application bar gives us a few
features that let's us control how we're
| | 01:45 | seeing our document.
| | 01:46 | For example, this first pop down menu
let's you control whether the Rulers
| | 01:50 | should be turned on or off, whether
they're visible or invisible around
| | 01:53 | your document page.
| | 01:55 | I'll be talking about all of
that later in this chapter.
| | 01:58 | Next, down in the screen we see the
Control panel and the Control panel is
| | 02:01 | probably the most
important panel inside of InDesign.
| | 02:05 | This let's you not only get information
about the objects on your page, but to
| | 02:09 | control their formatting.
| | 02:10 | It let's you control the
Fill and Stroke of an object.
| | 02:13 | It let's you control the
formatting of your text.
| | 02:16 | The Control panel is extremely important,
that's why they put it right there at the top.
| | 02:20 | However, if you don't want it at the top of the
screen, you can actually move it someplace else.
| | 02:25 | You can do that by dragging this
little gray bar on the left edge.
| | 02:29 | As I drag that out, it becomes a Floating panel.
| | 02:32 | I could even drag this down to the
bottom of my screen, until I see a little
| | 02:36 | blue bar area show up and when I do that
it docs it to the bottom of the screen.
| | 02:41 | Some people like it down there more,
because they find it more efficient to look down.
| | 02:46 | In this case, I'm going to drag it
back up to the top, and again I'll drag it
| | 02:50 | until I see a little blue area, little
blue bar, let go and it docks up there.
| | 02:54 | I'm going to leave it there because that's
the way it'll be on most of your machines.
| | 02:59 | Right now, I have a brand-new
document open and it's called Untitled-1.
| | 03:02 | I can tell that by looking up here in the tab.
| | 03:06 | This tab area shows all the
documents I have open right now.
| | 03:09 | For example, if I go to the File menu
and choose New > Document and click OK,
| | 03:14 | you'll see that now we
have a second document open.
| | 03:17 | Two different tabs, in both
cases the documents are empty.
| | 03:20 | So they look the same but believe
me there really are two different
| | 03:23 | documents open right now.
| | 03:25 | The document page itself is centered
in the window, and the edge of the page
| | 03:29 | is this black line.
| | 03:30 | That's the edge of the page that's going
to get printed, or if it's an on-screen
| | 03:35 | interactive document that's
going to the edge of the screen.
| | 03:38 | Inside the page there are these
guides, these pink and purple guidelines.
| | 03:43 | They're just guidelines.
| | 03:44 | They won't print out.
| | 03:46 | The pink one or magenta one is the Margin Guide.
| | 03:49 | That's where the edge of
the margin is inside the page.
| | 03:51 | The purple ones are the Column Guides.
| | 03:54 | In this case there's only one column
on the page, so it takes up the entire
| | 03:58 | width from one margin to the next.
| | 04:00 | On the outside of the page is
an area, called the Pasteboard.
| | 04:04 | The Pasteboard is very useful for
storing objects that you're not sure if you're
| | 04:08 | going to use them or not.
| | 04:10 | For example, you might have an image
that you may want to use, you may not, no
| | 04:14 | problem just hold it out there on the
Pasteboard for little while, and then you
| | 04:17 | can move it onto the page if you need to.
| | 04:19 | Now as you're constructing your
document in InDesign, you're going to need
| | 04:23 | tools and all the tools live over here in the
tool panel along the left side of the screen.
| | 04:28 | There's a Selection tool, a
Page tool, Type tool, and so on.
| | 04:32 | And I'm going to be covering all
of those tools in later movies.
| | 04:36 | The counterpart to the tools, are panels.
| | 04:38 | panels give you a lot of control over
how objects look or how they behave on
| | 04:43 | the page, and the panels typically live over
here on the right side in what's called the Dock.
| | 04:48 | For example, we have the Pages
panel, the Layers panel, and so on.
| | 04:52 | I'm simply clicking on the
name and up pops the panel.
| | 04:56 | You can find more panels
here in the Window menu.
| | 04:58 | The Window menu shows you
all the panels in InDesign.
| | 05:02 | The last thing I want to point out
here is the Help menu, which you might be
| | 05:05 | tempted to just to skip over or ignore.
| | 05:07 | But there's, a few items in here
which you should definitely know about.
| | 05:10 | For example, the Welcome Screen.
| | 05:13 | The Welcome Screen is that screen that
we saw at the beginning of this movie.
| | 05:17 | That window you see where no documents are open.
| | 05:19 | Sometimes it's helpful to open that
even when you have a document open.
| | 05:22 | So there it is if you want to open it again.
| | 05:25 | Deactivate looks really obscure, but
it turns out to be really important.
| | 05:29 | Because Adobe pays attention to how many
copies of InDesign you're running at the same time.
| | 05:34 | You're only supposed to have two copies
of InDesign running, perhaps one on your
| | 05:38 | Desktop and one on your laptop.
| | 05:39 | If you ever need to uninstall InDesign
and install it onto a different machine,
| | 05:43 | don't forget to deactivate it first,
because Adobe is paying attention.
| | 05:48 | Deactivate, then uninstall and then move it
to the other machine, and finally Updates.
| | 05:53 | It's really worth choosing updates
every so often, maybe once a month.
| | 05:57 | Make sure your copy of InDesign is
up-to-date because Adobe keeps releasing
| | 06:01 | little mini upgrades. They fix bugs.
| | 06:04 | They make things work more
smoothly, more quickly, and so on.
| | 06:08 | You definitely want to make sure you have the
newest free update for your copy of InDesign.
| | 06:13 | Now that you know your way around the
document page, the document window, the
| | 06:16 | panels and so on, it's time
to learn about navigation.
| | 06:20 | Zooming in and out, changing pages
and panning around your document.
| | Collapse this transcript |
| Navigating and magnifying pages and objects| 00:00 | You won't get very far in InDesign just
by staring at the first page of a document.
| | 00:04 | You need to learn how to navigate
the high sees, zooming, panning around,
| | 00:09 | jumping from page to page.
| | 00:11 | Let's start with moving around the
page and from one page to the next.
| | 00:14 | Now, everybody knows about the
scrollbars on the right side of the window, and
| | 00:19 | at the bottom of the window and you
can use those for scrolling around your
| | 00:22 | document, from spread to spread, and so on.
| | 00:24 | But I find it's usually easier to use
the Hand tool, the Grabber Hand and you
| | 00:29 | can find that down here at
the bottom of the tool panel.
| | 00:32 | There it is the Hand tool but
nobody uses that tool really.
| | 00:36 | Everybody uses the keyboard
shortcut and the keyboard shortcut is
| | 00:40 | Option+Spacebar or Alt+Spacebar on Windows.
| | 00:44 | When you hold down Alt+Spacebar or
Option+Spacebar you can actually click and
| | 00:48 | drag and as you drag around, you
actually move the whole page or the spread.
| | 00:53 | So the Hand tool is a great and very
efficient way of panning around your document.
| | 00:58 | However, if you're trying to jump to a
one particular page or spread, especially
| | 01:02 | in a long document, you don't want to
have to use the scrollbars or the Grabber
| | 01:05 | Hand, instead you want the Pages panel.
| | 01:09 | So I'll go over here to the Pages
panel and click here, it's over here in the
| | 01:12 | dock and you can see that all the
pages live here in one long line.
| | 01:17 | In this case, we have three spreads.
| | 01:19 | So, if I want to go directly to the
Page 24-25 spread, I just double-click
| | 01:25 | on the numbers, and it takes me right to
that spread and centers that in the window.
| | 01:29 | If I want to go just to page 23, I can
just double-click on page 23 and it jumps
| | 01:34 | me there and centers that page in the window.
| | 01:36 | We can also navigate from page
to page using the Layout menu.
| | 01:40 | Now Layout menu gives us a number of controls.
| | 01:42 | I go to the first page,
then next page, and so on.
| | 01:45 | But if you find yourself using the
layout menu more than two or three times,
| | 01:49 | tell yourself to remember
these keyboard shortcuts.
| | 01:51 | There are little obscure but they really help.
| | 01:54 | For example, if you want to go to the
first page in the document, you press
| | 01:57 | Command+Shift+Page Up.
| | 01:59 | That's with all those squiggles mean.
| | 02:01 | On Windows you do Ctrl+Shift+Page Up.
| | 02:04 | If you want to go to a specific page, you
press Command+J on the Mac or Ctrl+J on Windows.
| | 02:10 | You absolutely owe it to yourself to
remember some of those keyboard shortcuts.
| | 02:14 | You don't have to get all of them,
but remember some of them the ones that
| | 02:16 | you're going to use most often.
| | 02:18 | Here, I'll choose Go to Page, type in
Page 24 and press OK and it takes me
| | 02:23 | directly to that page.
| | 02:25 | Now that we know how to move from
page to page, we need to know how to move
| | 02:28 | in and out of the page, how to magnify the
page, so that we can see what's on it better.
| | 02:33 | InDesign has about 10
different ways of zooming in and out.
| | 02:36 | So let me show you a few of them, the
ones that you'll probably use most often.
| | 02:40 | Up here in the Application bar, there
is a Zoom Level pop up menu and we can
| | 02:44 | choose a specific
percentage for zooming in or out.
| | 02:47 | Right now we're at about 75%.
| | 02:49 | But if we wanted to zoom
in we might choose 150%.
| | 02:53 | If we want to move further out we
might choose something smaller like 50%.
| | 02:57 | So you can move in and
out with that pop-up menu.
| | 03:00 | This pop-up menu is what's called the
Combo Box because we can actually select
| | 03:03 | the text inside of it and type a
particular value we want, maybe 145%.
| | 03:09 | Press Enter and it goes
right to that percentage.
| | 03:12 | Another way to move in and out is to
hold down the Command Key on the Mac
| | 03:15 | or Ctrl Key on Windows and press the Minus
or Plus buttons on your keyboard.
| | 03:20 | That lets you zoom in or out on your page.
| | 03:22 | But if you want to know what I
use most often, it's just a few
| | 03:25 | keyboard shortcuts.
| | 03:26 | For example, Command+Option+0 or
Ctrl+Alt+0 on Windows, centers the spread, the
| | 03:33 | left and right page spread inside the window.
| | 03:36 | Command+0 does the same thing but just the page.
| | 03:39 | It centers the current page in the window.
| | 03:41 | Command+1 or Ctrl+1 goes into 100%,
Command+2 or Ctrl+2 goes into 200% and
| | 03:48 | Command+4 or Ctrl+4 jumps all the way into 400%.
| | 03:52 | I find that those keyboard shortcuts
are very useful for moving in and out of a
| | 03:56 | document, in percentages that I use most often.
| | 03:59 | Now I'm zoomed into 400% here,
and I can see the text really well.
| | 04:04 | But what if I want to quickly move
over to a different part of the page?
| | 04:06 | Well, InDesign has a feature called
Power Zoom and you get to Power Zoom by
| | 04:11 | first jumping to the Grabber Hand by
pressing Option+Spacebar or Alt+Spacebar on
| | 04:16 | windows and clicking.
| | 04:18 | And when you click and don't move
the cursor, if you hold down that mouse
| | 04:22 | button just for a moment, suddenly you'll
zoom all the way out to see the entire spread.
| | 04:26 | And you can see a red rectangle that
shows where you're going to be looking when
| | 04:31 | you let go of the mouse button.
| | 04:33 | So, for example, if I move over here
and then let go of the mouse button it'll
| | 04:37 | zoom back to 400% right within
that area where the red rectangle was.
| | 04:42 | So Power Zoom is a great way to stay
zoomed in, but move around your spread.
| | 04:47 | Now for the last zooming trick I'm
going to show you, I'm going to zoom out to
| | 04:50 | fit the whole spread in the window, by
pressing Command+Option+0 or Ctrl+Alt+0
| | 04:54 | on Windows, and I want to zoom in on
a very specific piece of my page, just
| | 05:00 | this caption down here.
| | 05:01 | To do that, I want to get
the Zoom tool temporarily.
| | 05:05 | I say temporarily because I don't want
have to go all the way over to the tool
| | 05:08 | panel and choose the Zoom tool,
this little magnifying glass tool.
| | 05:12 | Instead, I'm going to hold down Command
and Spacebar or Ctrl+Spacebar on Windows.
| | 05:19 | Now on the Mac, when I do that,
Command+Spacebar I have something
| | 05:23 | unfortunate happen.
| | 05:25 | I get the little spotlight
thing in the upper right corner.
| | 05:28 | It drives me crazy.
| | 05:29 | I don't want Command+Spacebar to be
spotlight, I want to Command+Spacebar to be
| | 05:33 | the Zoom tool in InDesign.
| | 05:35 | So for those of you, who're
the Mac let me show you a trick.
| | 05:38 | First I'll go to the Apple menu
and choose System Preferences.
| | 05:42 | Now I'm going to click on Keyboard, and
then I'll choose Keyboard Shortcuts, and
| | 05:46 | when you're in a Keyboard Shortcuts
mode of the Keyboard Preference you can
| | 05:50 | choose Spotlight and turn off the
Keyboard Shortcuts for the spotlight feature.
| | 05:56 | That's all you need to do.
| | 05:57 | Now when I go back to InDesign my
Command+Spacebar will work the way I want it
| | 06:01 | to, which is to give me the Zoom tool.
| | 06:04 | I'll drag over an area with the Zoom tool.
| | 06:07 | When I let go, it zooms
in right onto that caption.
| | 06:11 | Now I know that's a lot of different
features that I'm throwing at you quickly.
| | 06:14 | But it's really worth it to go over
this navigation features a number of times.
| | 06:18 | Really get them down because these
are the features that you're going to be
| | 06:21 | using a hundred, or even
a thousand times each day.
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| Setting rulers and measurements| 00:00 | A scientists like to say, if you can
measure it, it must be there, but how do we
| | 00:04 | measure things in InDesign?
| | 00:06 | Measurements show up in a number of
locations in InDesign, including the Control
| | 00:10 | panel and in the Rulers.
| | 00:12 | But what if these measurements show
inches and you work in millimeters or in
| | 00:16 | this case, this document is setup to
points and I want to work in centimeters.
| | 00:20 | How do we change it? No problem.
| | 00:23 | The trick is to right-click on one of the
rulers or Ctrl-Click with a one-button mouse.
| | 00:28 | Here we can change this ruler to
any one of a number of different
| | 00:31 | measurement systems.
| | 00:33 | In this case however, I want to
change both rulers, the horizontal and the
| | 00:36 | vertical ruler, so instead of right-clicking
there, I'm going to right-click on
| | 00:40 | this little square where the two rulers
intersect and by doing that I can change
| | 00:45 | both at the same time.
| | 00:47 | Now whenever I select an object on my
page, all my measurements show up in
| | 00:51 | centimeters instead of points.
| | 00:53 | So this is great, but it only
applies to this one document.
| | 00:56 | What if I wanted to change all the
new documents I create from now on?
| | 01:00 | Well, here's the trick.
| | 01:01 | First, close all your documents and
when no documents are open you can change
| | 01:06 | some preferences, and we can't right-click
on a ruler because there is no rulers
| | 01:09 | to be found, so instead, we go to the
Preferences dialog box which you can get
| | 01:14 | to on the Mac under the InDesign menu
and on Windows it's under the Edit menu or
| | 01:19 | you can just press Command+K
or Ctrl+K on Windows.
| | 01:23 | Inside the Preferences dialog box
you'll want choose Units & Increments.
| | 01:28 | InDesign lets you change all kinds of
Preferences and we'll be talking about a
| | 01:31 | few more of these in later chapters, but
for right now we're just going to focus
| | 01:35 | on the Rulers & Increments.
| | 01:37 | I'll change this to Centimeters here
and click OK and now it doesn't look like
| | 01:43 | anything has changed, but the next
time I create a new document, it's
| | 01:47 | automatically set to Centimeters.
| | 01:49 | You can see that all these
values are centimeters now.
| | 01:51 | I'll click OK and now the
rulers are in centimeters as well.
| | 01:55 | This does not change old documents,
any document that's already been created,
| | 01:59 | but it does change all the
documents that you create from now on.
| | 02:03 | By the way, you can also find
measurements in one other place in the Info panel.
| | 02:08 | I'll open the Info panel from the
Window menu and hiding inside here this
| | 02:12 | little tiny black triangle and if you click on
that you will once again see all the measurements.
| | 02:18 | I can change this from Centimeters to
let's say Ciceros or Pixels or I'll try Inches.
| | 02:24 | Very few people know about that secret
feature with that little triangle there.
| | 02:28 | InDesign is full of these little hidden,
but useful features that just makes it
| | 02:32 | more rich and more fun to use.
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| Working with panels| 00:00 | Most of InDesign's features live in its panels
and there are a lot of panels in this program.
| | 00:06 | For example, here is the Pages panel
and the Layers panel, and the Links panel,
| | 00:10 | and since you're going to be looking at
these panels a lot, you should know how
| | 00:14 | to manage them efficiently.
| | 00:16 | By the way, the word panels is kind
of new and many people still call these
| | 00:20 | palettes, so if you hear someone say
palette, maybe I'll say palette, maybe
| | 00:24 | sometimes it sneaks out, just smile and know
that panels and palettes are the same thing.
| | 00:30 | Okay, when you first open InDesign,
you see a list of panels along the right
| | 00:34 | side of the screen and these panels
all live in something called the dock.
| | 00:39 | If I go to the Window menu I see a list
of all my other panels, for example, I
| | 00:43 | might want to use my Text Wrap panel,
so I'll choose that and we'll see that
| | 00:47 | this panel is now floating.
| | 00:49 | I can move panels anywhere I
want when they're floating.
| | 00:51 | I can move it over to the left side of
the page or the right side of the screen
| | 00:54 | and so on, just by dragging the tab or
the gray area at the top of the panel.
| | 01:00 | I can even move it over to the right
side and put it into the dock, and you
| | 01:04 | do that by dragging it until you see a
little blue line, the blue line means
| | 01:09 | it's going to go here.
| | 01:10 | So I let go of it and now we can
see the Text Wrap panel is docked.
| | 01:15 | I'll click on it to open it
and click on it to close again.
| | 01:18 | If you find yourself using a panel often,
you should definitely put it over in
| | 01:22 | the dock, so it's easy to get to.
| | 01:24 | Here are a couple of other things
about panels that you should know about.
| | 01:27 | First of all there's a double-headed
arrow at the top of the dock and when you
| | 01:31 | click on that it opens all
the panels, so you can see them.
| | 01:35 | Some people like that kind of thing.
| | 01:37 | For example, I'll click on the Color
tab and it opens the Color panel right
| | 01:41 | there in front of me, that way there is no
fuss of having to open and then close it again.
| | 01:45 | On the other hand I find that to be
just kind of waste of space on the screen,
| | 01:49 | so I'm going to click that double-arrow
again and put it back into this mode
| | 01:53 | where I just see the names.
| | 01:55 | In fact, I don't even need to see the
names, because after you've been using
| | 01:59 | InDesign for more than two weeks, you're
going to know what all these icons are.
| | 02:03 | That's the Text Wrap panel icon, that's
obviously the Color Swatches icon, and so on.
| | 02:08 | So I don't need to see the names and I
can hide them by dragging the left edge
| | 02:13 | of the dock to the right.
| | 02:14 | I'll simply place my cursor over
that gray line and drag it to the right,
| | 02:18 | until the names go away.
| | 02:20 | Now I just see the panel icons, which
I just find a much more efficient use
| | 02:25 | of screen real estate.
| | 02:26 | Now, granted, sometimes I want those
panels to be floating instead of in the
| | 02:30 | dock, and I can do that by opening
them and then dragging the tab out of the
| | 02:35 | dock and onto the screen
again, now it's floating.
| | 02:38 | There is the Links panel and the
Layers panel and the Pages panel, and so on.
| | 02:43 | I could drag all of these out if I want.
| | 02:44 | I can even make these little floating
minimized versions if I want and then
| | 02:48 | click on the double-arrow to expand it.
| | 02:51 | Positioning your panels is all about
finding what you need as quickly and easily
| | 02:55 | as possible but you'll find that you
need different panels open at different
| | 02:59 | times, when you're working with the
text you need certain panels open, and when
| | 03:03 | you're using interactive elements,
you need different panels open.
| | 03:06 | Fortunately InDesign has a feature
called Workspaces, and you'll find the
| | 03:10 | workspaces up here on the right side of the
application bar, right now it's set to Essentials.
| | 03:15 | If I click on that I can choose a
different workspace and InDesign ships with a
| | 03:19 | number of workspaces built in.
| | 03:21 | For example, Advanced.
| | 03:23 | Advanced is not really advanced, it just
shows a different set of panels on the screen.
| | 03:28 | Now when I go back to the Essentials
workspace, you'll see it's exactly the way
| | 03:32 | it was when I left it, but this is kind
of a mess, so I'd like to clean it up.
| | 03:36 | So I'm going to go back to the
Workspace menu and choose Reset, reset means
| | 03:41 | put it back to the way it was when it was
first created, when this workspace was fresh.
| | 03:45 | There we go, back to its original form.
| | 03:48 | Okay, so once you have your panels set
up just the way you want them, you're
| | 03:51 | going to want to turn your focus to
your document and how to control, how
| | 03:55 | InDesign displays artwork and page items.
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| Setting the view quality of artwork| 00:01 | 15 years ago a lot of people
talked about the term WYSIWYG.
| | 00:04 | What You See Is What You Get, but
the word fell out of favor after people
| | 00:08 | realized that they really couldn't
trust what they saw on the screen.
| | 00:11 | Now InDesign makes WYSIWYG a reality,
because you really can start to trust your
| | 00:16 | monitor again, but you have to know
how to manage InDesign's Display Options.
| | 00:21 | Let me show you what I mean.
| | 00:22 | I'm going to use my Zoom tool shortcut
which is Command+Spacebar on the Mac or
| | 00:26 | Ctrl+Spacebar on Windows and
I'm going to zoom in on this logo.
| | 00:30 | Right away we see that this thing looks cruddy.
| | 00:33 | I can't read the text very well, I
can't really tell what's going on in the
| | 00:36 | graphic, it's just not very useful,
but you need to print this thing out on a
| | 00:40 | laser printer in order to see it in
good quality, absolutely not, because
| | 00:44 | InDesign can show you high
quality but only if you tell it to.
| | 00:49 | To do that, go to the View menu choose
Display Performance and then change from
| | 00:54 | Typical to High Quality Display.
| | 00:57 | Much better, now Typical
is great because it's fast.
| | 01:01 | If you're on a slower machine, you
probably want to be in Typical most of the
| | 01:05 | time, because it'll keep things moving quickly.
| | 01:08 | If you're on a screaming fast machine or
you really need to pay attention to the
| | 01:11 | quality of the graphics all the time,
go ahead and set it to high-quality and
| | 01:14 | leave it set that way.
| | 01:15 | When you're in high-quality
display, you can zoom in and in and in.
| | 01:20 | For example, there is 1300%, zoom in
even more, there is 4000% and I can still
| | 01:27 |
| | 01:27 | see nice sharp lines.
| | 01:30 | It's like there is a whole high-end
rip built into InDesign so that no matter
| | 01:34 | what zoom percentage you're at,
you always see the highest quality.
| | 01:38 | And it's not just for vector images
either, this works for pixel images
| | 01:41 | too, raster images.
| | 01:43 | I'll hold down Option+Spacebar or Alt+Spacebar
on Windows, click down the mouse
| | 01:47 | for a moment so I can get my power
zoom, and I'm going to zoom over here to
| | 01:51 | look at this image.
| | 01:52 | When I let go, it zooms back to
4000% and I can see real pixels.
| | 01:58 | These are exactly the same
pixels as I would see in Photoshop.
| | 02:02 | It's high-quality display,
high-resolution display.
| | 02:05 | Now, if I go back and switch to Typical
Display, everything is going to be much
| | 02:09 | faster, but we're going to see a
much rougher version of these pixels.
| | 02:13 | Everything is low resolution, 72dpi.
| | 02:16 | Knowing what you're looking at is key to
being efficient in InDesign and it lets
| | 02:20 | you make the right design choices
without having to print a lot of proofs.
| | 02:24 | There are a few more ways to adjust
how InDesign displays your document too,
| | 02:28 | which is what I'm going
to cover in the next movie.
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| Adjusting view and preview settings| 00:00 | What you see on screen is crucial to
you being efficient in this program.
| | 00:04 | It's your only portal into
understanding what's in your document and how it's
| | 00:07 | going to end up in print or PDF
or wherever the file is headed.
| | 00:11 | Fortunately, InDesign gives you a number
of controls over how it displays your pages.
| | 00:16 | We saw how to change display quality earlier.
| | 00:19 | Now let's see about
InDesign's other display settings.
| | 00:22 | All of InDesign's display settings live
up here in the View menu, and the most
| | 00:26 | important one is here under the Screen
mode submenu, it is called Preview mode.
| | 00:31 | Now Preview mode doesn't look like it
has a keyboard shortcut, but I'm going to
| | 00:34 | let you know a secret, it does.
| | 00:36 | It's just the letter W. So whenever I
want to go into Preview mode, I simply
| | 00:40 | press W. As long as you're not editing
text of course, if you're inside of a
| | 00:45 | text frame, then pressing W actually
types the W letter, but if you're not
| | 00:49 | editing text, then pressing W puts you
into Preview mode, and then pressing W
| | 00:53 | again, takes you out of it.
| | 00:55 | Now preview mode is great, because it
gives you a nice neutral gray background
| | 00:59 | inside of your pasteboard and more
importantly it hides all nonprinting objects.
| | 01:04 | Your guides disappear, nonprinting objects
disappear, the edges of frames disappear.
| | 01:09 | Actually the edges of frames do appear,
if you placed your cursor over an object.
| | 01:15 | So as I move my cursor over an object
they appear and they do that because you
| | 01:19 | can actually work in Preview mode.
| | 01:21 | I can actually move this object around
if I want to and place it just where I
| | 01:24 | want, completely up to you.
| | 01:27 | So I find it very useful for those
little edges to appear when you move your
| | 01:31 | cursor over an object.
| | 01:33 | That said, I do know that
it drives some users crazy.
| | 01:37 | I don't know what it is, but for
some reasons some InDesign users just
| | 01:40 | really hate that feature.
| | 01:41 | So I'll tell you a little secret.
| | 01:44 | If you go to the Preferences dialog box,
you go to the InDesign menu on the Mac
| | 01:47 | or Edit menu on Windows,
and you choose Interface.
| | 01:51 | Inside the Interface pane of the
Preferences dialog box is a checkbox, Highlight
| | 01:56 | Object Under Selection tool.
| | 01:58 | If you don't like those edges flashing on and
off, turn off that checkbox and then click OK.
| | 02:02 | I'm going to leave it on, because
like I said I actually like that feature.
| | 02:07 | So now, as soon as I deselect that
object by clicking out here in the
| | 02:10 | pasteboard, the frame edges hide again.
| | 02:13 | So Preview mode is terrific for
giving you a sense for how this document is
| | 02:16 | going to print or export to PDF, and so on.
| | 02:20 | Here is another thing you can do, press the
Tab key, again, when you're not editing text.
| | 02:24 | Press Tab and all the panels
disappear, they just disappear.
| | 02:28 | So you have much more screen real estate to
work with and it looks more cleaned as well.
| | 02:33 | It turns out that those panels are
really still there and if I move my cursor
| | 02:36 | over to the right side of the screen,
they'll pop out again, and then I can use them.
| | 02:41 | And as soon as I move my
cursor away, they disappear again.
| | 02:45 | Same thing with the tool panel on the
left-side of the screen, there they are,
| | 02:48 | and now they've gone again.
| | 02:50 | So Tab key turns them off and on again.
| | 02:53 | Now the Preview mode is cool, especially
when the panels are turned off, but for
| | 02:57 | the ultimate in screen display you want
Presentation mode and you can get that
| | 03:02 | from the View menu or up here in the
application bar you can choose this little
| | 03:06 | pop-up menu and choose Presentation or
the secret keyboard shortcut, Shift+W,
| | 03:12 | and when you press Shift+W it hides everything.
| | 03:15 | Your menus disappear, your panels
disappear everything disappears, except your
| | 03:19 | document which is put on a nice black
background, very high contrast, great to
| | 03:24 | look at, especially when
your boss walks in or a client.
| | 03:28 | Presentation mode is also helpful for
moving through a multi-page document
| | 03:31 | because if you click you move
from one spread to the next.
| | 03:34 | You can actually see the cursor has a
little arrow in there indicating that
| | 03:38 | clicking moves from one spread to the next.
| | 03:40 | If you want to move back a spread, you
hold down the Shift key, Shift+Click to
| | 03:44 | move back and I'll Shift+Click again.
| | 03:47 | When you're ready to exit Presentation
mode, you can press Escape or Shift+W
| | 03:51 | again and you're out of Presentation mode.
| | 03:54 | Now I'll press W to exit out of Preview
mode and I can see all of my nonprinting
| | 03:58 | objects again, like the guides.
| | 04:00 | By switching from one display mode to
another and by turning on and off these
| | 04:04 | view settings you can really get a
sense for what's in your document, whether
| | 04:08 | it's laid out properly and how it
will look when it's exported or printed.
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|
|
3. Creating a DocumentCreating new documents| 00:00 | Finally, it's time to
make a new InDesign document.
| | 00:03 | The way to make a new InDesign
document is to go to the File menu, go to New
| | 00:07 | submenu and choose Document.
| | 00:09 | Of course, you could also just press
Command+N on the Mac or Ctrl+N on Windows
| | 00:14 | or the other thing you could do is
here in the welcome screen you could click
| | 00:18 | the Document button under the Create New area.
| | 00:21 | When you do any of those things, up
comes the New Document dialog box.
| | 00:25 | At first this dialog box
might be a little overwhelming.
| | 00:28 | There are a number of features in
here that you probably don't need to pay
| | 00:31 | attention to all the time, but I am
going to go through one feature at a time to
| | 00:35 | make sure you know what's what in here.
| | 00:38 | The very first thing you
need to decide is the Intent.
| | 00:40 | The Intent means where this document is going.
| | 00:43 | There are three options here, Print,
Web and Digital Publishing and I am going
| | 00:47 | to focus on these second to first.
| | 00:49 | Web is a bit of a misnomer.
| | 00:52 | It doesn't mean web like a web page or
an HTML page, it means a document that is
| | 00:57 | going to be delivered on-screen.
| | 00:59 | This really should say on-screen.
| | 01:01 | An example of this might be a document
that you are going to be exporting as PDF
| | 01:05 | and it has a movie in it and some buttons,
things that you will probably only be
| | 01:09 | seen on screen and then
maybe occasionally printed out.
| | 01:12 | Another example might be a SWF file
that has animations built into it.
| | 01:16 | Those are on-screen web documents.
| | 01:19 | Two things happen when you choose Web;
| | 01:21 | first, all your measurements are set to
pixels instead of inches or centimeters
| | 01:26 | and second all your colors in
your document will be set to RGB.
| | 01:30 | That's appropriate for a
web or an on-screen document.
| | 01:34 | The next option Digital Publishing are
only for documents that are destined to
| | 01:38 | be used in the Digital Publishing
Suite, the DPS suite, and that's for
| | 01:43 | documents that are going to be created
as apps on an iPad or an Android device,
| | 01:48 | some sort of tablet.
| | 01:49 | Here too everything is set to pixels
and one of things you'll notice is that
| | 01:53 | Page Size is not really a page it's a
device, is this going to an iPad or is
| | 01:58 | it going to a Nook?
| | 02:00 | InDesign is smart enough to know the
pixel dimensions of those various devices,
| | 02:04 | but for all the other InDesign documents,
really probably 99% of the documents
| | 02:09 | that are created with InDesign, you want
to choose Print and Print does not mean
| | 02:14 | only print, it doesn't mean that you're
going to necessarily be printing this.
| | 02:17 | If you're making a PDF that you're
putting up on your website for somebody to
| | 02:20 | read like a product sheet for some
business, you can still use Print.
| | 02:25 | But for everything else,
probably 99% of the documents created in
| | 02:28 | InDesign choose Print.
| | 02:30 | Print is kind of like the catchall
for all the other documents that you are
| | 02:32 | going to be creating.
| | 02:34 | When you use Print, your
measurements are all set to picas or inches or
| | 02:37 | centimeters or whatever you have chosen,
and all your colors are set to CMYK.
| | 02:42 | The next thing you need to decide in the
New Document dialog box is whether your
| | 02:46 | document is set up for Facing Pages.
| | 02:48 | Facing Pages should only be used for
documents that have a left and a right-hand
| | 02:52 | page, a verso and a recto,
kind of like a book or a magazine.
| | 02:57 | If you're doing a one-page flyer or even a
double-sided flyer you want to turn that off.
| | 03:02 | Anything that does not truly
have facing pages, turn that off.
| | 03:05 | Primary Text Frame is a way to
automatically add a text frame to your Master
| | 03:10 | page and I'll be covering
that in a later chapter.
| | 03:12 | For now, I'm just going to tell you that
most people can turn that off, leave it
| | 03:16 | off most of the time, it's used for
things like books where you have a story
| | 03:21 | that goes from one page to
the next over a lot of pages.
| | 03:24 | Couple of other features we can look at
quickly, Number of Pages, usually it's set to 1.
| | 03:29 | If you know what you're creating a
document with 16 pages, you can type 16 in
| | 03:33 | here and you'll get that many pages,
but it doesn't really matter and honestly
| | 03:37 | I usually just set it to 1 and if I need
more pages, I'll add them later in InDesign.
| | 03:42 | Same thing with Start Page, Start Page
is something that you can set here if you
| | 03:46 | want to, for example, if you are
working on a chapter of a book and you know
| | 03:49 | that chapter starts on page
47, you could set that here.
| | 03:53 | Otherwise, it's easy to change later.
| | 03:55 | Now we get to the real meat and
bones of this dialog box, the Page Size.
| | 04:00 | This is the most important
thing that you can choose here.
| | 04:02 | What size should the finished piece be?
| | 04:05 | I am talking about if you're going to
be printing this on a commercial printing
| | 04:08 | press what is the final size after it's
trimmed down, going to be? Is it letter size?
| | 04:14 | Is it 8x10, is it something smaller?
| | 04:17 | If you're printing a business card, you
should choose Business Card out of this
| | 04:21 | popup menu and the Width and
Height will update automatically.
| | 04:24 | If you know you are going to be printing
on A4 paper, then go ahead and choose A4.
| | 04:29 | In this case, I know that I'm creating
a document that's going to be exactly
| | 04:32 | 7 inches x 9 inches.
| | 04:34 | So I am going to type that in here.
| | 04:36 | I can type my own custom values here by
typing 7in for 7 inches, then I'll press
| | 04:42 | Tab and when you press Tab, it will
automatically convert the measurement into
| | 04:47 | the current measurement system, which is picas.
| | 04:50 | This is going to be 9 inches tall, so
I'll type 9in and then hit Tab again, and
| | 04:54 | it converts it into picas for me.
| | 04:57 | If you want to, you can click on the
Orientation buttons over on the right.
| | 05:01 | All that does literally is swap the
values in here, doesn't do anything special.
| | 05:05 | Columns is the next stop.
| | 05:07 | Most documents just have one column,
but if you know that you're going to have
| | 05:11 | two or more columns in your
document, go ahead and change them here.
| | 05:14 | Also, change your Gutter.
| | 05:16 | The Gutter is the amount of space in
between each column in your document and Margins.
| | 05:22 | Margins set up guidelines inside your
page so that you know where the edges of
| | 05:27 | let's say the text frame should sit.
| | 05:29 | Margins are just guidelines.
| | 05:31 | There's nothing stopping you from
putting objects outside the margins, but
| | 05:35 | they're just helpful reminders of where
the appropriate place to put your text
| | 05:38 | frames and graphics should be.
| | 05:40 | One thing to note here it this button
that looks like a little chain, right now
| | 05:44 | if I made a change to any of these fields,
they would all change, but if I click
| | 05:49 | on that link button, it unlinks,
it decouples all of these frames.
| | 05:53 | So if I want a different margin at the
Top, I cap type 6p, for example, and now,
| | 05:58 | I can change that separately from the others.
| | 06:01 | Now this looks like all of the options
inside this dialog box, but there is a
| | 06:04 | little bit more, it's hiding from you.
| | 06:07 | Adobe didn't want to freak you out by
offering too many options at the same
| | 06:10 | time, but you can see all of your
options by clicking on the More Options
| | 06:14 | button, and when you do that, the dialog
box gets a little bit bigger and we can
| | 06:19 | see that there is Bleed and Slug settings.
| | 06:21 | I'm going to be talking about Bleed and
Slug settings in a later movie in this
| | 06:25 | chapter, but I just wanted to point
out that this is where you can find those
| | 06:28 | settings here in this dialog box.
| | 06:30 | Now the last thing I want to point out
is the Save Preset button, because if
| | 06:35 | you create a lot of new documents, some of
them are probably going to have the same values.
| | 06:39 | So I can save all the work that I have
just done in this dialog box by clicking
| | 06:43 | Save Preset and giving this a name.
| | 06:47 | You can call it anything you want,
and then you click OK, and suddenly that
| | 06:51 | preset shows up here in the
Document Preset popup menu.
| | 06:55 | So the next time I need a document
that's 7x9 with a 6 pica Top margin, I can
| | 07:00 | just pull that right out of this popup menu.
| | 07:02 | I'll click OK and now I've got my document.
| | 07:06 | If you do create a document and you
need to make changes later, don't panic,
| | 07:10 | InDesign is very flexible, very forgiving.
| | 07:13 | In this case, let's say we want to
change the size of the page slightly, we'll
| | 07:16 | go to the File menu and choose
Document Setup and we can change all kinds of
| | 07:21 | settings here, including the Page Size.
| | 07:24 | For example, let's make
this a little bit taller.
| | 07:26 | I'll just say make this 55 picas
instead, click OK and now the document
| | 07:31 | is slightly taller.
| | 07:33 | Making a new document with the proper
settings is the first step in creating a
| | 07:37 | strong foundation for your publication.
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| Saving and reverting documents| 00:00 | Once you have a new document or you're
editing an already existing document, you
| | 00:04 | should save it to disk.
| | 00:07 | For example, if I select some of these
objects over here and just drag them to the right.
| | 00:11 | Now suddenly I have changed my
document and I can tell that I have change the
| | 00:15 | document, because there is a
small asterisk up here in the tab.
| | 00:19 | That asterisk means this document has
changed since the last time I saved it.
| | 00:23 | But when I go to the File menu, I see
that there are actually three different
| | 00:26 | ways to save my document
Save, Save As and Save a Copy.
| | 00:31 | Let me talk for a moment
about what the differences are.
| | 00:35 | Save, you've probably had lots of
experience with if you've used any other software.
| | 00:39 | It simply saves over the current document.
| | 00:42 | Save As, is slightly different, it lets
you rename the document to anything else.
| | 00:47 | For example, I can change this to 03B,
and it lets you choose a different
| | 00:51 | location for the document.
| | 00:53 | It also gives you an option of what
format to save it in, a document, a
| | 00:57 | template, or an IDML file.
| | 00:59 | A document is just a regular
InDesign file, nothing special about it.
| | 01:03 | You'll open it, you change
it, you save it, and so on.
| | 01:05 | A template is slightly different.
| | 01:08 | When you save an InDesign document as a
template, you're telling InDesign that
| | 01:11 | you are not expecting to make any
changes to this document in the future, that
| | 01:15 | is, you open a document
and it will open as untitled;
| | 01:19 | you're using it as a base for
future documents to work off of.
| | 01:23 | The last option InDesign CS4 later,
otherwise known as IDML, I'll cover later
| | 01:27 | on in this chapter.
| | 01:29 | In this case I'm just going to save
this as a regular InDesign CS6 document.
| | 01:33 | Now the third option Save a
Copy is kind of interesting.
| | 01:39 | Save a Copy means save the current
state of this document out to my hard drive,
| | 01:44 | but let me continue working
on the document I'm working on.
| | 01:47 | You'll see that currently I'm working
on 03B, the one I just did a Save As on.
| | 01:52 | So, if I choose Save a Copy and save
this as 03C, I'll get rid of this word copy
| | 01:59 | I don't need that there.
| | 02:01 | If I save this as 03C, then I
continue working on 03B, I've just taken the
| | 02:07 | current state of the document as it
was and saved it off to the hard drive.
| | 02:10 | I'm going to go ahead and keep working
here by moving this over there, I'll move
| | 02:14 | this over here, and I just called
it because all kinds of havoc in this
| | 02:17 | document, but you get the idea that
I'm still working on 03B, and if I later
| | 02:21 | want to go back to 03C, I cant.
| | 02:24 | It'd be easy to open that off the Desktop.
| | 02:26 | This is what I called saving a base camp.
| | 02:29 | It's like, when you're climbing a
mountain, you set base camps every so often
| | 02:32 | that you can always return to.
| | 02:34 | That's what Save a Copy is about.
| | 02:36 | And one of my favorite things about
InDesign is the ability to experiment and
| | 02:40 | never feel like anything I've done is
set in stone, so that you can always go
| | 02:43 | back to where you were.
| | 02:45 | So, saving a copy, a base camp, is a
great way to feel confident that you can go
| | 02:49 | back to where you were.
| | 02:50 | Another way you can feel confident
in making changes in InDesign and
| | 02:53 | experimenting is that
there're unlimited numbers of undo.
| | 02:57 | So, if I go ahead and start making more
changes here, moving things all over the
| | 03:00 | place, making a real mess of this, I
know that I can always undo what I've done
| | 03:05 | by pressing Command+Z or Ctrl+Z on
Windows, and I can do that as many times as I
| | 03:10 | want until it goes all way back to where it was.
| | 03:13 | Now sometimes, you really mess up a document.
| | 03:16 | You're working for half an hour,
changing things, moving things all over the
| | 03:20 | place, and you realize you
don't want to undo a hundred times.
| | 03:23 | You don't want to hit that
keyboard shortcut over and over again.
| | 03:26 | In those cases, you might consider
using something else from the File
| | 03:29 | menu called Revert.
| | 03:31 | Revert means go all the way back to
where this document was when you last saved
| | 03:36 | it, in this case, when I did that Save As.
| | 03:39 | When you choose Revert, it confirms
are you sure you really want to do this,
| | 03:42 | because all of your changes is going
to get lost, and if you choose OK, it
| | 03:46 | actually closes this document and
reopens the original one from disk.
| | 03:50 | Look, mistakes happen they're inevitable.
| | 03:53 | So, teach yourself to save, save often,
save base camps, save backups, and then
| | 03:59 | use Undo and Revert
judiciously when you need to.
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| Saving for CS4 and CS5 with IDML| 00:00 | You might be using InDesign CS6, but a
client or a colleague may still be using
| | 00:04 | InDesign CS5.5 or 5 or even CS4, and if
you send them your InDesign file, they
| | 00:11 | won't be able to open it.
| | 00:12 | Instead they'll get a nasty alert
saying, they don't have the right plug-ins.
| | 00:17 | So what you're going to do? What will you do?
| | 00:20 | Well, the trick is to send them an
IDML file, technically an InDesign
| | 00:25 | Markup Language file.
| | 00:27 | It's an XML thing, you
don't need to worry about it.
| | 00:29 | It's just an IDML file that they can open.
| | 00:33 | You can make an IDML file in one of two ways.
| | 00:36 | You can go to File menu, choose Export,
and then choose from the Format pop-up
| | 00:40 | menu InDesign Markup or IDML.
| | 00:43 | That's one way to do it.
| | 00:44 | Another way to do it, perhaps even
easier, is choosing Save As from the File
| | 00:49 | menu, and when you choose Save As, you
can choose IDML from the Format pop-up menu.
| | 00:55 | InDesign warns you that saving as an
IDML is not truly a save as, that is, it
| | 01:01 | doesn't do anything to this file
here, it's literally exporting IDML.
| | 01:06 | They just put it in the Save As dialog
box, because a lot of people couldn't
| | 01:09 | find it in the Export;
| | 01:11 | they didn't know that it was there.
| | 01:12 | InDesign warns you that you're not
really doing a save as, it's not changing
| | 01:17 | your document in any way, it doesn't
change the name of this or anything.
| | 01:20 | All it's literally doing is exporting IDML.
| | 01:23 | The same thing as the other export
feature, but in InDesign CS6, Adobe put the
| | 01:28 | IDML feature into the Save As dialog box,
because so many people could not find
| | 01:32 | it in the Export dialog box;
| | 01:34 | they didn't know where to look.
| | 01:36 | Anyway, when you click Save, you'll
get your IDML file that you can send to
| | 01:40 | somebody else and they'll be able to open it.
| | 01:43 | But remember, using IDML to
save backward is not seamless;
| | 01:48 | no matter what you've heard.
| | 01:49 | Some things can get lost and your
documents can change, sometimes radically when
| | 01:54 | you open a file in an earlier version.
| | 01:56 | For example, let's say, your
document contains more than one page size,
| | 02:00 | something that I'm going to
explain in the later chapter.
| | 02:03 | All of those page sizes are lost if
you open the IDML file in CS4, because it
| | 02:08 | doesn't know about multiple page sizes;
| | 02:10 | it doesn't have that feature.
| | 02:11 | So what you expected to do?
| | 02:13 | All the pages end up the same size.
| | 02:16 | Nevertheless IDML can be a useful
technique, especially if you're working with
| | 02:20 | simple documents and you can't
convince everyone you work with to upgrade.
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| Setting the margin and column guides| 00:00 | In an earlier movie, we saw that the
New Document dialog box, lets you set your
| | 00:04 | margins and column guides.
| | 00:06 | But what if you change your mind later,
after the file is already created, or
| | 00:10 | what if you want different margins
in different parts of your document?
| | 00:13 | No problem, that's where the Margins and
Columns feature comes in here under the Layout menu.
| | 00:17 | But before you choose this feature,
you need to tell InDesign which pages
| | 00:22 | you want to affect.
| | 00:24 | To do that, I'm going to go to the
Pages panel over here in the doc.
| | 00:28 | Right now, I can see that I'm looking
at pages 24 and 25, and I can tell that
| | 00:33 | because those of the pages
that are highlighted down here.
| | 00:36 | That's not necessarily
the pages that are selected.
| | 00:39 | For example, I can click on page 21 up
here, and now I'm looking at pages 24 and
| | 00:44 | 25, but I've targeted I've selected page 21.
| | 00:48 | So if I go to Margins and Columns, it will
affect page 21, not the ones I'm looking at.
| | 00:53 | So you have to be a little bit careful there.
| | 00:55 | In this case, I do want to affect the
pages I'm looking at, so I'm going to
| | 00:59 | click on these numbers beneath the spread.
| | 01:00 | That's just a shortcut for selecting
both pages in the spread, and now I'm going
| | 01:04 | to go to Layout menu and
choose Margins and Columns.
| | 01:08 | It's a good idea to turn on the
Preview checkbox in this dialog box.
| | 01:11 | That way, you can see what you're doing
while you working before you click OK.
| | 01:16 | Now I'd like to change the bottom margin,
but before I do that, I want to ensure
| | 01:19 | that this button, this little link
icon, is turned off, it's broken.
| | 01:24 | If this button is turned on, if it's
connected, then any change I make will
| | 01:28 | affect all of the fields in this dialog
box, and I don't want that, I only want
| | 01:32 | to change the bottom margin here.
| | 01:34 | I'll change it to 80 points.
| | 01:36 | Now it only updates when I leave this field.
| | 01:38 | So I'll press the Tab key to jump to
the next item and we can see that, because
| | 01:43 | the Preview checkbox is
turned on, the margins moved.
| | 01:47 | I'll do the same thing with the columns.
| | 01:48 | I'll change this from 1 Column to 2
Column, just by clicking that little up
| | 01:52 | arrow, and you can see that now
we have two columns on every page.
| | 01:55 | Now obviously, this only changed the
margins and columns, it did not affect the
| | 02:00 | objects on the page.
| | 02:02 | If I want to affect the objects
on the page, then I need to turn on
| | 02:06 | Enable Layout Adjustment.
| | 02:08 | That's the on/off switch for move
my objects or don't move my objects.
| | 02:12 | I'm going to set this back to the way it
was, 60 points Margin and 1 Column, and
| | 02:17 | I'll turn on Enable Layout
Adjustment, and we can see how this works.
| | 02:22 | First, I'll go change my bottom margin,
I'll bring that up to 80 points, and you
| | 02:26 | can see that immediately this frame,
this text frame, and this image moved, but
| | 02:31 | this image over here did not move.
| | 02:33 | What's the difference?
| | 02:34 | Well, Layout Adjustment works by looking at
any objects that are touching guides that move.
| | 02:40 | It has to be touching a guide or very,
very close to a guide, and then it will move.
| | 02:45 | This image down here was not touching
that guide, so it stayed where it was.
| | 02:49 | As you can tell, Layout Adjustment
is a great way to move a lot of object
| | 02:53 | on your page quickly.
| | 02:54 | So if you're changing your page sizes,
Layout Adjustment may be just the ticket for you.
| | 02:59 | However, with that power,
comes great responsibility.
| | 03:02 | Here's what I mean.
| | 03:03 | Sometimes Layout Adjustment can
really mess up your page all a lot.
| | 03:07 | For example, if I change the
number of columns here to 2. Wow!
| | 03:13 | That's not what I wanted and
something not what I expected.
| | 03:16 | It added the second columns, but it
moved a lot of these objects around and it
| | 03:20 | changed even the number of
columns in those text frames.
| | 03:24 | So in this case, I'm not going to want
to do that, I'm going to want hit Cancel
| | 03:27 | and go back to the way it was.
| | 03:30 | So we've seen how we can change the
margins and columns on a single spread, but
| | 03:34 | what if want to change them for all
the pages at the same time. No problem.
| | 03:38 | Then we have to use Master pages.
| | 03:40 | I'm going to be talking about Master
pages in the next chapter, but for now,
| | 03:43 | suffice it to say that all of these
pages in my document are based on a master,
| | 03:48 | which lives up here at
the top of the Pages panel.
| | 03:50 | So, if I click on the name of the
master or choose the pages over here, then if
| | 03:55 | I make a change to that,
it will affect all my pages.
| | 03:59 | I clicked on A-Master, I can go to
Layout > Margins and Columns, and once again
| | 04:04 | I'll simply change the bottom margin to
80 points, and when I click OK, you'll
| | 04:09 | see that the margins change.
| | 04:10 | It changed on every page in this
document that is based on that master, not just
| | 04:15 | the ones that I'm looking at.
| | 04:16 | Now remember these margin guides are
just that, they're guidelines for where
| | 04:21 | you might put objects.
| | 04:23 | There are other kinds of guides in
InDesign too, including Page Guides, which is
| | 04:27 | what I'll talk about in the next movie.
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| Putting ruler guides on the page| 00:00 | Designers love adding guides to their
page to define zones and manage the space.
| | 00:05 | Production folks' love adding guides
because it maintains consistency and helps
| | 00:09 | you layout pages fast.
| | 00:10 | Whatever the reason you want to add
guides, InDesign let's you do it in a
| | 00:14 | number of different ways.
| | 00:15 | The basic way to add a guide to a page
is simply by dragging it out of the ruler.
| | 00:20 | I'll drag out of the ruler up here
and let go over the mouse button when my
| | 00:23 | cursor is over the page, and I can see
that it's added a new guide on the page,
| | 00:28 | that's a page guide.
| | 00:30 | If instead I pull a ruler guide out of
the ruler and let go of it while it's on
| | 00:34 | the pasteboard, then I get a pasteboard
guide, sometimes called a spread guide,
| | 00:39 | because it goes all the way across these spread.
| | 00:41 | Here I can see that these two text
frames are completely not aligned, so I'm
| | 00:45 | going to go ahead and resize
this one to snap to that guide.
| | 00:49 | Now there are other ways to add guides as well.
| | 00:52 | I'm going to right-click on the
intersection between these two rulers and change
| | 00:55 | this to inches, because it's easier to
show this particular trick in inches.
| | 00:59 | And I'm going to start pulling out a
guide, and I'm going to let go of it when
| | 01:03 | it's near this tick mark over there.
| | 01:05 | And you'll see that it's very
hard to get right on the tick mark.
| | 01:09 | And when I say you'll see, what I'm talking
about is this field up here in the Control panel.
| | 01:14 | You can actually see the measurements of
the guide, if you select it you can see
| | 01:18 | that it's not exactly on five inches.
| | 01:21 | What I wanted to do is get exactly on
five inches right on that tick mark.
| | 01:25 | So to do that I'm going to get rid of
this guide and to delete a guide you
| | 01:28 | simply select it and then hit Delete.
| | 01:30 | And instead, I'm going to pullout a
guide and when it gets close, I'm going to
| | 01:35 | hold down the Shift key, the Shift key means
snap it to the nearest tick mark in the ruler.
| | 01:41 | So now I just have to get somewhat
close and when I let go over the mouse
| | 01:44 | button, it's exactly at five inches.
| | 01:47 | In fact, if I know that I want a Ruler Guide;
| | 01:49 | let's say at exactly four inches, I don't
even have to pull it out of the ruler at all.
| | 01:53 | All I have to do is Shift+Double-click
on that tick mark and it adds a ruler
| | 01:56 | guide exactly at that point.
| | 01:58 | Now let's see a little bit about
how guides act on our page and how
| | 02:02 | objects behave with them.
| | 02:03 | I want to zoom in on this little text
frame over here, this caption with the
| | 02:07 | Command+Spacebar or Ctrl+Spacebar Zoom
tool trick, and now I'm going to drag
| | 02:12 | this down, and you'll see is, as I
drag this down it's snaps to the guide,
| | 02:17 | that's what guides do, they snap.
| | 02:19 | They snap objects to them, they're kind of
magnetic, and that's usually very helpful.
| | 02:23 | But in this case, if I want to get
close to that point but I don't want it
| | 02:26 | exactly on that guide, well,
I'm out of luck, right?
| | 02:30 | Fortunately, you can turn off that
snapping behavior, go to the View menu,
| | 02:34 | choose Grids & Guides, and
then turn off Snap to Guides.
| | 02:39 | You start dragging and you'll see that
the Snap to Guides feature is turned off.
| | 02:44 | I can get really close to
that, but it won't snap to it.
| | 02:47 | By the way, I should mention that
there are some other things that act like
| | 02:50 | guides even though they're not,
specifically the page edges.
| | 02:54 | If I drag this caption over near the
edge of a page, you'll see that it actually
| | 02:58 | snaps to the edge of the
page, so that's kind of handy.
| | 03:01 | I'm going to zoom out to fit the
spread out Window with Command+Option+0 or
| | 03:05 | Ctrl+Alt+0 and I'll add a
few more guides onto my page.
| | 03:08 | I'll put a few page guides on here;
| | 03:13 | I'll put a few pasteboard
guides on here, and so on.
| | 03:16 | Now what if I want to move some of those guides?
| | 03:19 | It's easy to move guides,
because they act just like objects.
| | 03:22 | I can click on them to select them;
| | 03:23 | Shift+Click to select more or even
drag over a bunch of them and select all
| | 03:27 | three of these at the same time.
| | 03:29 | Now when I click and drag, all of them move.
| | 03:32 | There are other benefits of
guides acting like objects too.
| | 03:35 | For example, I can make a bunch of
guides at the same time by selecting one and
| | 03:38 | then go into the Edit menu
and choosing Step and Repeat.
| | 03:41 | I'm going to make 10 guides with
exactly one centimeter vertical offset, and
| | 03:45 | when I click OK, you can see I have
10 more, 11 total guides in a row.
| | 03:50 | Now I've got so many guides on my page
now that I can't tell what goes to what.
| | 03:54 | Fortunately, InDesign even lets
you change the color of guides.
| | 03:58 | So, for example, I can select two of
these guides here, go to the Layout menu
| | 04:02 | and choose Ruler Guides, the Ruler Guides
dialog box lets me choose any color I want.
| | 04:07 | For example, I'll make these magenta
and click OK, you won't see the change
| | 04:11 | immediately, but when I deselect
those guides by clicking out here in the
| | 04:15 | pasteboard, you'll see that the
guide colors have actually changed.
| | 04:18 | That's helpful, because you may want
some guides to indicate some things and
| | 04:22 | other guides to indicate others.
| | 04:24 | Now once you've done all this work to
setup your guides, what if you want to use
| | 04:27 | them on another page or even another document?
| | 04:30 | Again, they're just objects,
so you can copy and paste them.
| | 04:33 | I'm going to select all my guides
with the super secret shortcut, which is
| | 04:37 | Command+Option+G or Ctrl+Alt+G.
That's just a fast way to select all the
| | 04:42 | guides on the spread.
| | 04:43 | And then I'll copy them, I'll go to
the previous spread, I'll go to the Pages
| | 04:48 | panel, double-click on the
previous spread, and then I'll paste them.
| | 04:53 | Every guide is in exactly the same
place as it was on the original spread.
| | 04:57 | When I deselect them, I can see
that even the colors are the same.
| | 05:00 | Guides are incredibly helpful for
ensuring consistency and keeping you efficient.
| | 05:04 | They're so easy to create;
| | 05:05 | there is no reason not to use them.
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| Bleeding colors or images off the side of the page| 00:00 | Let's say you're making a flyer and you
want this background color to extend all
| | 00:04 | the way to the edge of the page.
| | 00:06 | Well, if this is an on-screen document,
this is only going to be displayed
| | 00:09 | on-screen, then this is fine,
just take it to the edge of the page.
| | 00:12 | But in order for this to work in print,
you have to actually extend it pass the
| | 00:16 | edge of the page onto the
pasteboard. Here's why?
| | 00:19 | Let's say it reaches just to the edge of
the page, when it ends up on a printing
| | 00:23 | press the paper might move just a tiny
amount, but you'd end up with a white
| | 00:27 | sliver down one side.
| | 00:29 | So to compensate, printers want you to extend
the object off the page onto the pasteboard.
| | 00:35 | This is called a bleed, they print the
whole thing on a larger sheet of paper
| | 00:39 | and then they trim it down
to where the edge should be.
| | 00:43 | So I'm going to select this object and
drag it out pass the edge of the page,
| | 00:47 | but how far pass the edge do I want to go?
| | 00:50 | Well, in order to do this it's
useful to have guides and InDesign has
| | 00:54 | Bleed guides built in.
| | 00:57 | To get them, you go to the File menu,
choose Document Setup and make sure that
| | 01:02 | More Options is turned on, when it is
turned on, you'll see Bleed and Slug at
| | 01:06 | the bottom of this dialog box,
and I can add a bleed to this.
| | 01:11 | Most printers want about between 9 and
18 points, but I'm going to leave this at
| | 01:16 | 9 points and I'm going to make sure this
button is turned on, this link icon, so
| | 01:20 | that the bleeds on all four
sides are set to the same amount.
| | 01:23 | Now the amount that you should choose,
whether it is 9 points or something
| | 01:26 | larger is up to your printer, talk to your
printer to get exactly how much they want.
| | 01:31 | While I'm here, I'm also going to add
a little bit of a slug, I'll make sure
| | 01:35 | this is turned off, so I can change each
of these independently and I'm going to
| | 01:39 | make this something large, may be at 36
points slug here at the top of my page,
| | 01:44 | and I'll show you what that means.
| | 01:45 | These are just guides, so I'll click
OK and you'll see that suddenly I have
| | 01:49 | these red guides around the edge of the page.
| | 01:52 | The red guides are Bleed guides, and if
I scroll down slightly by holding down
| | 01:56 | the Option+Spacebar or Alt+Spacebar
keyboard shortcut, you can see that there's
| | 02:00 | a blue guide that goes
pass the edge of the page.
| | 02:03 | These blue guides are slug guides and
a slug guide with a slug area is a good
| | 02:09 | place to put information that you want
printed out, but you don't want it on
| | 02:12 | your final trimmed piece.
| | 02:14 | I don't want these notes on my final piece,
but I may want my printer to see them.
| | 02:19 | The red guides are going to tell me
how far off the edge of the page I want
| | 02:22 | my objects to bleed.
| | 02:24 | So all I need to do is resize this
object to snap to that guide, same thing with
| | 02:30 | this pink box, snap it up to that guide.
| | 02:33 | I'll scroll down and I'm going to snap
the lower parts of this as well, see if
| | 02:37 | I can get that image properly, there we go,
and then snap it to the guide and this image too;
| | 02:43 | this graphic of this
photographer needs to snap down as well.
| | 02:46 | I'll press Command+Option+0 or
Ctrl+Alt+0 to see the whole spread, I'll
| | 02:50 | click out here to deselect
everything, and I can see that now all of my
| | 02:54 | objects are bleeding off. Oh!
| | 02:55 | I missed one, I missed one, off on the side,
make sure all of them bleed off, there we go.
| | 02:59 | Now they're all bleeding
off the side of the edge.
| | 03:02 | If you want to see the final product,
that is what the page is going to look
| | 03:06 | like after it's trimmed down,
remember the Preview mode.
| | 03:09 | You can press the W key to go into
Preview mode and you can see that all that
| | 03:13 | stuff that was bleeding off
is actually cropped out now.
| | 03:16 | Press W again and you can see the
original all the way out to the Bleed guides.
| | 03:19 | Now I'll be talking my printing and
exporting PDFs in a later chapter, but I
| | 03:24 | have to tell you this right now,
because it pertains to bleeding.
| | 03:28 | If you're going to be bleeding objects
off the page, you must turn on a setting
| | 03:31 | inside the Print dialog
box or the Export dialog box.
| | 03:34 | I'm going to open the Print dialog box
with the Command+P or Ctrl+P, and I'm
| | 03:38 | going to go to the Marks and Bleed setting.
| | 03:41 | This is the same thing in both printing
and exporting PDFs, you have to turn on
| | 03:46 | Use Document Bleed Settings.
| | 03:48 | If you don't turn that on, then it will
crop them off at the edge of the page.
| | 03:52 | So turn this on in order for those objects
to bleed out, both in the print or a PDF.
| | 03:58 | Ultimately, when you're bleeding
objects off of the page, you must talk with
| | 04:01 | your printer first to make sure
they're set up to Print Bleeds and also to
| | 04:05 | find out how large the bleed should be,
otherwise you may not get the results
| | 04:09 | you expect.
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|
|
4. Managing PagesInserting, deleting, and moving pages| 00:00 | You can use InDesign to design anything,
from a one-sided business card to a
| | 00:04 | book thousands of pages long.
| | 00:06 | But as soon as you go beyond that
business card, you're going to need to
| | 00:09 | learn how to manage your pages, adding pages,
moving them around, deleting them, and so on.
| | 00:14 | That's what we're going to cover here.
| | 00:16 | All of InDesign's page features show
up in two places, the Pages submenu
| | 00:20 | underneath the Layout menu
and also the Pages panel.
| | 00:24 | But the Pages panel has
everything from the menu, plus a lot more.
| | 00:27 | So let's focus on the panel.
| | 00:29 | The very first thing I'm going to change in my
Pages panel is the Layout, the configuration.
| | 00:34 | Because currently it shows each
spread one on top of the other.
| | 00:38 | It's not a very good use of screen real estate.
| | 00:41 | I would rather go to the Pages
panel flyout menu, choose View Pages and
| | 00:45 | choose Horizontally.
| | 00:46 | Horizontally is a much better
use of space. So I like it more.
| | 00:50 | But you can do it either way you want.
| | 00:52 | I'm going to pan up to the top of
this page, the first spread by using
| | 00:55 | Option+Spacebar or Alt+Spacebar, just so I
can see what I'm doing here a little bit better.
| | 00:59 | And I'm going to add a new page.
| | 01:01 | There's a new page button, Create new
page down here at the bottom of the Pages
| | 01:05 | panel, and if you click that it'll
add a single new page after whatever is
| | 01:10 | selected in the Pages panel.
| | 01:11 | Right now, both pages 20 and 21 are selected.
| | 01:15 | So if I add a new page, it'll
add a new page after that spread.
| | 01:19 | All the other pages in the document
shuffle, so that they stay in two-page spreads.
| | 01:24 | Now page 22 is selected.
| | 01:26 | That's the new page that I just added,
and I can click again to add a second
| | 01:29 | page on that spread.
| | 01:30 | However, if I knew that I wanted two
pages to start with, I probably should've
| | 01:34 | used the Insert Pages feature.
| | 01:36 | I can get that from the Pages panel
flyout menu, Insert Pages, or little
| | 01:41 | shortcut Option+Click or Alt+Click
on the New Pages button.
| | 01:45 | Option+Click or Alt+Click on Pages
button then up comes the Insert Pages
| | 01:48 | dialog box and I can say exactly how many
pages I want to add, and where I want to put them.
| | 01:54 | Perhaps I want to put one
page right after page 20.
| | 01:57 | No problem, click OK and it
adds a new page after page 20.
| | 02:02 | Another way to get a new page in InDesign is
to duplicate one of the pages you already have.
| | 02:07 | I find this very useful when I'm
laying out pages quickly, because often, I
| | 02:10 | have a page that looks approximately like
what I want, but I need to make a few changes.
| | 02:14 | So I'll just duplicate the one that I have.
| | 02:16 | I'll hold down the Option Key
or Alt Key on Windows and drag.
| | 02:20 | In this case, I want a duplicate of
both of these pages, pages 22 and 23.
| | 02:24 | So I'll click on the page numbers at
the bottom, that selects both the pages,
| | 02:28 | and then I'll hold down Option or Alt
and drag, until I see a black line appear.
| | 02:34 | That means put it here after the spread,
and when I let go, I get a duplicate of
| | 02:38 | that spread right where I wanted it.
| | 02:40 | Of course the pages in this Pages
panel act kind of like a slide tray, if
| | 02:45 | you've a bunch of images or slides in a tray,
you can move them around anywhere you want.
| | 02:49 | So if I want this spread to be someplace
else, I simply click it and drag it and
| | 02:53 | move it to where I want it to
be, and all the pages reflow.
| | 02:57 | There's another way to move pages too,
and that is to select Move Pages from the
| | 03:01 | Pages panel flyout menu.
| | 03:02 | I'll choose Move Pages and now I can
specify exactly which pages I want to move
| | 03:07 | and where I want to move them to.
| | 03:09 | For example, I might want to move
pages 23 and 24 to later, after page 25.
| | 03:15 | I can choose After a specific Page,
Before the Page or at the beginning or
| | 03:19 | end of the document.
| | 03:20 | Click OK, and you can see that those
pages got moved, and again all the pages
| | 03:25 | reflowed to take their place.
| | 03:27 | Finally, sometimes you find you need
to delete pages, and you can do that in
| | 03:31 | the Pages panel too.
| | 03:32 | I'll select this second page of the
document, and I want to grab these
| | 03:36 | other blank pages I have.
| | 03:37 | So I'm going to hold down the Command
Key or the Ctrl Key and click on them.
| | 03:41 | The Command+Click or Ctrl+Click,
means select discontinuous pages.
| | 03:45 | That means pages that
are not next to each other.
| | 03:47 | If you hold down the Shift Key, you can
actually select continuous pages, a range of pages.
| | 03:52 | For example, I'll select page 20, and
then I'll Shift+Click on page 29 and I'll
| | 03:57 | get all of the pages in between.
| | 03:59 | But in this case, I don't want that,
so let me click out here where there's
| | 04:02 | no pages and then once again click on
the first one, and then Command+Click
| | 04:06 | or Ctrl+Click on these other blank pages, and
then to delete them I click on the trashcan.
| | 04:11 | It warns me, Are you sure you
want to delete those? Yes, I do.
| | 04:14 | Click OK and now they're all gone.
| | 04:16 | Now remember, that even though these
are called pages, and this is the Pages
| | 04:20 | panel, it doesn't necessarily mean Print Pages.
| | 04:23 | A page in InDesign could also be
what you see on a screen, like a slide
| | 04:27 | presentation or a magazine on a tablet.
| | 04:29 | A page, is a page, is a page.
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| Changing page size| 00:00 | As we saw in an earlier chapter you can
change a document size by going to the
| | 00:05 | File menu and choosing Document Setup,
when you do this it has the effect of
| | 00:09 | changing every page in the document,
including your master pages, which is a
| | 00:12 | topic I'll cover later in this chapter.
| | 00:14 | For example, if I change this height to
something like 12 inches and click OK,
| | 00:18 | you'll see that every page throughout
the document changes, they all got taller.
| | 00:23 | I'll choose Undo from the Edit menu and
you'll see it goes back to the way it was.
| | 00:26 | In most documents, every page is the
same size but sometimes you need to
| | 00:30 | alter your page size.
| | 00:32 | For example, in this document from
the exercise files folder the Brochure
| | 00:35 | document I have a tri-fold, this
is three panels of front and back.
| | 00:40 | The one on the right side is the cover,
the front of the Brochure, and this
| | 00:44 | panel over on the left is going to
fold inside when this all gets folded up.
| | 00:48 | If all three panels were exactly the
same width, we would have a problem when
| | 00:52 | we came to fold it.
| | 00:52 | You know that laws of physics and all of that.
| | 00:55 | Instead, we must make this last panel
the one that's on the left on this side
| | 00:59 | slightly narrower, so that
it folds inside the other two.
| | 01:03 | Before I change the size, I need to
point out that this really is three pages
| | 01:07 | in a single spread.
| | 01:08 | We can see in the Pages panel, we have
three pages up here and three pages down here.
| | 01:13 | It may not be obvious to you at first how
you get a three-page spread so let me show you.
| | 01:18 | First I'll choose Insert Pages from
the Pages panel flyout menu, I'll specify
| | 01:22 | the number of pages I want
and I'll say where I want them.
| | 01:24 | In this case I'm going to put
them at the end of the document.
| | 01:28 | Now I have three individual pages, all
very narrow each on their own spread, in
| | 01:32 | order to get them together, I need to
make sure that Allow Document Pages to
| | 01:37 | Shuffle is turned off in the Pages panel
menu, when that's turned off, I'll drag
| | 01:41 | this over to the left until I see this
icon which indicates that the two pages
| | 01:46 | are going to fit together.
| | 01:47 | Now I'll do it to the third page, for
this brochure, I obviously don't need
| | 01:51 | though so I'll go ahead and
select them and delete them.
| | 01:54 | Once again on page 1, this left panel
on the first spread I need to make it a
| | 01:58 | little bit narrower.
| | 01:59 | So to do that I'm going to grab the Page tool,
that's the third tool down in the tool panel.
| | 02:04 | The Page tool is a little bit non-obvious
in how it works, so here's the trick.
| | 02:08 | After you choose the Page tool, click
on the page that you're trying to affect,
| | 02:12 | that could be a master page or
in this case a document page.
| | 02:15 | I'll simply click on this
and you'll it is highlighted;
| | 02:18 | it has the side handles around it.
| | 02:20 | Next to change the size I go to
Control panel and change the Width field.
| | 02:24 | The Width field right now is set to 266 points;
| | 02:27 | I want to make it a little bit
smaller maybe six points smaller.
| | 02:30 | But before I make that change I must,
must, must, go and make sure that the
| | 02:35 | reference point in the left edge of
the Control panel is setup properly.
| | 02:39 | The reference point tells me what part
of this page is going to stay stationary,
| | 02:44 | what's locked, and everything
else will move around that point.
| | 02:47 | I'm going to choose anyone on the right
side and then change the width to 260 points.
| | 02:53 | You can see that as soon as I hit
Enter or Return it change the size of that
| | 02:57 | panel and it did it based on the reference
point which is the right edge of the page.
| | 03:02 | Because this is a double-sided brochure, I
need to do the same thing to the next spread.
| | 03:06 | I'll double-click on the four to six
spread and that shows me three more pages.
| | 03:11 | I need to change the right page so I'll
click on the right page because this is
| | 03:15 | a two-sided brochure I need to do the
same thing on the second spread, the
| | 03:19 | inside of the brochure.
| | 03:21 | So I'll double-click on this four to
six page spread in the Pages panel, and
| | 03:25 | then I'm going to click here on top of the page.
| | 03:27 | Now be careful don't click on top of an
object on the page that does something
| | 03:31 | slightly different in InDesign CS6.
| | 03:33 | I need to click on the page itself to
make sure that I have these handles around
| | 03:37 | the edge of the page.
| | 03:38 | Next, I'll go up to the Control panel
and before I change the Width field I have
| | 03:43 | to make sure that the
reference point is set properly.
| | 03:45 | Let me show you what happens if I
don't just change the reference point.
| | 03:49 | I'll just make this 260 points.
| | 03:51 | The right edge of the page stayed
stationary and the left edge changed, that
| | 03:55 | means I actually have a gap in
between this page and that page, and that
| | 03:59 | obviously is not what I'd want that
would printout completely incorrectly.
| | 04:03 | So let me undo that, Command+Z or Ctrl+Z,
change the reference point this time
| | 04:07 | to the left edge and change this to 260
points, and now we can see that the page changed.
| | 04:13 | We've got a bit narrower on that side.
| | 04:14 | So that page will fold in properly and
end up in the proper place and we won't
| | 04:18 | have any problems when we're folding or binding.
| | 04:21 | There are many other examples of when you
might want to change individual page sizes.
| | 04:25 | If you're creating stationary for a
client for instance one page of your
| | 04:28 | document might be letterhead, the
next page could be an envelope, and the
| | 04:31 | third a business card.
| | 04:33 | You can mix and match all of that
inside one InDesign document using the
| | 04:37 | Page tool.
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| Creating and applying master pages| 00:00 | A Master Page is kind of like a
template for your pages, anything that you put
| | 00:04 | on a master page will show
up on your document pages.
| | 00:07 | That's why you should use master pages
for things like page numbers, headers or
| | 00:11 | a logo that you want on
all or most of your pages.
| | 00:14 | Every document has at least one master
page and you can find that in the Pages panel.
| | 00:19 | I will open the Pages panel and I
can see the Master pages at the top.
| | 00:22 | This file from the exercise files folder
has one master page, just called A-Master.
| | 00:28 | To see the Master Page, I double-click
on it because this is a facing pages
| | 00:32 | document, has a left and right page, I
can see that the Master Page also has a
| | 00:37 | left and right page.
| | 00:38 | So anything I put on a right-hand page
will only show up on the right-hand pages
| | 00:42 | of my document and vice a versa.
| | 00:44 | Anything on the left shows up only on the left.
| | 00:46 | If it where a single-sided document a
non-facing pages document, I would only
| | 00:51 | see one page and anything I put on that one
page will show up on all my document pages.
| | 00:55 | We are working with a book and books
often have running headers and page numbers.
| | 01:00 | I am going to talk about how to add
page numbers that update automatically a
| | 01:03 | little later on in this chapter.
| | 01:04 | So for right now, I'm just going to add
running headers at the top of my page.
| | 01:09 | To do that I will grab Type tool and I will
drag out of frame up at the top of this page.
| | 01:14 | I'll type in the name of this book,
The History of Art, here we go!
| | 01:18 | The History of Art.
| | 01:19 | And I'm going to apply some formatting to it.
| | 01:22 | Now I have some formatting in a
paragraph style that I am going to apply to this
| | 01:26 | and I talk about Paragraph
Styles later on in this title.
| | 01:28 | So for now, we'll just
follow along and you'll get it.
| | 01:31 | I will go to the Paragraph Styles
panel which is open because I have the
| | 01:34 | Advanced Workspace open, and I am
going to scroll down until I see the
| | 01:39 | folio paragraph style.
| | 01:41 | I click on it and it automatically
applies a bunch of formatting to that text.
| | 01:45 | Now I need a running head
on the right side of my page.
| | 01:48 | So I will choose the Selection tool,
the Black arrow tool and I'm going to
| | 01:51 | Option+Shift+Drag or Alt+Shift+Drag on Windows.
| | 01:55 | What that does is it makes a
duplicate of that frame and it keeps it in the
| | 01:59 | perfect alignment, that's what the
Shift key does, Option or Alt makes it
| | 02:03 | duplicate, Shift key keeps it in
alignment, so that they stay on the same plane,
| | 02:07 | on the two different pages.
| | 02:09 | Over here, I'm going to choose my Type
tool, select this text and delete it, and
| | 02:14 | instead of typing the name, I am going
to put a running header in there that
| | 02:18 | changes from page to page or section to section.
| | 02:21 | I will be talking about
sections a little bit later on.
| | 02:23 | In this case I am going to go to the
Type menu, choose Text Variables and
| | 02:27 | choose Insert Variable.
| | 02:29 | I have a variable built into this
template called Running Header and the Running
| | 02:33 | Header text variable automatically
picks up the name of the chapter and puts it
| | 02:37 | up here into the header.
| | 02:38 | That's all I need to do.
| | 02:39 | Now let's take a look at our
document pages to see if it worked.
| | 02:42 | I am going to jump down here to page 8-9
and we can see this is a chapter header
| | 02:47 | and we can see that it automatically
picked it up and put it into the header.
| | 02:50 | I will double-click on pages 10-11, and
we can see that once again the headers
| | 02:54 | are on both sides of pages, left and right.
| | 02:57 | So this is terrific, because it means
I don't have to add headers manually on
| | 03:00 | every single spread throughout my document.
| | 03:02 | The problem is that when I added that
to the Master Page it applied it to every
| | 03:07 | document page, even my cover and front matter.
| | 03:10 | For example, I will go back to that
first page in my document by double-clicking
| | 03:13 | on it here in the Pages panel and we
will see that all these guides were added,
| | 03:17 | those running headers are actually
on that page too, we just can't see it
| | 03:21 | because there is a picture on top of it.
| | 03:22 | But if we go to the Title Page we will
see that we do have those Running Headers.
| | 03:27 | That is not what I wanted at all, my title
and my cover, those pages up at the front;
| | 03:32 | I don't want to have Running Headers on.
| | 03:34 | So can you remove them?
| | 03:36 | Absolutely, what you do is
you apply a None Master page;
| | 03:40 | you sort of remove the Master page
template from the Document Pages.
| | 03:43 | And you can do that in the Pages panel by
dragging the None the Master page onto the page.
| | 03:48 | I will drag that down and all of a
sudden all of those Master Page items
| | 03:52 | disappeared, the guides,
the running head, and so on.
| | 03:56 | Now if I want to apply None to a number
of pages, for example, all the pages in
| | 04:00 | the front matter, I will simply select
the first page and then Shift+Select on
| | 04:04 | the last page that I want to apply it to,
I will go the Pages panel flyout menu
| | 04:08 | and I'll choose Apply Master to Pages.
| | 04:11 | It asks me which Master Page I want to
apply, I will choose None and what pages
| | 04:15 | do I want to apply them to.
| | 04:16 | Because I selected them in the Pages
panel first, it shows up here for me.
| | 04:20 | I will click OK, and now all these
pages have None Master Page applied to them.
| | 04:25 | So there's no Running Headers,
no extra guides, and so on.
| | 04:28 | I can tell that no Master page is
applied to them, because there's no little A
| | 04:32 | in the upper left corner of each page.
| | 04:34 | Note that on these spreads it has an A,
which means that the Master Page A
| | 04:38 | is applied to them.
| | 04:39 | But over here there's no A,
which means that they're not applied.
| | 04:43 | Also, when I hover the cursor over
the spread, it tells me exactly which
| | 04:46 | Master Page is applied.
| | 04:48 | When you start using Master Pages, there is
one little thing that will drive you crazy.
| | 04:52 | I am going to jump to page 10 here by
double-clicking on it in the Pages panel,
| | 04:55 | and let's say I want to move that
Running Header a little bit, I just want it to
| | 04:58 | move it to left or right or something.
| | 05:00 | I can't click on it, no
matter how many times I click;
| | 05:03 | it doesn't select it at all.
| | 05:05 | InDesign is keeping these Master Page
items away from you, so that you don't
| | 05:09 | accidentally mess up your design.
| | 05:11 | But in the next movie I am going to
show you how to get pass the safety net and
| | 05:14 | access those Master Page items
directly on your document page.
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| Overriding master page items| 00:00 | As I have mentioned in the last movie
InDesign protects Master Page Items, when
| | 00:04 | you're on a Document Page.
| | 00:06 | You can't move them, you can't delete
them, and you can't even select them.
| | 00:10 | I have opened this Document and
Exercise Folder 04 > B_arthistory and I can see
| | 00:15 | that I have my running headers up here already.
| | 00:18 | I'll zoom in on this running header on
the left side of the page and there is
| | 00:21 | something interesting about this frame.
| | 00:23 | It has a dotted line, the dotted
line means is the Master Page Item.
| | 00:27 | Of course that bottom line is
Overridden by Guides on three sides.
| | 00:31 | But you get the idea, the
dotted indicates a Master page item.
| | 00:34 | If I try and click on this, to
move it, or edit, nothing happens.
| | 00:38 | But I thought InDesign was all
about letting me express my creativity.
| | 00:41 | What if I want to change that can't I?
| | 00:44 | Well, you can, you just need to know the trick.
| | 00:46 | And the trick is you have to hold on
two modifier keys that Command+Shift on
| | 00:51 | Mac or Ctrl+Shift on Windows and when
you're holding those modifier keys down
| | 00:56 | and then click it Overrides, it pulls
it off the Master page and it becomes a
| | 01:00 | Document Page Item.
| | 01:02 | You can see that there's no longer a
dotted line around it, it becomes a
| | 01:05 | real selectable objects that I can move, I
could delete, I could edit, anything I want.
| | 01:10 | I'll zoom out with Command+Opt+0 or Ctrl
+Alt+0 or I'll see the whole spread and
| | 01:14 | I'll Command+Shift+Click or
Ctrl+Shift+Click on Windows.
| | 01:17 | On this other object over here and
that deselected, it Overrides it, so it
| | 01:21 | becomes a Page Object.
| | 01:23 | Now I can just delete them they're gone.
| | 01:25 | But What if I didn't mean delete them what is
that there was a mistake? Well, don't panic!
| | 01:29 | You can always get Master Page Items back.
| | 01:32 | And the way you do that, is to go to
the Pages panel menu, scroll down to the
| | 01:36 | Master Pages Sub menu and choose
Remove All Locall Overrides, it kind of a
| | 01:40 | double negative there,
you're removing the Overrides.
| | 01:44 | In other words you putting back
everything that was on the Master Page and
| | 01:47 | sometimes you'll open a Document that
somebody sends you and you'll find that
| | 01:50 | you still can't override
those Master page items.
| | 01:53 | It can really be a mystery.
| | 01:54 | Let me show you what's going on.
| | 01:56 | I'll double-click on the
Master Page to jump to it.
| | 01:58 | And I can select those Master Page Items
by Shift+Clicking on each of them, that
| | 02:03 | selects both of them.
| | 02:04 | Now I'll go to Pages panel menu, scroll
down to Master pages and turn off Allow
| | 02:09 | Master Item Overrides on Selection.
| | 02:12 | That basically tells InDesign don't let
anybody change those Master Page Items.
| | 02:17 | In fact, if I back and I go back
to my Document Pages, you'll see
| | 02:19 | something interesting.
| | 02:20 | I'll zoom in as you can see it better.
| | 02:22 | There's no dotted line, there is no
Solid line, there is no line at all.
| | 02:26 | That's my indication that,
that item cannot be Overridden.
| | 02:30 | When it comes to building structure
documents such as books and magazines Master
| | 02:34 | Pages are a necessity for efficient workflow.
| | 02:36 | And controlling each Master page
item is Key it's making sure that Final
| | 02:40 | Document ends up just the way you wanted it.
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| Adding page numbering| 00:00 | You're working on a book or magazine or
anything that has more than a few pages.
| | 00:04 | You owe it to your readers to add Page Numbers.
| | 00:07 | But it's a hassle to add Page
Numbers to each and every page right?
| | 00:10 | Wrong, InDesign makes Page Numbers a snap.
| | 00:14 | We want the Page Numbers on every Document Page.
| | 00:16 | So, where should we put them?
| | 00:17 | That's right, the Master Page.
| | 00:19 | I'll my Pages panel, double-click on a
A-Master and I'm going to put my Page
| | 00:24 | Numbers here the bottom of the page.
| | 00:26 | So I'll grab my Type tool, drag out a
Text Frame and type inside that text frame.
| | 00:31 | I'm going to zoom into 200% here, so I
can see it better by pressing Command+2
| | 00:35 | or Ctrl+2 on Windows.
| | 00:37 | And I'll type 2, right or 3 or 4.
| | 00:40 | No, you don't want to
type the actual number here.
| | 00:42 | You want to Stand In, a Marker, a Symbol,
something that's good change on every page.
| | 00:48 | So that special character can be
found under the, Type menu > Type > Insert
| | 00:52 | Special Character > Markers.
| | 00:55 | And the Marker we're use is
called the Current Page Number.
| | 00:58 | Here on this page its say's ''A'',
because we're on Master Page A. But it'll
| | 01:02 | change on every Document Page automatically.
| | 01:06 | I'll zoom out to fit the whole
spread in the window with Command+Opt+0 or
| | 01:10 | Ctrl+Alt+0.And I am going to apply
some formatting to this, by going to my
| | 01:12 | Paragraph Styles panel, scrolling down until
I see a page number and clicking on that it.
| | 01:18 | That looks Ok!
| | 01:18 | But I want to make a little
prettier I'll put some text around it.
| | 01:21 | I think I'll put a space and then M-Dash
which you can get with an Opt+Shift+Hyphen
| | 01:26 | that inserts M-Dash after, I'll put 1
before, here we go that's look pretty good.
| | 01:31 | Now I am going to grab my Selection tool
and Option+Shift+Drag or Alt+Shift+Drag
| | 01:36 | it across to the right page.
| | 01:38 | Now I have Page Numbers on both my
left and right pages of this Document.
| | 01:42 | Let's see if it works.
| | 01:43 | I'll close my Paragraph Styles panel
by clicking on that open my Pages panel
| | 01:47 | and I'm going to jump to the Pages 12 and 13
by clicking on those numbers in the Pages panel.
| | 01:53 | When I zoom in, on the bottom of this
page, we see that the A wasn't in fact
| | 01:57 | replaced by this current page number, Page 12.
| | 02:00 | On Page 13 it says 13 on 14 its 14, and so on.
| | 02:04 | And the great thing about these
Automatic Page Numbers is if you later add pages
| | 02:08 | or remove pages they automatically update.
| | 02:10 | So you never have to worry about it again.
| | 02:13 | If you start adding a lot of pages
to your Document like, this book, for
| | 02:16 | example, you're probably going to
want to break the pages into sections.
| | 02:20 | That's what I'm going to cover next.
| | Collapse this transcript |
| Changing page numbering with sections| 00:00 | This InDesign Documents from the exercise
files called 4C_arthistory has 241 pages in it.
| | 00:08 | I can tell that by looking in the lower
left corner of the Pages panel, were it
| | 00:11 | says 241 pages, in a 121 spreads.
| | 00:15 | Now this document, a book
has various sections in it.
| | 00:18 | For example, the Opening
section is the front matter.
| | 00:21 | And my introduction should have page
numbers, but they should be in Roman Numerals.
| | 00:25 | Can I do that? Absolutely!
| | 00:27 | I can break my document up into
sections and change the page numbering of those
| | 00:31 | sections by using the
Numbering & Section Option dialog box.
| | 00:35 | And I'll get there by choosing
the Page that I want to affect.
| | 00:38 | In this case Page 9 and I'll double-click
on that, so I can actually jump to it.
| | 00:41 | I'm going to select that page and then
go to the Pages panel menu and choose
| | 00:46 | Numbering & Section Options.
| | 00:47 | You're going to also find that under
the Layout menu, there it is, Numbering
| | 00:51 | and Section Options.
| | 00:53 | When you choose that, it let's you
change the Page Numbers for any page you have
| | 00:57 | selected in the Pages panel, Right now
it's set to Automatic Page Numbering,
| | 01:01 | that means continue to page numbering
from whatever the previous section was.
| | 01:05 | In this case we want to start this at Page 1
and we want that Page 1 to be in Roman Numerals.
| | 01:11 | I'll make it Lowercase Roman Numerals.
| | 01:14 | When I click OK, you'll see some changes.
| | 01:16 | Now in the Pages panel all my
numbering changes to Roman Numerals.
| | 01:20 | In fact, if I double-click on this
spread, you'll actually see those numbers at
| | 01:24 | the bottom of page ii, iii, and so on.
| | 01:27 | Now Sections go and go and go
until you tell them to stop.
| | 01:31 | So in this case I am going to scroll down on
the Pages panel until I see the next chapter.
| | 01:35 | I'm just looking at these little
thumbnail sketches and I can see that
| | 01:38 | here's the next chapter.
| | 01:39 | So I'm going to select that, I'll go to
the Pages panel menu, choose Numbering &
| | 01:43 | Section Options and once again I'm
going to change this to Start at Page 1.
| | 01:48 | And in this case I do want
to start with Arabic Numerals.
| | 01:51 | Click OK and it tells me something is wrong.
| | 01:54 | The problem is as when you
number a page, you actually naming it.
| | 01:58 | I am giving this page the Name Page 1
and this document already has a page named
| | 02:03 | 1, it's is the first page in the document.
| | 02:06 | So I'm going to fix this in just a
moment, for right now I'm just going to say
| | 02:09 | OK and we can see that the page
number start over at number 1 again.
| | 02:14 | If I double-click on these spreads, I
can see the page numbers have updated
| | 02:17 | properly at the bottom of the page.
| | 02:19 | Now let's fix that problem, I'll
scroll back to the top of the Document and
| | 02:23 | I'll look at Page 1.
| | 02:25 | Notice that there is a little black
triangle above the page in the Pages panel.
| | 02:29 | There is 1 on Page 1 and there is
another one down here on Page I.
| | 02:33 | That black triangle means,
is the beginning of a Section.
| | 02:36 | Every time you add a section, you
get one of those black triangles.
| | 02:39 | And of course you always get a new
section at the beginning of the Document.
| | 02:42 | And here is a little shortcut, if you
double-click that black triangle up comes
| | 02:46 | a Numbering and Section Options dialog box.
| | 02:48 | I need to change the numbering of
this section. That is it's Name.
| | 02:51 | So I'm going to change that by going
over here and changing this to a, b, c, d.
| | 02:55 | It doesn't really matter what I choose
here, as long as it's not something of
| | 02:59 | used elsewhere in the document.
| | 03:01 | And in this case these pages don't show any
page numbers, so it totally doesn't matter.
| | 03:05 | I'll click OK it updates here,
and everything is good to go.
| | 03:08 | But you might encounter one more
problem, if you go to the Layout menu and
| | 03:13 | choose Go To Page, and then I Type Page 1.
| | 03:16 | Because I want to go to the first
Page of the document, I'll click OK and I
| | 03:20 | don't go to the first
Page of the document at all.
| | 03:21 | Right, I go to the Page Name to Page 1 which
is way down here in the middle of the document.
| | 03:27 | In order to tell InDesign to jump to
the first page of the document, I don't
| | 03:31 | type 1, I type something slightly different.
| | 03:33 | I say Go To Page, and then I typed +1.
| | 03:36 | Plus has nothing to do with
addition, we're not doing math here;
| | 03:40 | it just means the first page of the document.
| | 03:44 | When I click OK it jumps to Page A
which is the first page of the document.
| | 03:48 | That little Plus symbol turns out
to be really useful, whenever you break
| | 03:51 | your document up into sections
and change your Page Numbering.
| | 03:54 | Now that you have your Master Pages
and your the Page Numbering set up.
| | 03:57 | It's time to look at what else
you're going to do in your document, like
| | 04:00 | formatting your text and
graphics to look perfect.
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|
|
5. TextUnderstanding text frames| 00:00 | Well, there are a few people who
use InDesign for pictures only;
| | 00:03 | most of us need to put text on our pages.
| | 00:06 | Well, you can't have text without a
text frame but the good news is that there
| | 00:10 | are lots of ways to make
text frames in InDesign.
| | 00:13 | The basic method for making a
text frame is to use the Type tool.
| | 00:17 | You choose the Type tool from the
tool panel and simply click and drag.
| | 00:21 | Notice that as I'm dragging I get the
measurements of that frame and a little
| | 00:25 | gray field to the right of my cursor
that helps me create just the size I want.
| | 00:30 | When I let go over the mouse button
that text cursor's flashing inside the text
| | 00:35 | frame ready for me to start typing.
| | 00:37 | There are several other
tools for making frames as well.
| | 00:41 | Down a little bit farther on the tool
panel you'll see several frames here like
| | 00:44 | the Rectangle, Ellipse, and Polygon Frame tool.
| | 00:47 | These technically make graphic frames,
that is, if I choose this Rectangle Frame
| | 00:52 | tool and draw out of frame, you'll see
a big X in it, that means it's supposed
| | 00:56 | to have a graphic inside of it.
| | 00:58 | But you know what, InDesign doesn't care.
| | 01:00 | You can easily change one frame into
another simply by grabbing the Type tool
| | 01:05 | and placing the cursor on top of it.
| | 01:07 | Now notice what happens to the
cursor as I move on top of the frame.
| | 01:12 | Out here when there's no frame at all,
I get a kind of cursor that says I could
| | 01:16 | make you a frame if you want, but if I
move the cursor over on top of this frame
| | 01:20 | that's empty, I get a different cursor.
| | 01:22 | This cursor with its dotted kind of
curved parentheses like lines indicates that
| | 01:27 | when I click it's going to turn this
frame, this empty frame, into a text frame.
| | 01:32 | So it's always a good idea
to watch that little cursor.
| | 01:35 | It's going to tell you
what's going to happen next.
| | 01:37 | When I click, it changes it into a
text frame, and then I can start typing.
| | 01:41 | There is also a set of frame tools down
here and these frame tools technically
| | 01:46 | make unassigned frames.
| | 01:48 | That is, they are shapes, they are not
really designed to have text or graphics
| | 01:52 | inside them, but once again, if I click
and then use the Type tool and click on
| | 01:56 | top of it, it turns it into a text frame.
| | 01:59 | Now, some people don't like it that
their graphic frames and unassigned frames
| | 02:03 | get changed into type
frames, text frames so easily.
| | 02:06 | Well, the good news is Adobe gave us a
preference so that you can turn that off
| | 02:10 | if you don't like it.
| | 02:11 | What you do is you go to the InDesign
menu, choose Preferences, on Windows this
| | 02:16 | Preference is under the Edit menu, but
either way you go to the Type pane, the
| | 02:20 | Type pane of the Preference dialog box
has a checkbox called Type tool Convert
| | 02:26 | Frames to Text Frames.
| | 02:28 | If you turn that off, then your graphic
frames and your unassigned frames will
| | 02:31 | no longer change into text frames accidentally.
| | 02:35 | I happen to like that feature that it
turns into text frame, so I'm going to
| | 02:38 | leave it turned on, but
it's completely up to you.
| | 02:42 | And I'm going to clean up my pasteboard
here by dragging over all of these with
| | 02:45 | the Selection tool and then
just pressing the Delete key.
| | 02:48 | Now there is one more way that you can
make a text frame in InDesign, and that
| | 02:52 | is to import a text story,
like a Word file or an RTF file.
| | 02:56 | To do that I'm going to go to the File
menu and choose Place, I'm going to go
| | 03:01 | into much more detail about placing
stories later on in this chapter, but for
| | 03:05 | right now, all I'm going to do is
select this Word document, click Open, and
| | 03:09 | you'll see that it loads the
Place cursor with the story.
| | 03:12 | At this point I could just click and
it'll make a frame and load the story into it.
| | 03:17 | Or -- let me undo that with a Command+Z
or Ctrl+Z on Windows, I could just click
| | 03:22 | and drag, and once again, I can control
exactly how large that frame should be.
| | 03:28 | The frame is made and the
story is placed into it.
| | 03:31 | Now that you know how to get a text frame,
let's take the next step, editing the
| | 03:36 | text inside that frame.
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| Typing and editing text| 00:00 | I know people who have put away
Microsoft Word and they use InDesign as
| | 00:04 | their word processor. Really!
| | 00:06 | That does seem a bit extreme to me.
| | 00:08 | I mean if you need an alternate word
processor that works well with InDesign,
| | 00:11 | you should probably be
using Adobe's InCopy software.
| | 00:14 | But that said, InDesign does
let you type and edit text pretty
| | 00:18 | efficiently, let's see how.
| | 00:21 | I want to select some text over
here so I am going to zoom in with my
| | 00:24 | Command+Spacebar or Ctrl+Spacebar
shortcut and I would like to place my text
| | 00:29 | cursor inside this story.
| | 00:31 | Instead of going all the way over to the
tool panel to select my Type tool, I am
| | 00:35 | going to use a shortcut.
| | 00:37 | This is a shortcut that you are going to
be using over and over again, so it's a
| | 00:39 | good one to learn, it's
pretty easy double-click.
| | 00:42 | That's all you need to do, double-click
with the Selection tool and it
| | 00:46 | automatically switches to the Type
tool and places the cursor exactly what
| | 00:50 | you double-clicked.
| | 00:51 | So, for example, if I click before this
letter B, you'll see that it switches to
| | 00:55 | the Type tool and places the cursor
right there, before the B. It's really easy
| | 00:59 | and it's so helpful to be
able to do that quickly.
| | 01:02 | Now since I am talking about
shortcuts, I do want to mention that you can
| | 01:05 | go back to the Selection tool easily as well
by pressing the Escape key on the keyboard.
| | 01:10 | If you press Escape, it goes back and
selects the text frame with the Selection
| | 01:15 | tool, the tool actually
changes in the tool panel as well.
| | 01:18 | So double-click to switch to the
Type tool and Escape to go back.
| | 01:23 | Now I just double-clicked again so I'm
inside the text frame and the cursor is
| | 01:27 | flashing and everybody knows that you
can click and drag over text to select it.
| | 01:32 | And you probably know that you can
double-click on a word to select just one word.
| | 01:36 | But in InDesign you also have
triple-clicks and quadruple-clicks.
| | 01:40 | A triple-click selects an entire line,
not a sentence, but one line from the
| | 01:45 | left edge to the right.
| | 01:47 | A quadruple-click selects the entire
paragraph, you have to be a little bit
| | 01:51 | coordinated to do that, one, two, three, four,
there you go, select the entire paragraph.
| | 01:57 | But if you really want to be efficient
when working with text in InDesign, you
| | 02:00 | want to learn some keyboard shortcuts.
| | 02:02 | Keep your hands on the
keyboard as much as possible.
| | 02:05 | For example, now that all of this is
selected I can press the Left Arrow to go
| | 02:09 | all the way to the beginning of that paragraph.
| | 02:12 | If I press Command+Down Arrow or
Ctrl+Down Arrow on Windows, it jumps to the
| | 02:16 | beginning of the next paragraph.
| | 02:18 | You see that it actually shifted my
screen view a little bit to jump down to
| | 02:22 | the next paragraph.
| | 02:24 | Command+Up Arrow or Ctrl+Up Arrow
jumps to the previous paragraph, and so on.
| | 02:28 | Command or Ctrl Left and Right arrow
let's me move one word at a time or
| | 02:34 | pressing the End key or the Home key
on your keyboard goes to the end of the
| | 02:37 | line or the beginning of the line.
| | 02:40 | Often you want to use all of these keyboard
shortcuts in conjunction with the Shift key.
| | 02:44 | Because when you hold down the Shift
key with those keyboard shortcuts it
| | 02:47 | actually selects text.
| | 02:48 | For example, if I want to select
this entire paragraph I'll press
| | 02:52 | Command+Shift+Down Arrow or
Ctrl+Shift+Down Arrow on Windows.
| | 02:55 | That selects the whole paragraph
with keeping my hands on the keyboard.
| | 02:58 | I'll press the Left Arrow to go
back to the beginning and I can press
| | 03:02 | Command+Shift+Right Arrow a few times
and you'll see that now I'm selecting
| | 03:05 | one word at a time.
| | 03:08 | Now this is all very similar to
selecting text in most applications, but
| | 03:11 | InDesign does have one little thing
something we call the keyboard dance that
| | 03:15 | you should know about.
| | 03:17 | Here is how it works, I am going to
select this text from the word They to both.
| | 03:22 | Now when I hold down Command+Shift and
use the Right Arrow I start selecting
| | 03:27 | words and it starts it on the right side.
| | 03:30 | It starts it on the right side
because I hit the Right Arrow first.
| | 03:34 | Now let's say I want to
add that word masticated.
| | 03:38 | I love that word, chewing something up,
you chew it up; you masticate it.
| | 03:42 | I want to add that word to my selection;
| | 03:44 | I can't get to it right now because
every time I use the Left Arrow, I
| | 03:48 | start deselecting words.
| | 03:50 | Well, in order to add more text to the
beginning, I have to let go of the Shift
| | 03:55 | key and hold it down again and
now start with the Left Arrow.
| | 04:00 | That's how you start adding text
to the beginning of the selection.
| | 04:04 | Every time you lift up the Shift key it
resets and the next arrow key you press
| | 04:09 | tells InDesign which
direction you want to go in.
| | 04:12 | So if I want to add more text to the
right side, I let go the Shift key and then
| | 04:17 | place again and then start with the
Right Arrow and now I'm adding to the right,
| | 04:21 | or removing text from the right.
| | 04:23 | Let go the Shift key, add it again and
now I'm working on the left, because I'm
| | 04:27 | pressing the left key.
| | 04:29 | So that's what we call the keyboard
dance and you get used to it, it seems
| | 04:33 | strange at first, but you get used
to it, kind of becomes second nature.
| | 04:37 | Editing text right on the document page is
acceptable, but it's not always very efficient.
| | 04:42 | Later on in this chapter we're going
to learn about the Story Editor feature,
| | 04:45 | which often makes editing text much simpler.
| | Collapse this transcript |
| Inserting special characters| 00:00 | Quick, what's the keyboard shortcut to
type the Registered Trademark Symbol or
| | 00:04 | how about an Em Dash?
| | 00:06 | If you don't use these characters very
often, there's no reason to clutter your
| | 00:09 | head with trying to remember the shortcuts.
| | 00:12 | InDesign has a couple of features that
makes inserting special characters a breeze.
| | 00:16 | I'm going to select this text frame on
my page, and zoom in to 400% by pressing
| | 00:20 | Command+4 on a Mac, or Ctrl+4 on Windows.
| | 00:23 | I'm going to switch the Type tool and
place my cursor right after the word
| | 00:27 | Gallery here by double-clicking, and now
I'd like to insert a special character here.
| | 00:31 | So I'm going to go to the Type menu
and look all the way down at the very end
| | 00:36 | where it says Insert Special Character.
| | 00:39 | Inside the Symbol submenu, we'll find many
of the characters that people often need.
| | 00:43 | Such as Bullets, Copyrights,
Ellipsis, Paragraphs, that's the little
| | 00:48 | pilcrow symbol and then, finally
here's the one we were looking for,
| | 00:51 | Registered Trademark.
| | 00:53 | I'll select that and InDesign types it for me.
| | 00:56 | There is lot's of other special
characters hiding in there too.
| | 00:59 | Let's say, I don't
remember how to type an En Dash.
| | 01:02 | This little En Dash that I want to
use instead of a hyphen when I'm
| | 01:05 | talking about ranges.
| | 01:06 | I'll just delete that, go back to
the Type menu and choose Insert Special
| | 01:11 | Character and instead of Symbols, I'm going
to choose Hyphens and Dashes, and there it is.
| | 01:16 | There's my En Dash.
| | 01:18 | Now perhaps I don't like the amount of
space there is between the 6 and that En Dash.
| | 01:23 | I can place my cursor between them, and
add a little bit of space with a special
| | 01:27 | white space character.
| | 01:29 | Down near at the bottom of the Type
menu you'll see that there's not only an
| | 01:32 | Insert Special Character menu, but also
an Insert White Space menu, and inside
| | 01:37 | this submenu, you'll find
all kinds of special spaces.
| | 01:40 | From the very large Em Space, it's
very wide Em Space there, to the sort of
| | 01:45 | medium-sized En Space.
| | 01:47 | But we really want a tiny little space.
| | 01:50 | So I'm going to choose Hair Space.
| | 01:52 | When I do that, InDesign actually
places a special width Hair Space in between
| | 01:57 | those two characters.
| | 01:59 | Now there are other ways to add and
remove space between characters, such as
| | 02:02 | Kerning and I'm going to be
talking about that in the later chapter.
| | 02:05 | But it's great to know that InDesign
has the special characters to use, if
| | 02:09 | you want to use them.
| | 02:10 | Of course many of the fonts that
you're using, have special characters
| | 02:14 | built into them, Ornaments and Math symbols
and so on, but you may not know how to type them.
| | 02:19 | Fortunately, InDesign has a special
feature called the Glyphs panel and I can
| | 02:23 | find that under the
Window menu, or the Type menu.
| | 02:27 | Here's the Glyphs panel, and the
Glyphs panel shows me every character that's
| | 02:31 | inside my current font.
| | 02:33 | It's really quite incredible.
| | 02:35 | You can just go through
and scroll through this list.
| | 02:38 | I'm going to make this even a little bit
bigger, so we can really see this characters.
| | 02:41 | You can scroll through this list and
see all the different characters that are
| | 02:43 | inside this font, and some of these
things I would have no idea how to type, I
| | 02:47 | don't even know what some of these are.
| | 02:49 | Now for this document, I'd like a place
a special ornaments just before the P in
| | 02:53 | this word Pittinger.
| | 02:54 | So I click there and now
I'm going to change my font.
| | 02:57 | I can change it right here
inside the Glyphs panel if I want to.
| | 03:00 | I'll select that font and
replace it with let's say Wingdings.
| | 03:04 | I just had to type a few letters WIN
and it guessed that I want Wingdings.
| | 03:08 | Now I'll hit Return or Enter and we
can see all the different characters
| | 03:12 | inside the Wingdings font.
| | 03:13 | This one looks nice, so I'll
double-click on it and you can see that InDesign
| | 03:17 | places that character
right wherever the cursor was.
| | 03:21 | InDesign also places that cursor up
here in the Recently Used list and
| | 03:26 | that's kind of cool, because I might want to
use that same character over and over again.
| | 03:30 | I might come up here and click before
the E. All of a sudden, all of these
| | 03:34 | characters change because it's back to
representing what this font is, wherever
| | 03:38 | the cursor is, the Myriad Pro Font.
| | 03:40 | But it still keeps my
Recently Used glyph up here.
| | 03:43 | So I can double-click on it, and it
automatically adds it and changes the font.
| | 03:48 | Now Wingdings and symbol fonts like that,
and many of the Pro fonts from Adobe
| | 03:53 | have a lot of special characters in there.
| | 03:55 | Check them out, take a little time to
go through and just scroll to the Glyphs
| | 03:58 | panel and see what kind of
treasures are hiding in there.
| | Collapse this transcript |
| Importing text| 00:00 | Okay, you have a text file such as this Word
document and you need to get it into InDesign.
| | 00:05 | The easiest method is just to select
some text and copy and paste it, and while
| | 00:10 | this often works just fine especially
for small amounts of simple unformatted
| | 00:14 | text, I really don't recommend it for
anything more than a paragraph or two, and
| | 00:19 | I certainly wouldn't use copy and
paste for any text that was formatted or
| | 00:23 | included foreign
languages or special characters.
| | 00:26 | I've just seen too many problems over
the years with text showing up totally
| | 00:29 | wrong after pasting it.
| | 00:31 | Instead, I strongly recommend that
you use the Place command in InDesign.
| | 00:35 | It's much more reliable. Let me show you.
| | 00:38 | I'll switch back to InDesign, and
I'll go to File menu and choose Place.
| | 00:42 | Or you can press Command+D or Ctrl+D on Windows.
| | 00:46 | Now I'll select that text file, this is
simply a Word document but it could be a
| | 00:50 | Word document or an RTF file,
and then I'll click Open.
| | 00:55 | InDesign loads the Place cursor with
that story, and to place the story inside
| | 01:00 | my InDesign document, I'm going to move
my cursor up in the left corner, until I
| | 01:05 | see a subtle but important change to the cursor.
| | 01:08 | The black arrow turned to a white arrow.
| | 01:11 | You may have to squint
to see it, but it's there.
| | 01:14 | That white cursor means that when I
click it's going to snap to the margins.
| | 01:18 | So I'm going to get as close as I can to the
edge, but I don't have to worry too much about it.
| | 01:23 | Now I'll click, and it'll make a
frame and flow the text into it.
| | 01:27 | Notice that this document
had no text frame on the page.
| | 01:30 | There's no text frame on the
Master page, it's just a blank document.
| | 01:34 | Also, if I open the Pages panel you'll notice
that there's only one page in this document.
| | 01:39 | So InDesign had no place to
flow the rest of the story.
| | 01:43 | But I happened to now this is a much
longer story, and I really wish, I could
| | 01:46 | get the entire Word document into InDesign.
| | 01:49 | Fortunately you can.
| | 01:50 | I'll Command+Z or Ctrl+Z on Windows,
and it reloads the Place cursor, and now
| | 01:56 | I'm going to place this
text file with a modifier key.
| | 01:59 | I'm going to hold down the Shift Key,
and when you press the Shift Key
| | 02:03 | the cursor changes.
| | 02:05 | You get this kind of sneaky S-shape in
there, and that indicates that when I
| | 02:09 | click, it's going to flow all the text.
| | 02:12 | So once again I'll move the cursor to
the upper-left corner and I'll click.
| | 02:17 | This time InDesign not only imports
just that one page, but the whole text
| | 02:22 | story and it created a whole bunch of
pages for me and on each of those pages,
| | 02:27 | it created a text frame and threaded the
text from one page to the next automatically.
| | 02:32 | So that Shift Key modifier is really
important when you're importing a bunch of text.
| | 02:37 | There's one more important
thing that I need to point out here.
| | 02:41 | Look at the text formatting here.
| | 02:43 | It looks much nicer than it did in Word.
| | 02:45 | I'll go back to Word here and you can see.
| | 02:47 | Here it is in Word, it's all in Arial,
kind of clunky but probably easy to edit.
| | 02:52 | But over here in InDesign
it looks different. Why?
| | 02:55 | Well, I'm going to be talking about
paragraph styles and character styles in
| | 02:59 | a later chapter, but I do want to
point right now, that if the styles are
| | 03:04 | named exactly the same between Word
and InDesign, then InDesign will throw
| | 03:09 | away the formatting from Word and use
the formatting that's defined in the
| | 03:14 | InDesign template instead.
| | 03:16 | In this case, if I look in the
Paragraph Styles panel, you'll see I have a lot
| | 03:19 | of styles in here and they're named
exactly the same as they were in Word.
| | 03:24 | This workflow is typically what you want.
| | 03:26 | So it's extremely helpful to make sure
that you have the same names in your Word
| | 03:30 | document and your InDesign documents.
| | 03:32 | Now a moment ago, I mentioned about
threading, the fact that this story threads
| | 03:36 | from this page, down to these other pages.
| | 03:39 | What's that about and how can you manually
thread stories, from one text frame to another?
| | 03:44 | Well, that's what I'm going
to cover in the next movie.
| | Collapse this transcript |
| Threading text frames| 00:00 | It's time to talk about
threading text frames together.
| | 00:04 | I've opened up this roux article file
from the exercise folder and I'm going
| | 00:07 | to jump to the next spread by pressing
Option+Page Down or Alt+Page Down on Windows.
| | 00:12 | Now I'll use Command+Spacebar or
Ctrl+Spacebar to zoom in just at the top of this page.
| | 00:18 | I see here that I have two
frames one full and one empty.
| | 00:23 | And then this full one on the left down
here in the lower right corner, I see a
| | 00:27 | symbol, a little plus sign, and that
is an indicator that this text frame is
| | 00:32 | over set, there is more text
that can fit into this frame.
| | 00:35 | Now we could make the text frame bigger
of course, but in this case we want the
| | 00:39 | text to flow from this
frame into this empty frame.
| | 00:44 | This is called threading, you
thread from one frame to another.
| | 00:47 | Now you think you'd use the Type tool
to do this, after all you're dealing with
| | 00:51 | text, but in fact it
won't work with the Type tool.
| | 00:54 | It's a so strange quirk of InDesign,
you have to use the Selection tool.
| | 00:59 | You select one of the frames with the
Selection tool, and then you'll notice in
| | 01:03 | the upper left corner, there's a little
square that's very similar to the one in
| | 01:07 | the lower right corner.
| | 01:09 | Those little squares are
called the ports inport and outport.
| | 01:14 | All text flows in to the
inport and out to the outport.
| | 01:17 | So to get text out of this text frame, I'm going
to click on the outport with my Selection tool.
| | 01:24 | Now, notice that it loads the place cursor.
| | 01:27 | The place cursor lets me thread from one
frame into another, or it will even let
| | 01:33 | me create a text frame.
| | 01:34 | Notice how the cursor
changes depending where I place it.
| | 01:38 | Out here at the top of the page where there're
no frames at all, the cursor has a sharp edge.
| | 01:44 | That indicates that it's
going to thread into a new frame.
| | 01:48 | If I click or click and drag, it'll make
a frame and then thread the text into it.
| | 01:53 | But if I move it down little bit, I
get a different cursor, which means
| | 01:56 | it's going to thread from one frame into
the current frame the one that's hiding there.
| | 02:02 | In this case, I'm simply going to
click and you'll see the thread happen.
| | 02:06 | This text is threading from the left
frame to the right one, but it's hard to
| | 02:10 | tell that, there's no visual indicator.
| | 02:12 | So, we're going to go to the View menu, come
down to Extras, and turn on Show Text Threads.
| | 02:18 | That way, you get this little colored
line that goes from one port to the next.
| | 02:23 | In fact, if I move this frame down,
you'll see that line little bit more clearly.
| | 02:27 | It always threads from one port to the next.
| | 02:30 | Okay, so we threaded this together, but
what if we didn't want that, what if we
| | 02:34 | want to break that thread, how
can we do that? It's really easy.
| | 02:38 | All you do is double-click on one of
the ports, it doesn't matter which, the
| | 02:41 | inport or the outport.
| | 02:43 | In this case, I'll double-click on
this inport and it breaks the link again.
| | 02:47 | You can see that this text
frame is now overset once again.
| | 02:50 | By the way, some people call this
linking text frames, but linking actually
| | 02:55 | means something different in InDesign.
| | 02:56 | It means maintaining a link to files on
your hard drive, so that if they change,
| | 03:01 | InDesign changes too.
| | 03:02 | Now I'm going to talk about
that in detail in a later chapter.
| | 03:05 | So remember, when you're talking about
text flowing from one frame to another,
| | 03:10 | always call it threading.
| | Collapse this transcript |
| Setting text frame columns| 00:00 | You already know that you can change
the number of columns on a page, but those
| | 00:04 | columns are just guides.
| | 00:06 | There's another feature in InDesign
that actually forces text frames to break
| | 00:10 | into multiple columns.
| | 00:11 | Let me show you how you do it.
| | 00:13 | I've opened the roux_article files
from the Exercise Folder and I'm going to
| | 00:16 | jump to the next spread by pressing
Option+Page Down or Alt+Page Down, and I'll
| | 00:21 | zoom in at the top part of this
page with Command+Spacebar+Drag or
| | 00:25 | Ctrl+Spacebar+Drag on Windows.
| | 00:28 | I can see that I've a text
frame here and it's a single column.
| | 00:31 | The key to making this a multiple
column text frame is the Text Frame
| | 00:35 | Options dialog box, which I can get
to by going to the Object menu and
| | 00:39 | choosing Text Frame Options.
| | 00:41 | I'm going to move this down so we can
see the important part of the dialog box,
| | 00:46 | and the text frame at the same time.
| | 00:48 | The first area of the Text Frame Options
dialog box lists the number of Columns.
| | 00:53 | Right now, we only have 1 column, but
if I increase this to 2 or more, we can
| | 00:58 | see that the text frame
actually splits into columns.
| | 01:01 | The amount of space between each
column is called the Gutter, and you can
| | 01:05 | control that in this field.
| | 01:06 | The third option is the Width.
| | 01:09 | InDesign calculates that automatically,
and it tells me that this is 126 points
| | 01:14 | wide, from one edge of the column to the other.
| | 01:17 | If my document were in centimeters or
inches, it would show me at centimeters or
| | 01:21 | inches instead of course.
| | 01:23 | Sometimes, when I'm working on a
document the design calls for a very specific
| | 01:27 | column width, for example, maybe 12 picas.
| | 01:31 | I can come up here and replace this
Width with exactly the amount I want.
| | 01:35 | I'll do 12p and then press Tab to
jump out of that field, and you can see
| | 01:40 | that InDesign actually changes the
width of the column, infact it changes the
| | 01:43 | width of the whole frame.
| | 01:44 | I'll move this dialog box up and click
OK because I want to show you a problem.
| | 01:50 | I've specified a very specific Width
for my column, but if I accidentally come
| | 01:55 | up here and stretch this frame out,
InDesign throws that out the window.
| | 02:00 | I still have two columns but
they're completely the wrong width now.
| | 02:03 | Fortunately, InDesign has two
features that will help with this.
| | 02:07 | I'm going to go back to the Text Frame
Options dialog box, but this time I'm
| | 02:10 | going to use a shortcut.
| | 02:12 | You could press Command+B or Ctrl+B on
Windows, or my favorite shortcut, simply
| | 02:17 | Option+Double-click or Alt
+Double-click on Windows.
| | 02:20 | When you do that up comes the
Text Frame Options dialog box.
| | 02:23 | Move this out of the way a little bit,
and I'm going to change the Columns
| | 02:27 | pop-up menu from Fixed Number to Fixed Width.
| | 02:31 | If my design calls for a specific width,
I probably want to change this to Fixed
| | 02:35 | Width, and I'm going to
choose the Width in here.
| | 02:38 | I think, I said that was 12 Picas, right?
| | 02:40 | Press Tab and you'll see that now the Fixed
Width size is 144 points, which is 12 picas.
| | 02:48 | I'll click OK and now we see something
different happen when I try and stretch this out.
| | 02:54 | It won't let me make it anymore narrow.
| | 02:56 | I'm dragging to the left but it
does not change the Width because I'll
| | 03:00 | always have a Fixed Width.
| | 03:02 | Now something else
happens if I drag to the right.
| | 03:04 | If I drag farther to the right, it
forces there to be a third column and it's
| | 03:09 | always exactly the right width.
| | 03:11 | Make this smaller again, I'll drag all the
way over here, and it goes down to two columns.
| | 03:16 | Make it wider and it goes to three columns.
| | 03:18 | So maybe that's what you want.
| | 03:20 | Another hand some designs call for it
to be a little flexible and how wide
| | 03:24 | that column could be.
| | 03:26 | So, in that case, I'll Option+Double-click
or Alt+Double-click to open the
| | 03:30 | Text Frame Options dialog box and I'll
change the Columns pop-up menu to Flexible Width.
| | 03:35 | Flexible Width activates a new field
here called Maximum, and now we have a
| | 03:39 | Width and a Maximum width.
| | 03:41 | So I could say I want nominally, the
column to be 12 picas, but I'm willing to
| | 03:46 | let it go as high as, now let's say 15 picas.
| | 03:50 | I'll click OK and now I have
a slightly different effect.
| | 03:54 | I can make it smaller, smaller, smaller,
but as soon as it gets too small it
| | 03:59 | snaps back to a different width.
| | 04:01 | Make it wider, and I can have
actually wider, wider, wider and now, we
| | 04:07 | actually have four columns.
| | 04:09 | The fourth column is a little truncated here
because I'm getting text wrap from that image.
| | 04:14 | I'll talk about text wrap in a later chapter.
| | 04:16 | But you get the idea, we actually have
a little bit of flexibility and how many
| | 04:20 | columns and how wide those columns could be.
| | 04:23 | As you can see InDesign really tries
to help you strike the right balance
| | 04:26 | between creativity, flexibility
and a tightly controlled design.
| | Collapse this transcript |
| Setting text inset and vertical justification options| 00:00 | If you've ever framed a photograph, you
know that it's all about managing where
| | 00:04 | the image sits inside the frame,
how far from the edge, and so on.
| | 00:08 | Well, text is the same way, and you
can control where InDesign positions text
| | 00:13 | inside of a frame, using the Text
Frame options dialog box. Let me show you.
| | 00:17 | I'm going to select this text frame in
the upper right corner of the roux_flyer
| | 00:21 | file from the Exercise Folder, and
I'm going to zoom in on it by pressing
| | 00:25 | Command+Spacebar and dragging
or Ctrl+Spacebar on Windows.
| | 00:29 | We can see that this text is actually
pressed right up against the edge of the
| | 00:32 | text frame, which looks just really ugly.
| | 00:35 | So we'd like to move that
away from the edge of the frame.
| | 00:38 | To do that, I open up the Text Frame
Options dialog box by going to the Object
| | 00:43 | menu and choosing Text Frame Options or
pressing Command+B or Ctrl+B on Windows.
| | 00:48 | The Inset Spacing section in the
middle of this dialog box let's us control
| | 00:52 | how much space they should be sort of
padding or margins between the edge of
| | 00:56 | the frame and the text.
| | 00:58 | If you want to have different amounts
of spacing on each of the four sides of
| | 01:01 | this frame, then unlink this button.
| | 01:04 | Just click on it to unlink it.
| | 01:06 | But in this case, we want to have the
same amount of space on all four sides.
| | 01:11 | I'll place the cursor inside this Top
field and type 9points or P9 and when I
| | 01:16 | hit Tab to jump to the next field,
you'll see all of them change to 9points, and
| | 01:20 | the text is inset inside the frame.
| | 01:23 | Unfortunately, when I did that, the
amount of space inside the frame was too
| | 01:27 | small to fit all the text.
| | 01:28 | So it became overset.
| | 01:29 | I'm going to click OK, double-click
inside of here and I'm simply going to
| | 01:34 | delete some of that text in
there, so I see the rest of it.
| | 01:37 | Wouldn't it be great if all edits were
simple as that, if you could just go in
| | 01:40 | there and delete the text?
| | 01:42 | Well, in this case now we have two
little text, and we have a bunch of space at
| | 01:46 | the bottom of this text frame.
| | 01:47 | What're we going to about that?
| | 01:49 | Well, if we open the Text Frame Options dialog
box again, if Command+B or Ctrl+B on Windows.
| | 01:54 | Then we can change where that
space is going to sit, by changing the
| | 01:58 | Vertical Justification.
| | 02:00 | The Vertical Justification let's
us say where the text should be.
| | 02:03 | Right now it's Aligned to the Top.
| | 02:06 | So the top of this text is aligned
with the inset at the top of the frame.
| | 02:11 | If I change this to Bottom, then you
see that the bottom of the text snaps to
| | 02:16 | the bottom inset, and all the
extra space goes to the top.
| | 02:19 | We can also change Align to Center.
| | 02:23 | In that case, the text is all
centered within the frame and the space is
| | 02:26 | distributed at the top and the bottom.
| | 02:29 | The fourth option is Justify.
| | 02:32 | With Justify the top line is pinned to
the top of the frame, the bottom line is
| | 02:36 | pinned to the bottom of the frame and
InDesign distributes the space between
| | 02:39 | each of the lines in the story.
| | 02:41 | Now, sometimes it adds too much
space in between lines within a single
| | 02:45 | paragraph, so you can tell it to add
space between paragraphs instead of
| | 02:49 | individual lines, by changing
the Paragraph Spacing Limit.
| | 02:53 | Bump this up to something large like 2 inches.
| | 02:55 | As soon as I hit Tab, it will
convert that to picas because that's what
| | 02:59 | this document is set to.
| | 03:00 | But the point is that it will now add
up to 2 inches or 12 Picas in between
| | 03:05 | paragraphs, and it will not add the
space in between lines within a paragraph.
| | 03:10 | I'll click OK and I'm going to use
that Vertical Justification in one other
| | 03:14 | frame in this document, this
frame over here which is on its side.
| | 03:17 | I'll click inside of it because
I have the Type tool selected.
| | 03:20 | I could just as easily use the Selection tool.
| | 03:23 | I'll press Command+B or Ctrl+B
and I'm going to change the Vertical
| | 03:26 | Justification here to Center.
| | 03:29 | Click OK and you can see that now
the text is centered inside that frame.
| | 03:33 | Unfortunately, as soon as you have
your text set just so inside of the frame,
| | 03:37 | your client or boss is going to
come and tell you to edit it, right?
| | 03:40 | Well, wouldn't it be cool if the
Text Frame could actually get bigger or
| | 03:43 | smaller, as you change
the amount of text in that.
| | 03:46 | Well, that's what we're going to see next.
| | Collapse this transcript |
| Allowing text frames to grow and shrink| 00:00 | Text frames seem never to be exactly
the size you want them to be especially
| | 00:04 | when you need to add text at the last minute.
| | 00:07 | Fortunately InDesign offers some great
and easy ways to control the size of text
| | 00:11 | frames quickly and even automatically.
| | 00:14 | In this roux_flyer document from the
exercise files I can see that this text
| | 00:18 | frame is slightly too large.
| | 00:20 | It doesn't technically matter that it
is too large but if I'm trying to clean
| | 00:23 | this up I may want to make this
text frame a little bit smaller.
| | 00:27 | And when I do so the text
becomes overset, I made it too small.
| | 00:31 | So how big should the text frame be?
| | 00:33 | I'll make it larger here and I'm going
to use a feature that will fit the frame
| | 00:37 | exactly to the size of the text.
| | 00:39 | I'll go to the Object menu, choose
Fitting and then choose Fit Frame to Content.
| | 00:43 | You'll see that there's actually a
keyboard shortcut there for that, but
| | 00:46 | honestly I never use the menu item or
the keyboard shortcut, instead I use
| | 00:51 | the really cool shortcut of
double-clicking on a corner or side handle,
| | 00:55 | that's all you need to do.
| | 00:56 | When I double-click on that lower-right
corner handle it automatically fits the
| | 01:00 | frame exactly to the size of the text.
| | 01:02 | Let's see this in action in a different way.
| | 01:04 | I'll select this text frame in the upper-right
corner, Option+Double-click on it
| | 01:08 | or Alt+Double-click on Windows to open
Text Frame Options, and I'll change the
| | 01:12 | Inset Spacing to something like 9 pt.
| | 01:15 | Now when I click OK, it adds nine
points of space all the way around but the
| | 01:20 | text frame is overset, so
I'll make it a little bit larger.
| | 01:22 | Well, now I have too much space at the
bottom of the frame, how do I make sure
| | 01:26 | that I have the same amount
of space at the top and bottom?
| | 01:29 | Just double-click on the
lower-center side handle.
| | 01:32 | If I double-click on that side handle at
the bottom, it snaps it up so that it's
| | 01:37 | exactly the right amount
of space to fit the text in.
| | 01:39 | Not too much, not too little, and now
I'm sure that I have the same amount of
| | 01:43 | space at the top and bottom of that frame.
| | 01:45 | The problem of course is when I
need to edit the text in here.
| | 01:48 | If I need to come in here and add
some more text I know that it's going to
| | 01:52 | become overset again and I'll have to make
it larger and then fit it again, and so on.
| | 01:56 | What I really want is for the text
frame to grow or shrink accordingly so that
| | 02:00 | it always fits the text inside of it.
| | 02:03 | And now introduced in InDesign CS6
is a feature that does just that.
| | 02:07 | That also was in the Text
Frame Option dialog box, so I'll
| | 02:10 | Option+Double-click or Alt+Double-click
and click on the Auto-Size tab of the
| | 02:14 | Text Frame Options dialog box.
| | 02:16 | Right now Auto-Size is set to Off, I'm
going to change it to Height Only, that
| | 02:21 | means it'll make the text frame taller or
shorter based on how much text it has in it.
| | 02:26 | Next I need to tell InDesign what to
anchor, whatnot to move with this text frame.
| | 02:30 | Right now it is set to the top, so the
top will stay where it is and the bottom
| | 02:35 | will move down or up based
on how much text I have in it.
| | 02:38 | I'm going to do just the opposite, I
want to anchor the bottom point and have
| | 02:41 | the top of the text frame grow or shrink.
| | 02:44 | I can also choose a Minimum Height by
turning this checkbox on, which means
| | 02:47 | InDesign should never let this
frame get smaller than a certain height.
| | 02:51 | I'll set it to something like 10 picas.
| | 02:53 | I'll click OK and it doesn't look
like anything has changed, but if I
| | 02:56 | double-click inside the text frame and
then start typing, I'll just hit Enter
| | 03:01 | and then start typing and typing and
typing and typing, you'll see that the text
| | 03:05 | frame grows automatically.
| | 03:07 | If I remove that text it shrinks again,
that text frame will grow and grow
| | 03:12 | until it's pushed all the way off the
pasteboard and only then will I get overset text.
| | 03:17 | I'll do the same thing to this text
frame that says REINVENTED at the bottom.
| | 03:21 | I'll place my cursor in it or I could
choose it with a Selection tool, doesn't matter.
| | 03:25 | I'll open the Text Frame Options
dialog box with the Command+B or Ctrl+B on
| | 03:28 | Windows, change Auto-Size to Width
Only, because I don't want to change the
| | 03:33 | height, in this case I want to change the width.
| | 03:35 | And I'm going to say anchor it in the
center, keep the center of the text frame
| | 03:39 | where it is and change the left and right sides.
| | 03:42 | I'll click OK and I'm going to
put the word super at the beginning.
| | 03:47 | You can see that both the left and
right sides of this text frame move and all
| | 03:51 | the text fits, it won't overset.
| | 03:53 | If you're creating an InDesign template
for someone else to use, making good use
| | 03:57 | of these auto-size frames can be so helpful.
| | 04:00 | It minimizes the chance of overset
text and it maximizes their efficiency.
| | Collapse this transcript |
| Putting text on a path| 00:01 | I get asked this question all the time, how do
I get text on a path instead of inside of it?
| | 00:06 | For example, this triangle;
| | 00:07 | let's go ahead and zoom in here.
| | 00:09 | I want to put text on the outside
of this triangle, not the inside.
| | 00:12 | I maybe tempted to try using the
Type tool, this Type tool over here.
| | 00:16 | But if I do that, I will get text on the inside.
| | 00:19 | You cannot get text on a
path with the Type tool.
| | 00:22 | Instead, you have to use
the Type on a Path tool.
| | 00:25 | Well, where's that?
| | 00:26 | It's hiding underneath the Type tool.
| | 00:28 | I'll click and hold for a moment, and up
comes this little pop-up menu and now I
| | 00:33 | can choose the Type on a Path tool.
| | 00:35 | That's the trick, right there.
| | 00:37 | Now, I move the cursor over the edge
of the path and when it's in the right
| | 00:41 | place, you'll see the cursor change just a
little bit, a little Plus sign appears.
| | 00:45 | That's the indication that if I
click, I'll put the text on the path.
| | 00:49 | Click, there we go!
| | 00:51 | Now I can start typing.
| | 00:52 | Now, right now, I'm typing black
text on top of a dark background.
| | 00:55 | So that's not very compelling.
| | 00:57 | Let me delete all of that;
| | 00:58 | press Command+A or Ctrl+A to select all
of it and hit Delete, and I just happen
| | 01:03 | to have some text that we can put on there.
| | 01:05 | I'm going to zoom back out to fit in
window with the Command+0 or Ctrl+0 on
| | 01:10 | Windows, and I'll use Option+Spacebar
to move back, so I can see this text
| | 01:15 | jumped into power zoom there for a moment,
and I'm going to select this text at the bottom;
| | 01:20 | Command+A or Ctrl+A, Command+X or Ctrl+X
on Windows, and now, let's zoom back
| | 01:25 | in to that triangle.
| | 01:27 | I have it on the clipboard.
| | 01:28 | So now I'm going to put it on top of that frame.
| | 01:31 | At this point, because I've
converted this triangle into a Text on a Path
| | 01:36 | Object, I don't have to use
the Type on a Path tool anymore.
| | 01:40 | I could technically go back to
the Type tool. It doesn't matter.
| | 01:44 | I move the cursor over the edge here,
and now I click and now I'm back in to
| | 01:48 | editing the type on a path.
| | 01:50 | I just needed to use the Type on the Path
tool to make it a type on a path object.
| | 01:55 | Now, I'll paste;
| | 01:56 | Command+V or Ctrl+V and you can see the
text goes right on the edge of the path.
| | 02:00 | Now, this triangle doesn't actually appear.
| | 02:03 | There's no stroke or fill.
| | 02:05 | So if I deselect this, in fact I'll
deselect everything with a special keyboard
| | 02:09 | shortcut Command+Shift+A, or
Ctrl+Shift+A, Command+A or Ctrl+A selects
| | 02:14 | everything, but if you add the Shift
key in there, it deselects everything.
| | 02:18 | Now, I'll press the W key to go into
Preview mode, and you can see you cannot
| | 02:23 | see the edge, you can't see the
path, it's just the text on the path.
| | 02:27 | Now, I'll go out of Preview mode, so we
can see it again by hitting W one more time.
| | 02:31 | This looks pretty good, but I
want to make a few little tweaks.
| | 02:34 | For example, I'd like to move this 2012
BFA down a little bit, and I can change
| | 02:39 | the positioning on the path in a couple of ways.
| | 02:43 | The basic way though is by selecting the
triangle I can see these two lines appear.
| | 02:48 | What's that about?
| | 02:49 | Well, when you're thinking about
text on a path, think about it this way.
| | 02:53 | It's like having a text frame wrapped
around the edge of the path, and in this
| | 02:59 | case, this is the left edge of the
text frame, and then it goes all the way
| | 03:03 | around, and then this other line is
the right edge of that text frame.
| | 03:08 | I can move those edges simply by dragging them.
| | 03:11 | For example, I'll move my cursor over
the right edge, which is the one on the
| | 03:15 | left here, in this case, the bottom one,
and you can see the cursor changes a
| | 03:18 | little bit to indicate which one I'm on
top of, and I'm going to drag that down
| | 03:22 | and I can actually drag it around to here.
| | 03:25 | That doesn't change anything, because
the text won't go any farther than that.
| | 03:29 | But if I change this left edge by
clicking and dragging that, you can see that
| | 03:33 | it actually will move the text around.
| | 03:35 | So I have a lot of control about
where that text starts on the path, and
| | 03:39 | where it's going to end.
| | 03:41 | These white boxes, by the way,
are in ports and out ports.
| | 03:44 | So literally, I can thread from a
frame to text on a path, and from text on a
| | 03:49 | path to a frame, or even from text on a
path to other text on a path, if they're
| | 03:54 | just like text frames.
| | 03:55 | There are a few more things we can do
with text on a path as well, and to do
| | 03:59 | that, I'm going to go to the Type menu,
choose Type on a Path, and then choose Options.
| | 04:04 | The Type on a Path Options dialog box
lets me format that text on the path in
| | 04:08 | all kinds of really funky ways.
| | 04:10 | For example, right now,
the Effect is set to Rainbow.
| | 04:13 | That means it's going to
follow the path as it curves around.
| | 04:17 | If I change this to something like
Skew, something very different happens.
| | 04:21 | It skews based on the angle of the path.
| | 04:23 | That's kind of cool looking.
| | 04:25 | Let's look at some of the other ones;
| | 04:27 | 3D Ribbon, I don't know, that's kind of
wacky where each character gets skewed
| | 04:31 | and rotated and so on, Stair Step where
each character is not skewed but simply
| | 04:36 | rotated, so that it's always upright.
| | 04:38 | And the last one is Gravity.
| | 04:40 | Gravity always rotates and skews
around the center of the object.
| | 04:45 | That is really cool.
| | 04:46 | I'm going to leave it set to that.
| | 04:48 | We can also set what part of the
path is going to be on the line.
| | 04:51 | For example, right now it's
set to the Baseline of the text.
| | 04:54 | But if I set to this to Center, then the
center of the text gets pressed up there.
| | 04:58 | Of course, this squishes everything
together, so we'd probably want to
| | 05:01 | change the Spacing.
| | 05:02 | Right now, Spacing is set to 0.
| | 05:05 | The weird thing about Spacing is that
negative numbers tend to give more space
| | 05:09 | between the characters and
positive numbers take space away.
| | 05:12 | I'm just going to add a little bit of
spacing here to spread these out just a
| | 05:15 | little bit, and then I'll click OK.
| | 05:17 | The last thing you need to know is how
to get rid of the text on a path, how
| | 05:20 | to turn this back into a regular object so
that text is no longer flowing on the path.
| | 05:25 | To do that, I'll go back to the Type
menu, choose the Type on the Path submenu,
| | 05:29 | and then I can simply
choose Delete Type from Path.
| | 05:32 | That turns it back into a
regular old object again.
| | 05:35 | Setting text along a path is a
wonderful way to create all kinds of special
| | 05:38 | effects on your page.
| | 05:40 | You can even edit that text later, but
editing along a path can be, well, challenging.
| | 05:44 | Fortunately, InDesign Story
Editor comes to the rescue.
| | 05:47 | That's what I'm going to
talk about in the next movie.
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| Using the Story Editor| 00:00 | It's time for me to talk about one
of my favorite features in InDesign.
| | 00:04 | It's not a particularly flashy feature,
but it's incredibly helpful to anyone
| | 00:08 | who needs to write or edit text inside InDesign.
| | 00:11 | And that feature is Story Editor.
| | 00:13 | And it's like having a little Word Processor
built right into InDesign. Let me show you.
| | 00:18 | I have my roux_article file open from
the Exercise folder and I am going to jump
| | 00:22 | to the second spread by pressing
Option+Page Down or Alt+Page Down.
| | 00:25 | I want to edit some of the text in here,
but instead of zooming in and trying to
| | 00:29 | find the text, I'm simply going to
select the frame itself, go to the Edit menu
| | 00:34 | and choose Edit in Story Editor, or I
could Command+Y or Ctrl+Y on Windows.
| | 00:39 | Up comes a nice neutral
window, just like a Text Editor.
| | 00:43 | I'm not distracted by fonts or size or
anything like that, it's just a neutral
| | 00:48 | window and I can make this as wide as
I want and it will reflow to any size.
| | 00:53 | And I will tell you the one thing that
I really dislike about Story Editor and
| | 00:57 | that is the default font that it comes with.
| | 00:59 | Who wants to read that font, it's crazy.
| | 01:02 | I'd rather use a font that
I can read easily on screen.
| | 01:05 | Fortunately you can do that;
| | 01:06 | you can make that change by
going to the Preferences dialog box.
| | 01:09 | I am going to open Preferences by
pressing Command+K on the Mac or Ctrl+K on
| | 01:13 | Windows, up comes the Preferences
dialog box and I am going to click on the
| | 01:17 | Story Editor Display pane.
| | 01:19 | Here we can see that the Font is that
the Letter Gothic which I think is crazy.
| | 01:23 | So I am going to select that and type
Georgia instead, I like reading Georgia,
| | 01:27 | you can pick any font you want,
but I find that very easy to read.
| | 01:30 | I am also going to change the Line
Spacing to something a little bit larger,
| | 01:33 | like 150% and I am going to change the Size to
16 points, so it's really easy to see on screen.
| | 01:39 | There are many other things you can
change in here as well, like the Theme, you
| | 01:43 | could change Ink On Paper or if you
really want to go crazy, go Yellow On Black,
| | 01:47 | now that's hard to read.
| | 01:49 | I am going to go back to
Black On White Ink On Paper.
| | 01:52 | The one last thing I'm definitely
going to change here is the Cursor Options.
| | 01:55 | You know how sometimes the text cursor
is so small that it's hard to find it
| | 01:59 | easily, well, I can change it here to
Barbell, it will only change it inside the
| | 02:03 | Story editor, but you'll see it's great.
| | 02:06 | I will click OK, the font updates and
look at that cursor, it's flashing, it's
| | 02:12 | big, I can immediately see exactly where it is.
| | 02:15 | I will click before that H. Now as I
said the Story Editor does not show fonts
| | 02:20 | or size or most formatting of your text.
| | 02:22 | What it does show is Bold and Italic,
so over here where we have some texts in
| | 02:27 | Italic, it does show that.
| | 02:29 | I am going to move the Story Editor
window over to the right a little bit, so we
| | 02:32 | can see both the text on
the page and the story editor.
| | 02:35 | That text is so small that you
won't be able to see this very well.
| | 02:39 | But I am just going to grab some of
this text up here, like the end of that
| | 02:41 | paragraph and delete it.
| | 02:43 | You'll see a slight pause and then as
soon as you're done in the Story Editor,
| | 02:47 | as soon as InDesign recognizes that you
have paused for a moment, it updates the
| | 02:51 | document page behind it.
| | 02:53 | I mentioned earlier that you can use
Command+Y or Ctrl+Y to open the Story
| | 02:57 | Editor, you can also use the same
thing to switch out of the Story Editor.
| | 03:01 | This turns out to be very useful,
because I can select some text inside the
| | 03:05 | Story Editor and then press Command+Y
or Ctrl+Y and it swaps back to the
| | 03:10 | document page and synchronizes the selection.
| | 03:14 | The same words are selected here
that were selected in the Story Editor.
| | 03:17 | That turns out to be very useful
thing and you'll see this, the more you
| | 03:21 | are using Story Editor.
| | 03:22 | I will select some text here on the
page, press Command+Y and it opens
| | 03:26 | Story Editor and immediately synchronizes the
selection, so the same words are selected here.
| | 03:31 | Story Editor is great whenever you're
dealing with really tiny text or text
| | 03:35 | that's in a very wide text frame
that's really hard to see all the text at
| | 03:38 | the same time, but it's also great
when you have so much text that it can't
| | 03:43 | fit inside the frame.
| | 03:44 | In this text frame, the story is overset,
it can't fit inside the frame, but I
| | 03:49 | can see it inside Story Editor.
| | 03:51 | Story Editor knows no bounds.
| | 03:53 | So if I scroll down a little bit here
you'll see all the overset text, all the
| | 03:58 | stuff that has red next to it, that is
overset it's not fitting inside the text
| | 04:02 | frame, but I can still edit it, copy it
and paste it, delete it whatever I need
| | 04:07 | to do, I can work with it
inside the Story Editor.
| | 04:10 | Since I'm talking about an editorial
type feature like Story Editor, I also want
| | 04:14 | to point out the Info panel.
| | 04:16 | I will go to the Window menu and
choose Info and that opens the Info panel.
| | 04:20 | The Info panel is interesting
especially at the bottom where it shows how
| | 04:25 | much text is selected.
| | 04:27 | If I select this sentence you can see
that the Info panel updates to show me
| | 04:31 | that they're 65 Characters, 11 Words,
1 Line and 1 Paragraph selected.
| | 04:36 | If I deselect the text, so the text
cursor is just flashing inside the story, it
| | 04:41 | updates to show me all the text in the story.
| | 04:43 | That is, this has 194 Words,
plus 1242. What's that plus?
| | 04:50 | Well, that's how much text is overset.
| | 04:52 | How many Words are outside this text story?
| | 04:55 | But if you do a lot of editorial work, you know
that that kind of Word Count is really useful.
| | 05:00 | Ultimately, whether you're editing
really tiny 4 point text at the bottom of
| | 05:04 | a legal contract or text on a path,
or a long story, the Story Editor makes
| | 05:08 | life so much easier.
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| Checking spelling| 00:00 | Nobody spells everything right all the time.
| | 00:03 | I mean, hey that's what
spellchecking features are for.
| | 00:05 | And fortunately there is quite
a good one built into InDesign.
| | 00:09 | I have this flyer document open from
my Exercise folder and it looks pretty
| | 00:13 | good, but before I send it to
print I'd better check the spelling.
| | 00:17 | I can do that by going to the Edit
menu, choosing the Spelling sub menu and
| | 00:21 | then choosing Check Spelling or much faster,
just press Command+I or Ctrl+I on Windows.
| | 00:26 | As soon as I do that up comes the Check
Spelling dialog box and it immediately
| | 00:31 | starts showing the suspect words.
| | 00:32 | This first word, Ellingsworth is
somebody's name, looks right to me.
| | 00:37 | I'm going to skip it.
| | 00:38 | Then it goes to Roux, well Roux is the
name of this company and I use that a
| | 00:42 | lot in these documents.
| | 00:43 | So I have a chance to
either Skip it or Ignore All.
| | 00:47 | If I choose Ignore All it's like
pressing Skip for every instance that it finds,
| | 00:53 | in fact not just in this Check
Spelling, but every time I do Check Spelling
| | 00:57 | until I quit InDesign.
| | 00:59 | If I always wanted to think this word
is spelled correctly, then I'll add it
| | 01:02 | to my User Dictionary.
| | 01:03 | That's what I am going to do, I will
click Add and it moves on to the next word.
| | 01:07 | Instead of checking one word at a time
there is another way to check my spelling.
| | 01:11 | I am going to the click
Done to close this dialog box.
| | 01:14 | I will go back to the Edit menu, choose
the Spelling submenu and I am going to
| | 01:18 | turn on Dynamic Spelling.
| | 01:20 | I like Dynamic Spelling because you
can see at a glance whether something is
| | 01:24 | spelled incorrectly.
| | 01:25 | For example, I'll zoom in here
using Command+Spacebar and drag or
| | 01:30 | Ctrl+Spacebar in Windows.
| | 01:32 | And I can see anything that it thinks might
be misspelled has a red zigzag line under it.
| | 01:38 | This way I can very quickly pan around
looking for things that might be spelled wrong.
| | 01:43 | Here's one down here,
ACDEMY, we better change that.
| | 01:47 | Now I could change that manually or I
could simply place my cursor inside the
| | 01:52 | word and then right-click or Ctrl+Click
with one-button mouse and up at the top
| | 01:57 | of a Context menu are the suggested words,
what it thinks we are trying to spell here.
| | 02:02 | I'll choose Academy and it
fixes the misspelling for me.
| | 02:05 | Now I am going to switch over to my roux_
article file and check my spelling here.
| | 02:10 | Because I chose Dynamic Spelling
it's going to stay on for all of my
| | 02:13 | documents that I have open.
| | 02:14 | Now I am going to switch my next
spread with an Option+Page Down or Alt+Page
| | 02:18 | Down and I am going to
zoom in on this text frame.
| | 02:21 | I see a few words here that I suspect
it doesn't know if those are spelled
| | 02:25 | correctly, but it also sees some
other words that have a green zigzag line.
| | 02:30 | That means that they're not misspelled, but
there's something else that's wrong with them.
| | 02:33 | In this case it's obvious, there are
two words that are exactly same in a row,
| | 02:38 | if I double-click that and
delete it the zigzag goes away.
| | 02:41 | Down here the word trying should be
capitalized, so it's telling me something's wrong.
| | 02:46 | I will get rid of the lowercase t and put
in an uppercase T and the zigzag goes away.
| | 02:51 | You can control what InDesign
considers right and wrong in the
| | 02:54 | Preferences dialog box.
| | 02:56 | I will press Command+K or Ctrl+K on
Windows, click on the Spelling pane of
| | 03:01 | the dialog box and we can see that
there's a number of things we can change,
| | 03:04 | misspelled words, repeated words,
uncapitalized words and uncapitalized sentences.
| | 03:09 | We can also change the color
InDesign uses on those little zigzag lines.
| | 03:14 | One more thing I want to
show you about Spelling.
| | 03:16 | I will click OK and I am going to
come down here and just type a word, like
| | 03:21 | Grazie, now Grazie immediately shows up as
misspelled, but I know that it's not misspelled.
| | 03:29 | I know that it's spelled
correctly in Italian, right?
| | 03:32 | So how do I tell InDesign that that word
is spelled correctly, it's just Italian.
| | 03:37 | The trick is to select it, go to the
Control panel and in the Control panel make
| | 03:43 | sure that the mode is set to Character mode.
| | 03:46 | That's this little A button in the
upper left corner that shows me all the
| | 03:50 | Character Formatting in the Control panel.
| | 03:52 | I will be talking about that in
great detail in a later chapter.
| | 03:56 | Out here in the middle of the Control
panel there is a pop-up menu which is all
| | 04:00 | the languages that InDesign knows
about Dutch, Estonian, Finnish, French and
| | 04:05 | you got it Italian.
| | 04:07 | If I choose Italian for this word then
InDesign suddenly stops thinking, it's misspelled.
| | 04:14 | Now because I love tips and tricks I
always want to give you the best, I want to
| | 04:18 | show you one more language
trick that you should know about.
| | 04:20 | I am going to type in a web address.
| | 04:22 | I am going to click down here at the
bottom of this paragraph and I'm the type
| | 04:25 | in my address www.63p.com there you go,
that's my personal website, now you all
| | 04:32 | know it shows up as misspelled.
| | 04:35 | Well, I know that's not misspelled, so
I need to tell InDesign that that web
| | 04:39 | address is not misspelled, but I can't
tell it that it's English or Estonian or
| | 04:44 | Latvian or something.
| | 04:45 | What I can do is tell it that it's no
language, I will select that URL, come up
| | 04:51 | to the Language menu and at the
very top the option is No Language.
| | 04:55 | Anything set to No Language cannot be spell
checked, so it never shows up as misspelled.
| | 05:00 | Of course just performing a spell-check
won't guarantee your text is all correct.
| | 05:05 | So finding a proofreader is always a good idea.
| | 05:07 | But InDesign's spellchecking
features are definitely worth running first.
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| Using Find/Change| 00:00 | I'm old enough that I remember
manually searching through all the text in a
| | 00:04 | document for one word and replacing
it with another all by eye hoping I
| | 00:09 | didn't miss one instance.
| | 00:10 | And all I can say is thank goodness for
the Find/Change feature which lets me do
| | 00:14 | it all now in a single click.
| | 00:17 | You can find Find/Change by going to
the Edit menu and choosing Find/Change, or
| | 00:21 | press Command+F or Ctrl+F on Windows.
| | 00:24 | There are a lot of options in the Find/Change
dialog box, but I'm going to focus
| | 00:28 | just on the basics here,
Find what and Change to.
| | 00:32 | Let's say I want to search for the word Egypt.
| | 00:34 | All I have to do is type Egypt here,
and when I click Find, it finds the
| | 00:38 | first instance of Egypt. It's down here.
| | 00:41 | Let me zoom in on that;
| | 00:42 | Command+Spacebar or Ctrl+Spacebar, drag
over that, and we can see that it did in
| | 00:47 | fact find the word Egypt,
but inside of another word.
| | 00:50 | That's not what I was intending.
| | 00:52 | I wanted to find the whole word Egypt.
| | 00:54 | But fortunately, InDesign lets me
change the scope of what it's searching for,
| | 00:59 | and it's all based on
these little buttons down here.
| | 01:01 | I have to be honest with you, I almost
never remember what those buttons do.
| | 01:05 | There are just too many of them.
| | 01:06 | So, I move the cursor on top of
them until I see the little tooltip.
| | 01:11 | This one is Include Locked layers and
Locked Objects, this one is Include Locked
| | 01:15 | Stories, this one is Hidden layers, and
I'm just going to go through these one
| | 01:19 | at a time until I find what I'm looking for;
| | 01:21 | Master Pages, Footnotes, Case Sensitive, that
could be useful at some time, but not right now.
| | 01:27 | And this one, here we go, Whole Word!
| | 01:29 | I want to find the whole word of Egypt.
| | 01:32 | So I click on that button and try again.
| | 01:34 | I'll click Find, and it jumps to the next
instance of Egypt but only as a whole word.
| | 01:39 | Of course, Find What is
only half the equation here.
| | 01:43 | Sometimes you want to find a word
and change it to something else.
| | 01:46 | For example, I'm going to
type two dashes in here.
| | 01:49 | I want to find everywhere where the author
typed in two hyphens instead of a regular Em Dash.
| | 01:54 | I'm going to change it to the Em
Dash by typing in Em Dash in here.
| | 01:59 | But what if I don't remember how to
type an Em Dash, or what the code is?
| | 02:03 | Well, that's where this little pop-up
menu over on the right comes in.
| | 02:07 | I don't know why they use the At
symbol there, but whenever you see an At
| | 02:10 | symbol pop-up menu, it
means special characters.
| | 02:13 | So I'm going to click on that and we
can see all the special characters, the
| | 02:17 | invisible characters, the interesting
glyphs and so on that InDesign knows about
| | 02:21 | that I may not know how to type.
| | 02:23 | In this case, I'm looking for a
hyphen or a dash and there it is, Em Dash.
| | 02:28 | It types in a special code that
I'm never going to remember myself.
| | 02:32 | But fortunately, it types it in for me.
| | 02:34 | And now I can click Change All and
it says, uh-oh, 0 replacements made.
| | 02:39 | Well, remember, just a moment ago, we told
InDesign what the scope of our search was.
| | 02:45 | We told InDesign to only find whole words.
| | 02:49 | Well, there are no whole
words, that are just two dashes.
| | 02:52 | I need to turn that button
off and then do my Change All.
| | 02:56 | It goes through the document and it found
8 of them, so that's great. I'll click OK.
| | 03:01 | Here's another thing I use
Find/Change all the time for.
| | 03:03 | Find all the instances where somebody
typed two or more spaces and replaced it
| | 03:07 | with a single space.
| | 03:09 | I could do that myself, but
sometimes people use weird spaces.
| | 03:13 | Adobe InDesign has all kinds of
strange spaces like thin spaces, and
| | 03:16 | quarter spaces, and so on.
| | 03:18 | What if I want to find all of those?
| | 03:20 | Well, fortunately, InDesign comes
with a bunch of built-in queries;
| | 03:24 | these Find/Change queries, and they all
live up here in the Query pop-up menu,
| | 03:28 | and we can look at the ones that InDesign
ships with by clicking on that pop-up menu.
| | 03:32 | There's a whole bunch of cool ones in here.
| | 03:34 | I'm going to use Multiple Space to Single Space.
| | 03:37 | It types all the weird codes for all
the different spaces that it's going to
| | 03:40 | look for, so I don't have
to remember any of that.
| | 03:43 | Now, all I have to do is click
Change All, and it goes through the entire
| | 03:47 | document and it found 347
of them in just an instant.
| | 03:52 | Now, there are lots of other things
you can do in the Find/Change dialog box.
| | 03:55 | For example, you can find text with particular
formatting and change it to other formatting.
| | 04:00 | I'll cover that in a later chapter.
| | 04:02 | You can also do this thing called GREP
Find/Change, which is what it used to
| | 04:05 | find all these multiple spaces.
| | 04:08 | I go into great detail about GREP
and all the cool things you can do with
| | 04:11 | that in another title in the lynda.
com Online Training Library called 10
| | 04:16 | Things to Know About GREP.
| | 04:17 | Glyph Find/Change lets you search
for a very particular character in your
| | 04:21 | document and Object Find/Change lets
you find and change object formatting.
| | 04:26 | For example, you might want to change
all of your red frames into blue frames.
| | 04:30 | You can do that with the Object
Formatting Find/Change, and I'll cover that in
| | 04:34 | a later chapter too.
| | 04:35 | The Find/Change dialog box is
obviously an incredibly powerful tool when you
| | 04:39 | take the time to dial in exactly what
you're looking for and exactly what you
| | 04:43 | want to change it to.
| | Collapse this transcript |
|
|
6. GraphicsImporting graphics| 00:00 | It's time to start talking
about using pictures in InDesign.
| | 00:04 | Let's start at the beginning.
| | 00:05 | How to get our images on to our InDesign page?
| | 00:08 | Fortunately, InDesign makes it really easy.
| | 00:10 | The basic method for importing an
image is to use the Place command which you
| | 00:14 | can find under the File menu.
| | 00:16 | I'll choose Place or you could
press Command+D or Ctrl+D on Windows.
| | 00:21 | This shows me a list of all the images or
all of the files that I could place right now.
| | 00:25 | I'm looking at the Links folder
which is inside the Exercise Folder.
| | 00:28 | I am going to import the Roux Academy
logo, which I am going to find at the
| | 00:32 | bottom of that list. Here it is.
| | 00:35 | It's an ai file, that's in Adobe
Illustrator file, which InDesign can import.
| | 00:41 | When I click Open InDesign imports
the image and loads the place cursor.
| | 00:46 | Now it's very important to pay
attention to the place cursor before you click.
| | 00:49 | This place cursor tells me
information about what's about to happen.
| | 00:53 | Right now I see the little twirly
spirally icon which shows me that it's an
| | 00:58 | Acrobat file or an
Illustrator file, they look the same.
| | 01:02 | The edge of the place cursor are two
dotted straight lines and that indicates
| | 01:07 | that if I click right now
it will create a new frame.
| | 01:10 | If I move the place cursor over here
where I actually want it, those lines get
| | 01:14 | curved kind of into a parentheses and
that indicates that it's going to place
| | 01:19 | this image into a frame.
| | 01:21 | That's not what I want to do, so I
don't want to click right now instead I
| | 01:24 | want to click and drag.
| | 01:26 | And when I click and drag it creates
a frame and places the image into it.
| | 01:32 | Now I can simply drag it into place. Perfect!
| | 01:36 | Now let's bring in that image one
more time to put it elsewhere on my page.
| | 01:40 | I'll go back to File menu, choose Place,
grab my image and just before I click
| | 01:47 | Open I want to check something, I want
to check to see if the Replace Selected
| | 01:51 | Item checkbox is turned on.
| | 01:53 | Replace Selected Item tells InDesign
whether or not you want this image to go
| | 01:58 | into any selected frame that you currently have.
| | 02:01 | If I move this Place dialog box out of the way
you can see I do actually have a frame selected.
| | 02:06 | So if that checkbox were on, my image
would go into this frame not where I'm
| | 02:11 | going to want to put it.
| | 02:12 | Of course in this case the checkbox
is turned off, so it doesn't matter.
| | 02:17 | I'll click Open and up comes that
place cursor again and I am going to put it
| | 02:21 | down here on this page.
| | 02:23 | The place cursor is indicating
that it's going to create a new frame;
| | 02:25 | there is no empty frame behind that right now.
| | 02:28 | So I am simply going to click and it
will make a frame of the right size and
| | 02:31 | put the image into it.
| | 02:33 | I'll drag that down into position.
| | 02:34 | Now I am going to place another
image, but this time I'm going to use
| | 02:38 | a different method.
| | 02:39 | I am going to drag it right
out of a folder on my Desktop.
| | 02:42 | I'll switch back to the finder, this
also works with Windows, Mac or Windows it
| | 02:46 | doesn't matter, grab the image that I
want to drag in and simply drag it on top
| | 02:51 | of the InDesign window.
| | 02:53 | When I let go it doesn't look
like that anything has happened.
| | 02:55 | But as soon as I switch back to
InDesign, you'll see that it automatically
| | 02:59 | loaded my place cursor.
| | 03:01 | Now I can simply click and drag.
| | 03:04 | As I'm dragging you'll notice that I
can't make this any size I want, it stays
| | 03:09 | height width proportional to the image itself.
| | 03:12 | Now I'll drag and finally
let go and in comes the image.
| | 03:16 | Now let's bring some more
images into my second spread.
| | 03:19 | I'll press Option+Page Down or Alt+Page
Down and you'll see that I have a number
| | 03:22 | of empty graphic frames ready to fill.
| | 03:25 | In this case I am going to bring
all three images in at the same time.
| | 03:29 | To do that, I go back to the Place
dialog box by pressing Command+D or
| | 03:33 | Ctrl+D and I am going to select all the
images that I want right now, all three of them.
| | 03:38 | To select those three at one time
I'll first click on the first one that I
| | 03:42 | want, and then I'll hold down the Command key
or Ctrl key on Windows and select the other one.
| | 03:47 | There's two, now let's scroll down
little bit and get the third I am looking for.
| | 03:51 | Command+Click or Ctrl+Click one more
time and I've selected three images at the
| | 03:56 | same time inside the list
in the Place dialog box.
| | 04:00 | Now I'll click Open and all three
of them are added to my place cursor.
| | 04:04 | I can tell that there are three here,
because there is a little blue 3 inside
| | 04:08 | parenthesis next to the cursor.
| | 04:10 | In fact, I can actually move through
those one at a time by pressing the arrow
| | 04:14 | keys, the left or right
arrow keys on my keyboard.
| | 04:17 | If I press the right arrow you'll see
it switches to the next image, press it
| | 04:20 | again and it goes the third image.
| | 04:22 | I can move through here until I
find just the image I want right now.
| | 04:27 | Then when I'm ready, I'll move my
cursor on top of the frame that I want to
| | 04:30 | place it in and click.
| | 04:33 | The cursor changes, because now I only
have two images on the place cursor and
| | 04:37 | I'll click again and then click again.
| | 04:39 | I'd like to bring some images down into this
blank space and this third pane of this brochure.
| | 04:44 | I am going to grab four images this
time and I am going to put them all in a
| | 04:48 | grid, here is how it works.
| | 04:50 | I'll press Command+D or Ctrl+D, I'll
grab four images, I actually have no idea
| | 04:56 | what these images are, I am just
picking by random with the Ctrl or Command
| | 04:59 | key held down and I'll click Open and it
grabs all four of those onto the place cursor.
| | 05:05 | Now, I'm going to start
dragging with this place cursor.
| | 05:09 | I drag out the height I want;
| | 05:10 | I am not paying any attention to the width,
just how tall this grid is going to be.
| | 05:15 | While the mouse button is still down,
I am going to press the up arrow key.
| | 05:19 | I press once and it breaks
it into a grid of two frames.
| | 05:23 | Press two more times and I
get four frames in a stack.
| | 05:27 | I only press the up arrow
to add frames vertically.
| | 05:31 | This is a single column.
| | 05:33 | If I press the right arrow it would
break it into a grid of two columns.
| | 05:38 | But I am going to press the left arrow
to go back to a single column, because
| | 05:40 | that's what I am trying to do.
| | 05:42 | When I let go, it makes four
frames and loads in the images.
| | 05:47 | I'll talk about how to scale those
images properly later on in this chapter.
| | 05:51 | I want to show you one more
technique for importing images.
| | 05:54 | I'm going to click out on the pasteboard
so that nothing is selected, go back to
| | 05:58 | the Place dialog box and choose an
Illustrator file at the bottom of my list.
| | 06:03 | This Illustrator file is
called roux_artboards.ai.
| | 06:07 | I happen to know that this Illustrator
file has multiple artboards built into
| | 06:10 | it, but this technique would also work
with a PDF file that has multiple pages.
| | 06:15 | When you have a file that has multiple
pages or multiple artboards, you need to
| | 06:20 | tell InDesign which page or
artboard you actually want to import.
| | 06:24 | To do that you can turn on the
Show Import Options checkbox.
| | 06:28 | Show Import Options tells InDesign that
when you click Open it should bring up
| | 06:33 | the Place PDF dialog box or the
Import Options dialog box as I call it.
| | 06:38 | Here we can see that there are three
total pages or artboards in this document
| | 06:42 | and we can move through them one at a time
to see which one we actually want to bring in.
| | 06:46 | I am going to go ahead and bring that
first one in, but notice that I could
| | 06:50 | actually bring all of them in if I
want or maybe just a range of them.
| | 06:54 | If you bring in more than one page,
each one is loaded up onto the place cursor
| | 06:59 | as a separate image.
| | 07:01 | You can also tell
InDesign how to Crop this image.
| | 07:04 | Right now it's set to Art, which means
just bring in the size of the artwork.
| | 07:08 | Don't bring in any of the white space around it.
| | 07:11 | But if I change this to Media
something different happens and you get an
| | 07:15 | indication of that here.
| | 07:16 | It brings in the entire page all the
way out to the edge, or in this case all
| | 07:20 | the way out to the edge of the artboard.
| | 07:23 | In some cases you may find you need that, but
for me right now I just need the Art itself.
| | 07:28 | I'll click OK, image is loaded up on
the place cursor and I can click and drag.
| | 07:33 | Note that I'm not talking about
how to copy and paste images from one
| | 07:37 | application to another.
| | 07:39 | While you technically can copy and
paste some vector artwork between InDesign
| | 07:43 | and Illustrator, I strongly urge you
not to copy images from Photoshop or any
| | 07:48 | other program other than Illustrator.
| | 07:49 | There is a number of technical
reasons for this, but suffice it to say that
| | 07:53 | it's rarely a good idea.
| | 07:55 | However, you choose to import your
images, InDesign tries to be as flexible as
| | 07:59 | possible, and this is especially true when
it comes to what file formats you can use.
| | 08:03 | InDesign supports all the regulars,
TIFF, JPEG, PDF and so on, but it
| | 08:08 | also supports native PSD files and
most native AI files, that's Photoshop
| | 08:13 | and Illustrator files.
| | 08:15 | Later in this chapter I'll talk
about some of the advantages of using
| | 08:18 | these native files.
| | Collapse this transcript |
| Using the Links panel| 00:00 | When you import a picture into
InDesign using Place or by dragging in a file
| | 00:04 | from disk, InDesign doesn't actually
embed the image into your document.
| | 00:09 | Instead you get a thumbnail preview of
the image and a link to the file on disk.
| | 00:14 | This happens with any image file, whether
you import a PDF, a JPEG, a TIFF or whatever.
| | 00:19 | And that's why when I open this
document from the Exercise folder called
| | 00:23 | draft2, I get an alert, and the alert says
that there are two missing and one modified links.
| | 00:30 | InDesign went looking for all the images
in my document and it found two of them
| | 00:34 | were missing, just couldn't find
them and one of them had been modified;
| | 00:38 | it was changed since the
last time I'd imported it.
| | 00:40 | So it asked me what I want to do.
| | 00:42 | If I click Update Links, it will update
all the modified ones, doesn't know what
| | 00:46 | to do about the missing ones.
| | 00:47 | But in this case, I am going to click
Don't Update Links, because I want to show
| | 00:51 | you how to do it manually.
| | 00:52 | Whenever there have been missing or
modified links, up comes the Links panel.
| | 00:56 | You can also open that
manually from out here in the dock.
| | 00:58 | And the Links panel is like the control
central for all of your linked graphics.
| | 01:03 | All the linked images that you have in
your document will show up here in the
| | 01:06 | Links panel and it gives you
information about those links as well.
| | 01:10 | The most obvious thing we see here
is that there are two alert icons.
| | 01:14 | The yellow one with an exclamation
point says, this one has been modified and
| | 01:19 | the red one with a question
mark says this one is missing.
| | 01:22 | If there is no alert icon at
all, it means that it's okay;
| | 01:26 | it knows where to find that and it's up-to-date.
| | 01:29 | The Links panel can tell you other
information about your linked images as well.
| | 01:32 | For example, when I click on this JPEG
image, it shows me down at the bottom of
| | 01:36 | the Links panel, in the Link Info
area all kinds of information about it.
| | 01:41 | It shows me that it's a JPEG, it's
an RGB file and even what the current
| | 01:44 | resolution of this images.
| | 01:46 | It's a good idea to scroll through and
look at all the Link Info to get a sense
| | 01:50 | for what the images are inside your document.
| | 01:53 | If you don't see the Link Info area,
you may need to click this little twirly
| | 01:57 | triangle at the bottom.
| | 01:58 | Here I've closed it and now it's open again.
| | 02:01 | And you can see that when I opened it, it
resized the area to show me more link info.
| | 02:06 | I don't really want that, so I can drag
this little double line in between the
| | 02:10 | two areas down to show me more of
the Links panel and less Link Info.
| | 02:16 | There is a couple of more things I want
to show you about the Links panel before
| | 02:19 | we fix those image problems.
| | 02:22 | First of all, we'll see that all of our
images are in chronological order that
| | 02:26 | his Page order right now.
| | 02:28 | And I can tell that because at the
very top of Links panel, in the column up
| | 02:32 | here, this is the Page column.
| | 02:34 | The Page column has a little black
triangle next to it so that indicates that
| | 02:38 | it's currently sorted by
page from first to last.
| | 02:41 | If I click on it again that triangle
turns upside down and now it's from the
| | 02:45 | last page to the first.
| | 02:47 | I can also sort this by Status by
clicking on the Status column at the top.
| | 02:51 | Now all of the missing and
modified links are all put together;
| | 02:55 | I'll click again to put them all at the top.
| | 02:58 | If you have a lot of missing and
modified images that you're dealing with,
| | 03:01 | that's often a good way to clump them
together as you can see them faster or you
| | 03:04 | can click on the Name column and
now they're in alphabetical order.
| | 03:08 | I am going to go ahead and click on Page
order again, because I find that useful.
| | 03:12 | Now let's go ahead and fix these problems.
| | 03:14 | I'll start with the modified one;
| | 03:16 | the one that's been changed and it's
this pencil image, and I may not know where
| | 03:20 | in my document this image actually is right now.
| | 03:23 | So I can click on this little 4, the
underlined blue number at the right, that's
| | 03:27 | the page number that it's on and when I
click on that, it takes me directly to
| | 03:31 | the image and it selects
the image inside the frame.
| | 03:34 | Let's zoom into 200% with a Command+2
or Ctrl+2 on Windows and we can see there
| | 03:40 | is my pencil image that's been modified.
| | 03:43 | You'll notice that in the upper-right
corner of this image, I see the
| | 03:46 | same modified icon.
| | 03:48 | That's new in CS6 and it's a really
helpful thing to have the icon right there
| | 03:52 | on the image itself.
| | 03:54 | Now once again, this modified icon
means that somebody has changed this image
| | 03:59 | since the last time that I
imported it into this document.
| | 04:02 | So if I want to see the new version,
I have several different choices.
| | 04:06 | I could go to Links panel flyout menu
and choose Update Link, or I could click
| | 04:11 | the Update Link button at the
bottom of the Links panel, or you could
| | 04:15 | double-click on the modified icon in
the Links panel, but I'm going to do with
| | 04:20 | the fastest, coolest way, which is
simply to click once on top of this little
| | 04:24 | alert on the image itself.
| | 04:26 | As soon as I click on that, it updates it;
| | 04:29 | somebody made the pencil blue.
| | 04:31 | Now let's go take care of the missing images.
| | 04:35 | Here in the Links panel, I can see
that this image is missing, but there's no
| | 04:38 | page number next to it.
| | 04:40 | That's because there's a little
triangle to the left of it and the triangle if
| | 04:45 | I click on it indicates that this image
has been used more than once in my document.
| | 04:50 | When I open it, I can see that
it was used both on page 2 and 3.
| | 04:54 | It's my job to tell InDesign where
this image lives now, so we can re-import
| | 04:58 | and have a good link.
| | 05:00 | Let's go ahead and look for it first;
| | 05:01 | I'll click on that 2 and it takes me
right to it, zoom into Command+2 or Ctrl+2
| | 05:06 | on Windows to go to 200% and I can see
that there is another missing icon right
| | 05:11 | attached to the image, so I can
see it very clearly there on my page.
| | 05:15 | So we could update that over in the
Links panel, but I'm just going to click
| | 05:18 | once on that little icon and it
asks me where should I find this image?
| | 05:23 | I'll go look for it;
| | 05:24 | It's in the Exercises folder and I am going to
scroll down here until I find my Links folder.
| | 05:29 | There it is, I'll double-click on that
and go looking at the bottom of this list.
| | 05:35 | Up in the Title area of this dialog box,
I can see the name of the image that
| | 05:39 | it's looking for, the roux
academy logo_draft.ai file.
| | 05:43 | That was the draft version of this
logo, I threw that away a long time ago;
| | 05:47 | I am never going to find it.
| | 05:49 | But I can replace it with the new
version, that's the roux academy logo
| | 05:53 | file, the final version.
| | 05:55 | I'll click Open and it throws away the old
version and it puts the new version in now.
| | 06:01 | Now in this case notice that I only did it for
that one image, the other one is still missing.
| | 06:05 | Let me undo that with the Command+Z
your Ctrl+Z on Windows and show you how you
| | 06:10 | can update all of them at the same time.
| | 06:12 | Instead of clicking on the icon here on
the page, I am going to come over and do
| | 06:16 | it in the Links panel.
| | 06:17 | I'll select not any of the individual
images that have been placed, but the
| | 06:21 | title, the one at the top that
surrounds all of them and I'm going to
| | 06:25 | double-click on that icon.
| | 06:27 | Once again, it gives me the opportunity
to find the image and I'm going to link
| | 06:31 | it to my new version.
| | 06:33 | Now all of those images have been updated.
| | 06:36 | I want to show you one more Links
trick because I find this really useful.
| | 06:39 | Sometimes I need to find an image on disk.
| | 06:42 | I know where it is in my document but
I don't know where that image is on my
| | 06:46 | hard drive or on the server.
| | 06:48 | Well, I could select the image, for
example, this Photoshop file, and then I'll
| | 06:52 | go to Links panel flyout menu and choose
Reveal in Finder or on Windows it would
| | 06:57 | be Reveal in Windows Explorer.
| | 06:59 | And when I choose that, it takes me right
to the folder and selects the image for me.
| | 07:04 | It's important that your images all
be up-to-date in the Links panel, not
| | 07:07 | missing or modified before you print or
export your documents or else in design
| | 07:12 | will only be able to use the low
resolution preview and your output may not
| | 07:16 | look right.
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| Editing graphics in their original app| 00:00 | What happens after you put an image on
your page and then realize you need to
| | 00:04 | edit the image some how.
| | 00:06 | For example, I'll zoom in on this
image down here in this exercise file and I
| | 00:10 | can see that this text is white.
| | 00:12 | I would like it to be blue.
| | 00:14 | Well, I could switch to Illustrator
and then open it there assuming I know
| | 00:18 | where it's saved on disk.
| | 00:20 | But since I'm looking at it here in
InDesign it's far easier to use a feature
| | 00:24 | right InDesign called Edit Original.
| | 00:27 | I can find Edit Original by first
selecting the image and then going to the Edit
| | 00:30 | menu and then choosing Edit Original.
| | 00:33 | But honestly there are faster ways to get there.
| | 00:36 | I could go to Links panel,
right there, there is a Pencil icon.
| | 00:40 | That is also the Edit Original button.
| | 00:42 | The fastest way to get Edit Original
is just an Option double-clicking or Alt
| | 00:46 | double-clicking on the image.
| | 00:47 | That's how you need to do.
| | 00:49 | Option+double-click or Alt+double-click
on this image and it suddenly launches
| | 00:52 | Illustrator and opens that image.
| | 00:55 | I'll zoom in here, so I can see
the artwork little bit better.
| | 00:59 | I can't see that text right now,
because that's white on white.
| | 01:02 | But I know there it's there.
| | 01:04 | This image is a group so I am going
to double-click on it to go in the
| | 01:06 | Isolation mode, and then I can select the
Text on the path that's sitting outside the logo.
| | 01:12 | Here I could change the color to blue.
| | 01:15 | At this point all I need to do is Save
the Document and Close it and when I go
| | 01:20 | back InDesign you'll see that
it updates immediately for me.
| | 01:24 | I don't have to go to Links
panel and choose Modified. Why?
| | 01:28 | Because when you choose Edit Original
InDesign knows you're going to be editing
| | 01:32 | it, it's watching the image just sitting
there waiting for you to make a change.
| | 01:36 | As soon as you save it and come back
to InDesign it updates automatically.
| | 01:41 | Not only that, but if I zoom
back to the spread in window with a
| | 01:44 | Command+Option+0 or Ctrl+Alt+0 you can
see that it updated that image everywhere
| | 01:49 | in this document, including words used up here.
| | 01:51 | Now, by the way, InDesign actually has
no idea what the original application
| | 01:56 | is for these images.
| | 01:57 | It realize entirely on the Mac or
Windows Operating System for this information.
| | 02:02 | Basically Edit Original is the same
thing as double-clicking on the image in a
| | 02:06 | folder and sometimes it opens in
the wrong program. For example:
| | 02:09 | I'll press Opt+Page Down or Alt+Page Down
to go to the next spread.
| | 02:13 | And now I'm way to try in open this image.
| | 02:15 | I'll Option+Double-click or Alt+Double-click
on it and you'll see that it
| | 02:19 | opens up here in Preview on the Mac
in instead, that's not what I wanted, I
| | 02:23 | wanted it in a Photoshop.
| | 02:25 | On Windows it sometimes opens in the
Picture and Fax Viewer or something like that.
| | 02:29 | Fortunately you can force InDesign
to open it in a particular program.
| | 02:33 | I'll close this comeback to InDesign
and instead of Option+Double-clicking or
| | 02:38 | Alt+Double-clicking I'll go back to
the Edit menu and I'll choose Edit With.
| | 02:42 | Edit With let's me choose exactly which
program I want to open this image with.
| | 02:46 | Now it's easy for me to make a change
or I'll just use Brightness/Contrast to
| | 02:50 | change this a little bit Save it,
Close it and come back to InDesign.
| | 02:56 | And you'll see that as soon as I come
back it updates with a brighter version.
| | 03:00 | Getting efficient with InDesign in a
Creative Suite means making the programs
| | 03:03 | all work together as smoothly as possible.
| | 03:06 | The Edit Original and Edit With
features are a big part of that operation.
| | Collapse this transcript |
| Fitting graphics to the frame| 00:00 | When you import an image it often doesn't
appear at the correct size on your page.
| | 00:06 | For example, I'll go ahead and create a
new graphic frame here, and then I will
| | 00:09 | place an image into it.
| | 00:10 | I will go to the Place dialog box and
I am going to choose an image down here
| | 00:14 | like the spirals Illustrator file.
| | 00:17 | I can tell immediately that
that's not what I was hoping for;
| | 00:20 | I wanted it to fit inside this frame.
| | 00:22 | In fact, if I switch to the Selection
tool and double-click on this frame it
| | 00:26 | switches to the image itself, it
selects the image inside the frame and I can
| | 00:30 | see the edge of this image is huge,
it's much bigger than the frame.
| | 00:34 | We are going to explore Scaling in the
chapter on Transforming Objects later.
| | 00:38 | But let me quickly show you one feature
which really comes in handy when you're
| | 00:42 | trying to fit images.
| | 00:44 | In fact, the name of the
feature itself is Fitting;
| | 00:46 | you can find it under the Object
menu, under the Fitting submenu.
| | 00:50 | There are five different features here in fact.
| | 00:53 | Fill Frame Proportionally means make
sure that the image fills the frame even if
| | 00:58 | some of the image is cropped out a little bit;
| | 01:00 | make sure it fills the frame.
| | 01:03 | Fit Content Proportionally means scale
the image up or down until it fits inside
| | 01:08 | the frame, but make sure
none of it gets cropped out.
| | 01:12 | Fit Frame to Content is kind of the opposite;
| | 01:14 | it changes the size of the frame so
that matches the current size of the image.
| | 01:18 | In this case that frame would get much bigger.
| | 01:21 | And Fit Content to Frame will scale the
image inside the frame to fit even if it
| | 01:25 | means scaling it
disproportionately, I almost never use that.
| | 01:30 | Center Content is obvious;
| | 01:31 | it just centers the image inside the frame.
| | 01:34 | In this case I am going to be using Fit
Content Proportionally, but I am going
| | 01:38 | to choose it out of the menu, instead
I'm going to choose one of these buttons
| | 01:41 | in the Control panel, just
because that's faster and easier.
| | 01:45 | If you can't tell which of these
buttons does what, all you need to do is hover
| | 01:49 | the cursor over them for a
moment until you see the tooltip.
| | 01:52 | The first one is Fill frame and
the second one is the one we want Fit
| | 01:55 | content proportionally.
| | 01:57 | Once again that scales the image to fit inside
the frame so that none of it gets cropped out.
| | 02:03 | Even if it means there are some
blank areas to the left and right of it.
| | 02:06 | That's okay for this image.
| | 02:07 | Let's zoom in to 400% here with a
Command+4 for Ctrl+4 on Windows, and you can
| | 02:12 | see that indeed of the
image is smaller than the frame.
| | 02:16 | If you want to make the frame the
same size as the image, remember there's
| | 02:19 | another option for that.
| | 02:20 | I'll go back to Control panel and I
will hover over these buttons until I
| | 02:24 | find Fit frame to content, click on
that and now the image and the frame
| | 02:30 | around it are the same size.
| | 02:33 | By the way, if you are working
quickly sometimes you'll find yourself
| | 02:36 | moving images inside the frames accidentally,
so that they're sitting outside the frame.
| | 02:42 | That's where Center image
in the frame comes in handy.
| | 02:45 | I will click on that last button and
the image snaps back so it's centered
| | 02:48 | inside the frame which is
exactly where I wanted it.
| | 02:50 | Let me show you another example of
fitting, I will zoom back to fit the spread
| | 02:55 | in window and I'm going to
import a new image inside of a frame.
| | 02:59 | Here's a frame, I will go to the File
> Place dialog box and choose an image.
| | 03:03 | I am going to choose this photographer image.
| | 03:07 | In comes the image, but once
again it's not the right size.
| | 03:12 | Now in this case I know that I want to
scale the image down to fill the frame
| | 03:16 | even if it means some of the
image is going to get cropped out.
| | 03:20 | I'll switch back to the Selection tool
and I will come over to the buttons and
| | 03:23 | click on the first one,
that's Fill frame proportionally.
| | 03:27 | It fills it even though some of it
is taking out the top and the bottom.
| | 03:30 | I will double-click on this to select
the image and you can see that some of it
| | 03:34 | is above and below that
frame. It's cropped out.
| | 03:38 | Now that looks good, but what happens if
I'd put a different image into this frame.
| | 03:41 | Well, I'd have to go back and click the
button again or what happens if I come
| | 03:45 | over here and resize this frame.
| | 03:47 | I'd have to click the button again,
it's very frustrating having to keep going
| | 03:51 | back and clicking those buttons.
| | 03:52 | Let me undo that with a
Command+Z or Ctrl+Z on windows.
| | 03:57 | Instead, InDesign has a feature called Auto-Fit;
| | 03:59 | it's this little checkbox right here.
| | 04:02 | And you can see that now
every time I change this frame, it
| | 04:06 | automatically updates.
| | 04:08 | If I make it tall instead of why it updates,
if I make it wider instead of tall it updates.
| | 04:13 | It always automatically applies
whatever the last Fitting option I used was.
| | 04:18 | In this case I use Fill frame
proportionally, so it's going to apply Fill frame
| | 04:22 | proportionally every time I change it.
| | 04:24 | Even if I replace this with a
different image by going to File > Place, pick
| | 04:29 | another image just by random here and
I will make sure Replace Selected Item
| | 04:32 | is turned on and when I click Open it
imports it and fills that frame automatically.
| | 04:38 | That image would've come in much
larger, but it scaled it down to fill the
| | 04:42 | frame proportionally.
| | 04:44 | You certainly don't have to make your
images fill your frames or your frames fit
| | 04:48 | your images but it's often helpful,
especially when trying to lay out a document
| | 04:52 | or template quickly.
| | 04:54 | Now let's get back to images themselves
and specifically using images that have
| | 04:58 | transparent areas or clipping paths.
| | Collapse this transcript |
| Taking advantage of image transparency and clipping paths| 00:00 | What if you need an area of
an image to be transparent?
| | 00:04 | For example, I'm going to bring in my
photographer image here, by placing it, go
| | 00:08 | down to the bottom of my Links folder,
grab my photographer.psd file and then
| | 00:12 | place it inside this frame.
| | 00:14 | But I don't want this background image.
| | 00:16 | I just want the photographer itself.
| | 00:18 | I want this background to be transparent.
| | 00:20 | In the past this effect was
typically created using a clipping path.
| | 00:24 | But InDesign can also see and manage
native transparency in images too, which
| | 00:28 | often leads to much better results.
| | 00:30 | First, let's see how to do it
the old way with Clipping Paths.
| | 00:34 | I'm going to Option+Double-click or
Alt+Double-click on this image to invoke
| | 00:37 | the edit original and open this in
Photoshop, and if I go to the Paths panel
| | 00:41 | and click on MyOutline, I can see that there
is in fact an the outline drawn around here.
| | 00:47 | This is actually a Bezier line which
has been drawn around the outline that
| | 00:52 | I'm trying to clip out.
| | 00:53 | InDesign can see that path inside the image.
| | 00:56 | So I'll switch back to InDesign,
choose the Object menu, and go down for
| | 01:01 | Clipping Path submenu.
| | 01:03 | I'll choose Options and then choose
from the Type pop up menu Photoshop Path.
| | 01:08 | This is where I can tell InDesign which
path I should use within the Photoshop file.
| | 01:13 | You can actually have multiple paths
and then choose which one you want to
| | 01:16 | use as a clipping path.
| | 01:17 | But in this case there's just one,
and when I click OK you can see that the
| | 01:21 | background is completely knocked out.
| | 01:23 | You also see the clipping path
itself that Bezier line because we've been
| | 01:27 | switched to the Direct
Select tool in the tool panel.
| | 01:30 | I'm going to switch back to the Selection tool
and then zoom, way in here so we can see this.
| | 01:36 | Clipping Paths can be
great if you already have one.
| | 01:38 | But I have to tell you I
hate making Clipping Paths.
| | 01:41 | It's such a hassle to draw around them
and worse they're always very sharp lines.
| | 01:46 | For example, down here if I zoom way in,
and you can see that it's a very sharp line.
| | 01:51 | It doesn't blend in naturally from the
face or the jacket into the background.
| | 01:56 | So Clipping Paths tend to
look somewhat artificial.
| | 01:59 | Because of that, I'm going
to use a different technique.
| | 02:01 | I'm going to use actual native transparency.
| | 02:04 | Let's zoom back to 200% with Command+2
or Ctrl+2 on Windows, and I'm going to
| | 02:09 | Option+Double-click one more
time, to open this in Photoshop.
| | 02:12 | In this case, I'm going to not use my path.
| | 02:15 | I'm going to use the channel instead.
| | 02:18 | I have a channel pre-built in this
image called Alpha 1 and I'm going to load
| | 02:22 | that my Command+Clicking or Ctrl+Clicking on it.
| | 02:25 | That simply loads that channel up.
| | 02:27 | Now I'll go to Layers panel, and I'll
turn that selection into a mask, a nice
| | 02:33 | soft edge mask, and I'll do that by
going to layer menu, choosing layer Mask and
| | 02:38 | then choosing Reveal Selection.
| | 02:40 | Now, if you've done any work in Photoshop,
you're familiar with that checkerboard.
| | 02:44 | The checkerboard means it's transparent.
| | 02:46 | There's nothing there.
| | 02:48 | You can see right through it to
whatever's behind, and that's what I want.
| | 02:52 | I want it to be transparent.
| | 02:54 | So I'm going to save this document and
then go back to InDesign and see what I get.
| | 02:58 | I'll save it, close it, come back to InDesign,
and then I need to turn off my Clipping Path.
| | 03:04 | So I'll select this, go back to Object
> Clipping Paths and turn off the Path,
| | 03:10 | otherwise you would have
transparency plus a clipping path.
| | 03:13 | That's not what I want.
| | 03:14 | Now it looks pretty similar at this
level, but when I zoom in again and you'll
| | 03:19 | see something change.
| | 03:20 | I now have a very soft blend between the
face and the jacket into the background.
| | 03:25 | It's truly antialiased using real transparency.
| | 03:29 | It's a much more natural look, that's
why I like using native transparency, much
| | 03:33 | more than Clipping Paths.
| | 03:35 | One thing I should point out however.
| | 03:36 | In general, it's a good idea to put text
above transparency effects, rather than below it.
| | 03:41 | For example, I'll go back to 200% with
Command+2 or Ctrl+2 on Windows, and I'll
| | 03:46 | select with the Selection tool this
text frame and I'm going to move it above,
| | 03:51 | using Object > Arrange >
Bring to Front. There we go.
| | 03:55 | The reason I want to have the text on
top of the transparency, besides the fact
| | 03:59 | that want it to be able to read it
is that sometimes the text around
| | 04:02 | transparency can kind of get thicker, more bold.
| | 04:06 | So to be safe, we want to put the
text on top of the transparent images.
| | 04:10 | That way, it won't get bold, kind of
around the edges of this guy's shoulder.
| | 04:15 | The good news is that InDesign can
read native transparency in Photoshop PSD
| | 04:19 | files, also PDF files and
even Adobe Illustrator files.
| | 04:24 | Transparency has become a huge
part of why people use InDesign.
| | 04:27 | It just makes it so easy to lay
out a beautiful looking page quickly.
| | Collapse this transcript |
|
|
7. Formatting ObjectsSelecting objects| 00:00 | You've seen me selecting objects on
pages throughout all the earlier movies.
| | 00:04 | But let's take a moment to really
look at the details of selecting objects
| | 00:08 | because there are some subtle and
sometimes confusing aspects to the
| | 00:11 | seemingly simple task.
| | 00:13 | The basic tools to select object on our
page as you know are the Selection tool
| | 00:17 | the black arrow and the white
arrow Direct Selection tool.
| | 00:21 | We can do almost everything we need
with the Black arrow Selection tool,
| | 00:25 | so let's start there.
| | 00:27 | You know that you can select objects
and you know you can select more than one
| | 00:30 | object at a time by Shift+Clicking.
| | 00:32 | You can also select objects
by dragging over an area quick;
| | 00:35 | I will click out here on the
pasteboard to deselect all of that.
| | 00:39 | I'll just drag over this area here
and you'll see that anything that this
| | 00:42 | marquee touches is selected.
| | 00:44 | In some cases objects get a solid
selection line with corner handles.
| | 00:49 | In other cases you'll see dash lines,
the dash lines means that these are groups
| | 00:55 | and I'll be covering groups in a later chapter.
| | 00:57 | I can select everything on my spread no
matter how many pages are on that spread
| | 01:02 | everything by pressing
Command+A or Ctrl+A on Windows.
| | 01:06 | That selects all the objects on the
spread, you'll notice that some of these
| | 01:10 | objects are colored red
and some are colored blue.
| | 01:12 | Those colors reflect what layer they're
on and layers too is a subject I'll be
| | 01:17 | covering in a later chapter.
| | 01:19 | If you want to deselect everything
on your page press Command+Shift+A or
| | 01:23 | Ctrl+Shift+A that's one that you should
definitely get into your hands just do
| | 01:28 | that a few times and get used to it
that's a really handy one, the ability to
| | 01:32 | deselect everything on your
spread with one keyboard shortcut.
| | 01:36 | Now here's something that confuses a
lot of InDesign users, if I click on this
| | 01:39 | graphic it's selected right.
| | 01:41 | But what if I was really trying to select
what's behind that logo a different image.
| | 01:46 | Well, you can select through one object
to an object behind it by holding down
| | 01:50 | the Command key on the Mac or Ctrl
key on Windows and then clicking.
| | 01:55 | I Command or Ctrl clicked once and it's
selected through that object to the next object down.
| | 01:59 | I will hold down Command or Ctrl and
click again and I will select behind that
| | 02:04 | to this image in the very back.
| | 02:07 | Command+Click or Ctrl+Click again and
it goes all way back to the top because
| | 02:10 | there is more objects behind that one.
| | 02:12 | I have mentioned in earlier movies the
ability to double-click to go inside an object.
| | 02:18 | For example, if I click once on
this graphic it selects the frame.
| | 02:22 | If I double-click on it
expects the image inside the frame.
| | 02:26 | Double-click again and it
goes back to selecting the frame.
| | 02:29 | Same thing with text, if I double-click
on this text frame it goes inside the
| | 02:33 | frame by switching to the Type tool
and going inside and placing the cursor
| | 02:38 | right where I double-clicked.
| | 02:40 | In this case I can't double-click
again because it will just select a word.
| | 02:43 | So to get out to select the
frame is again I hit the Escape key.
| | 02:48 | Double-clicking also works for groups.
| | 02:51 | If I click over here in this black area
I see that I have selected a group, I'm
| | 02:55 | not sure how many objects there are
in that group, but I know that I can go
| | 02:58 | inside it by double-clicking.
| | 03:00 | Double-click once and I
select the object inside the group.
| | 03:03 | Double-click again and I go
back and select the entire group.
| | 03:07 | Sometimes you can change objects on
your page even without selecting them.
| | 03:11 | For example, with the Selection tool I will
roll over this image and then start dragging.
| | 03:16 | Note that that change the image, it
actually move the image inside the frame
| | 03:20 | even without selecting the image or its frame.
| | 03:24 | That's because I accidentally clicked
and dragged on top of the content grabber.
| | 03:29 | The content grabber is that bagel
looking or lifesaver looking thing in the
| | 03:33 | middle of graphic frames.
| | 03:35 | If you click and drag over that
content grabber, it will move the image even
| | 03:39 | without selecting it.
| | 03:41 | It's a cool feature, but I have to
tell you it drives me crazy because I'm
| | 03:44 | accidentally moving images when I don't mean to.
| | 03:47 | So I am going to undo this with the
Commands+Z or Ctrl+Z on Windows and I am
| | 03:51 | going to go turn that content grabber off.
| | 03:53 | I will go to the View menu, choose
Extras and then choose Hide Content Grabber.
| | 03:59 | Now when I move my Selection tool over
a graphic I don't see that little bagel
| | 04:03 | and I can't accidentally move it.
| | 04:05 | I could still move the image because as
I just mention double-click chooses the
| | 04:09 | image and now I can move
it around inside the frame.
| | 04:13 | Double-click again and I
go back to choose the frame.
| | 04:16 | Now the other Selection tool that you
need to know about is the Direct Selection
| | 04:19 | tool, the white arrow tool.
| | 04:21 | The White arrow Direct Selection tool lets
you select inside objects in a different way.
| | 04:26 | In this case I can choose
a single point on a path.
| | 04:29 | You see what happens when I hover over this
frame all of the points on the path highlight.
| | 04:34 | Now I can click and drag and I'm
moving just that single point on that frame.
| | 04:38 | I can also move segments that
is the lines between points.
| | 04:43 | If I move my cursor on top of a segment
this line between the points, the cursor
| | 04:47 | actually changes to indicate that if I
click and drag it will move that segment.
| | 04:52 | Well, now that you've got the hang of
selecting objects in your documents,
| | 04:57 | let's explore how to format those
objects, starting with how to assign a Fill
| | 05:01 | or a stroke color.
| | Collapse this transcript |
| Applying basic strokes and fills| 00:00 | Need to set the color of an object?
| | 00:02 | Well, do you want a color it's
background fill or stroke what some people
| | 00:06 | would call the border.
| | 00:07 | InDesign just like Illustrator lets
you apply a fill or a stroke color to any
| | 00:12 | object on your page even text.
| | 00:14 | I am going to zoom in on this logo
down here and I am going to put a border
| | 00:18 | around it, right on the
edge of the graphic frame.
| | 00:20 | So I will select it and go up to the
Control panel and right in the middle
| | 00:25 | you'll see two little pop-up menus.
| | 00:28 | The top one is its fill
and the bottom is the stroke.
| | 00:32 | To apply a fill click on the pop-up
menu and up comes the Swatches panel.
| | 00:37 | I'll fill this with paper, for example.
| | 00:40 | Paper is what InDesign calls White.
| | 00:42 | Now I will hit the Escape key to close
that or just click some place else on the
| | 00:46 | page, and then I'll change the stroke.
| | 00:48 | I am going to give this a big Black stroke.
| | 00:51 | First, I will apply the black color,
next I'll choose a stroke width from the
| | 00:55 | pop-up menu, I will make this nice
and thick like 6pt, and then I can even
| | 00:59 | choose a stroke style from
the Style pop-up menu below it.
| | 01:02 | I will make this Thick - Thick.
| | 01:05 | The Control panel is the fastest way
to make these changes, but you can also
| | 01:08 | make them in the Swatches panel.
| | 01:10 | That's over here in the dock.
| | 01:12 | I will choose Swatches to open it and
we can see that it looks almost exactly
| | 01:15 | the same as the one we saw in the Control panel.
| | 01:18 | The one big difference though is the
control over fill and stroke is this little
| | 01:23 | tiny icon in the upper left corner.
| | 01:25 | Just like Illustrator whichever icon
is on top is the one you're changing.
| | 01:30 | So right now the Stroke icon is on top,
so I'm changing the color of my Stroke.
| | 01:36 | If I wanted to change the feel I would have
to click on that icon to bring it to the front.
| | 01:41 | And I can change the Fill color.
| | 01:44 | I can also change the Tint of this color;
| | 01:47 | I will go up here and click on the word
Tint, that's just a little shortcut for
| | 01:50 | selecting all the text, that
whole number inside the field.
| | 01:53 | And now I can type 50, for example, and
hit Enter and it changes to a 50% green.
| | 01:57 | I am going to cover colors and how
to create new color swatches in great
| | 02:02 | detail in a later chapter.
| | 02:04 | By the way, if you squint, you'll see
another little tiny icon up here by the
| | 02:08 | Fill and Stroke icons.
| | 02:10 | That's a double headed arrow and you'll
see the same thing at the bottom of the
| | 02:14 | tool panel way down here.
| | 02:17 | That double headed arrow means
swap the fill and stroke colors.
| | 02:21 | If you click on that, it switches the colors.
| | 02:24 | So what was the fill color
becomes a stroke color and vice versa.
| | 02:28 | Now as I am looking at my beautiful
masterpiece here I noticed that something
| | 02:32 | strange, the red fill kind of sneaks
out in between these two green lines.
| | 02:38 | That area between this double-line is
called the gap, right now the gap is
| | 02:42 | set to None or transparent so I can
see through it to the edge that little
| | 02:46 | bit of red sticking out.
| | 02:47 | I don't like, so I am going to change it.
| | 02:49 | The way you adjust your
strokes is in the Stroke panel.
| | 02:52 | So I am going to open the Stroke
panel and I can see that Type is set to a
| | 02:55 | double-line here and the
Gap Color is set to None.
| | 02:59 | I can change this Gap Color to any of
my Color Swatches, in this case I am
| | 03:02 | going to choose Paper just to make it white
or let me set this back to None for a moment.
| | 03:07 | Let me show you another option.
| | 03:09 | Instead of changing the Gap Color I
could change the Alignment, where does this
| | 03:13 | stroke sit on the path itself.
| | 03:15 | Right now I can see that it's
set to the center of the path.
| | 03:19 | So one of those lines goes on the
outside and one goes on inside, but if I
| | 03:24 | change this to the third button in the Align
stroke area then they get align to the outside.
| | 03:30 | And that I think looks much better.
| | 03:32 | By the way, if you ever need to make arrow
heads the Stroke panel is also where you do that.
| | 03:36 | For example, I will grab the Line tool
over your tool panel and just draw a line.
| | 03:42 | I am holding down the
Shift key to keep horizontal.
| | 03:45 | Now I'll go back to the Swatches
panel and make this thicker may be 4 pt.
| | 03:50 | And I'll go to Control
panel to change its color.
| | 03:54 | Let's go for a blue color.
| | 03:56 | To add my arrowhead I go to the Start
and End pop-up menus in the Stroke panel.
| | 04:01 | At the end I will put a barbed arrow
head, there we go, that looks much better.
| | 04:06 | Now as I mentioned at the beginning of
this movie you can also apply fills and
| | 04:10 | strokes to text, let me show you how.
| | 04:13 | I'm going to zoom back to fit the
spread in the window, and then I am going to
| | 04:16 | jump to the next spread with an
Option+Page Down or Alt+Page Down.
| | 04:20 | This purple text here looks pretty
good, but I'd rather have it stroked
| | 04:24 | with purple not filled.
| | 04:26 | To do that I am going to select it with
the Type tool, I will just double-click
| | 04:30 | on it and I am going to zoom in to
400% Command+4 or Ctrl+4 on Windows.
| | 04:35 | Remember how earlier I said that
you could swap the fill and stroke.
| | 04:39 | Well, why don't we just do that,
that's an easy way to do this.
| | 04:42 | I will click on that little double
headed arrow and we can see that now that
| | 04:45 | text is stroked with that color not filled.
| | 04:48 | This is still fully editable text, for
example, I could change the color of just
| | 04:52 | one letter here or I could
select all that text and replace it.
| | 04:55 | There's so much more that you can do
with Fills and Strokes and I'll be covering
| | 05:00 | more of that later in this chapter.
| | 05:02 | But first I need to talk about
coloring a different kind of thing, images.
| | Collapse this transcript |
| Colorizing images| 00:00 | Sometimes you need to colorize an image,
that is, apply a color to an imported image.
| | 00:06 | You can do this in InDesign,
but there are conditions.
| | 00:09 | It has to be a pixel-based image,
that means no Illustrator vector files.
| | 00:13 | The image has to be saved in Grayscale
mode, it can't already be color and there
| | 00:18 | cannot be any transparency in the image.
| | 00:21 | So it has to be a flattened
grayscale image, like a TIFF or PSD file.
| | 00:26 | I'll show you how it works.
| | 00:28 | First, I'm going to import an image, I'll
draw a frame that I want to put the image into.
| | 00:32 | I'm just going to fill this whole panel
over here with one, and I'll go to the
| | 00:36 | File menu and choose Place.
| | 00:40 | The image I'm looking for is down here, it
has the word gray in it and it's a JPEG file.
| | 00:44 | I'll click Open, I want to fill that
whole frame, so I'm going to click on the
| | 00:48 | Fill Frame proportionally button in
the Control panel, and then I want to
| | 00:52 | colorize that image.
| | 00:54 | To apply a color you might be tempted
to choose it with the Selection tool, go
| | 00:58 | to the Swatches panel,
choose Fill and apply a color.
| | 01:02 | Unfortunately, that fills
the frame not the image.
| | 01:06 | Now I have a grayscale
image on top of a colored frame.
| | 01:11 | That's not what I was trying to do;
| | 01:13 | I was trying to colorize the image.
| | 01:14 | So to do that I need to select the image
inside the frame, not the frame itself,
| | 01:19 | I'm going to undo that with the
Command+Z or Ctrl+Z on Windows, and I'll
| | 01:23 | double-click on this image.
| | 01:26 | Now the image inside the frame is
selected, so when I go to the Swatches panel I
| | 01:30 | can fill it with a color.
| | 01:32 | Depending on what effect I'm trying
to get, I'll choose a different color.
| | 01:37 | Let's try this blue color down here;
| | 01:39 | of course, this image is overlapping my
other images, so I need to send it behind.
| | 01:44 | So I'll double-click on this to select
a frame, and then I'll go to the Object
| | 01:47 | menu and I'll choose Arrange > Send to Back.
| | 01:51 | That looks much better.
| | 01:52 | I can't tell you how many people have
emailed me saying they can't figure out
| | 01:56 | how to achieve this effect.
| | 01:57 | Well, now you know.
| | Collapse this transcript |
| Adjusting transparency| 00:00 | What's the number one coolest,
most amazing feature in InDesign?
| | 00:04 | Well, XML of course.
| | 00:06 | No, no, I'm just kidding, it's
Transparency and we've already looked at how
| | 00:10 | InDesign can import images with Transparency.
| | 00:13 | Now let's take a step farther and look
at how you can apply Transparency effects
| | 00:17 | to any object in InDesign.
| | 00:19 | I have my roux_flyer document open from
my Exercise folder and I'd like to apply
| | 00:24 | an interesting
Transparency effect to this word ART.
| | 00:27 | I'll zoom in to 200% by pressing
Command+2 or Ctrl+2 to on Windows and I'm
| | 00:32 | going to open that control central for all
Transparency effects that is the Effects panel.
| | 00:38 | If you don't see your Effects panel
in your dock, either switch to your
| | 00:41 | workspace to Advance or
grab it out of the Window menu.
| | 00:47 | You can apply a Transparency effect to
any object on your page whether it's a
| | 00:50 | graphic, text, line or whatever.
| | 00:53 | The first thing we're going to change here is
the Opacity, how transparent this object is.
| | 00:58 | Right now the opacity is set to 100%
so you cannot see through this at all.
| | 01:03 | But if I change this number to say 50%
and hit Enter, you'll see that now you
| | 01:07 | can actually see through it.
| | 01:09 | It looks dim but that's only because the
dark image behind it is showing through.
| | 01:13 | I can also use this little slider to
the right of the field to increase or
| | 01:17 | decrease the Opacity.
| | 01:18 | The second Transparency effect you can
apply here is its Blending mode, right
| | 01:22 | now the Blending mode in this pop-up
menu is set to Normal, but you can see that
| | 01:27 | we have lots of different options here.
| | 01:29 | Almost all the options from
Photoshop and Illustrator are repeated here.
| | 01:33 | So, for example, we can change this to
Multiply, which kind of burns the effect
| | 01:37 | in, or we could choose
Screen which is just the opposite.
| | 01:41 | Multiply always makes the effect
darker, Screen always makes it lighter.
| | 01:46 | Note that if you want to see your
Transparency effects as best as possible,
| | 01:50 | you should go to the View menu and choose
Display Performance > High Quality Display.
| | 01:55 | That way you use the high-resolution
images and high-quality
| | 01:58 | Transparency effects.
| | 02:00 | That doesn't affect how they're
going to print out but it does make them
| | 02:03 | look better on screen.
| | 02:04 | Okay, that's looking pretty good.
| | 02:06 | I'm going to scroll over and
look at this big white box.
| | 02:08 | I'll just zoom back a little bit here so I
can see it a little bit better, here we go.
| | 02:13 | This white frame with all this black
text in it looks pretty good, but I'd like
| | 02:17 | to see through the white.
| | 02:18 | Now I could select this, go to my Effects
panel and change the Opacity to say 70%.
| | 02:25 | But the problem with that is it makes
the entire object 70% opaque, that is I
| | 02:29 | can see through the background now
but I can also see through the text.
| | 02:33 | It made that black text kind of gray text.
| | 02:37 | So I don't want to do that.
| | 02:38 | Let me set the Opacity back to 100%.
| | 02:42 | Instead what I want to do is change the
Opacity of the background fill but not the text.
| | 02:47 | Fortunately the Effects panel lets me do that.
| | 02:50 | It all has to do with what
is selected in this list.
| | 02:53 | Right now Object is selected which means
that the Opacity and Blending modes are
| | 02:58 | going to be applied to the entire object.
| | 03:00 | In this case I'm going to choose Fill,
now any change I make in the Effects
| | 03:05 | panel will only affect the Fill of this
object, so I'll change this to again 70%.
| | 03:11 | This might not look that different
on screen right now, but believe me it
| | 03:14 | makes a big difference.
| | 03:15 | The background fill is transparent,
but the text is nice and solid.
| | 03:20 | By the way, you don't have to go to the
Effects panel to do all of these things;
| | 03:23 | some of these features live up
in the Control panel as well.
| | 03:26 | So even if the Effects panel is closed you can
still get to them up here in the Effects panel.
| | 03:30 | For example, I can change the
Transparency from 70% to 75% here and it makes it
| | 03:36 | a little bit less transparent.
| | 03:38 | I can also tell InDesign what part of
the object to effect in this pop-up menu
| | 03:43 | here, where it says Object,
Stroke, Fill, or Text.
| | 03:46 | So once again adjust the Fill at 75%.
| | 03:48 | Changing the Opacity or Blending mode
of an object is cool, but it's just the
| | 03:54 | beginning when it comes to
InDesign's Transparency features.
| | 03:57 | In the next few movies we'll look at
some of the most common Transparency
| | 04:00 | effects, starting with
everyone's favorite the Drop Shadow.
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| Adding drop shadows| 00:00 | Drop Shadows, the effect that
everyone hates to love. But it's true;
| | 00:05 | everyone loves Drop Shadows because
they give a sense of depth to a page.
| | 00:09 | They make things pop.
| | 00:10 | Let's see how you can make
Drop Shadows in InDesign.
| | 00:13 | I am going to select this image here,
this photographer and I am going to put a
| | 00:16 | Drop Shadow behind him.
| | 00:18 | You can apply a Drop Shadow
to any Object on your page;
| | 00:21 | Images, Text, Lines, doesn't matter.
| | 00:24 | In this case, I am going to do it to a graphic.
| | 00:26 | You can apply a Drop Shadow in one
click by going up to the Control panel and
| | 00:30 | click on this little Drop Shadow button.
| | 00:32 | But when you do that you almost
always get a clunky, yucky shadow.
| | 00:37 | I don't like do in that way.
| | 00:39 | I want to have more control over my Drop Shadow.
| | 00:41 | So I'm going to turn that off, and
instead I am going to go over just a little
| | 00:45 | bit to the fx pop-up menu.
| | 00:47 | Here I can choose Drop Shadow and
that's going to open a dialog box that gives
| | 00:50 | me a lot of control.
| | 00:52 | I can get to the same dialog box in the
Effects panel down here at the bottom.
| | 00:56 | There it is, same pop-up
menu, Effects > Drop Shadow.
| | 00:59 | Now inside the Effects dialog box, I
have a lot of control over exactly where
| | 01:05 | this Drop Shadow sits and how it looks.
| | 01:08 | For example, I can change what color it
is and how dense it is, may be I'll make
| | 01:13 | this a little bit less dense,
bring it down to about 60%.
| | 01:16 | Because the Preview checkbox is
turned on, I can see all of these changes
| | 01:20 | taking place immediately.
| | 01:22 | I can also change its position.
| | 01:23 | Right now, it's kind of far away from
this image, I am going to make it smaller,
| | 01:27 | maybe about 4 points.
| | 01:29 | And I can change the Angle of the
Drop Shadow that is where looks at the
| | 01:32 | light is coming from by dragging
this little slider around, I'll bring it
| | 01:36 | back up to the top here.
| | 01:37 | I am going to change the Size;
| | 01:39 | the Size reflects how blurry the Drop Shadow
is that is how big the Drop Shadow itself is.
| | 01:45 | I am going to make it a little bit
bigger like about 8 points, just to kind of
| | 01:49 | to blur it out little a bit,
make a little bit more subtle.
| | 01:53 | And the last I am going
to do is change the Noise;
| | 01:55 | I always like adding a
little bit of noise, just 3 or 4%.
| | 01:59 | You don't need very much but it makes
it significantly more natural looking.
| | 02:03 | Now I'll click OK and I can see
the Drop Shadow behind this guy.
| | 02:07 | Now I know that Drop Shadows there,
not just because I can see a behind this
| | 02:11 | guy, but because there is a fx
Icon over here, in the fx panel.
| | 02:15 | This fx Icon is not just an indicator
that there's an effect applied to this
| | 02:19 | object, it's all so usable.
| | 02:22 | I can use that, to do
something. Let me show you.
| | 02:24 | I can drag that little fx
icon up onto another object.
| | 02:29 | For example, this logo up here and
when I let go over the mouse, you'll see
| | 02:33 | the Drop Shadow was applied even
though I didn't even have that object
| | 02:36 | selected on the page.
| | 02:37 | I'll like it now and zoom into
400% then you can really see it.
| | 02:42 | Here the effect is too
diffuse; it's too subtle.
| | 02:45 | I want to make it a little bit sharper.
| | 02:47 | So I could go back to the fx pop-up menu
and choose Drop Shadow again or in this
| | 02:51 | case, I'll just double-click on the fx icon.
| | 02:54 | That brings the dialog box up again.
| | 02:56 | Now, I am just changing this object
whichever object on the page is selected.
| | 03:01 | I'm going to make this a little bit
darker and I'm going to make the distance a
| | 03:04 | little bit closer, I'm just tabbing
from one field to the next, by the way, and
| | 03:08 | I am going to make this Size
smaller, let's say, 3 points.
| | 03:12 | Now looks pretty good;
| | 03:13 | actually, it's still a little bit far away.
| | 03:15 | I am going to change the
Distance down to maybe 1.5 points.
| | 03:18 | That looks much better.
| | 03:20 | I still have my Noise, click OK
and I can see that looks pretty good.
| | 03:25 | Drop shadows are cool but there's no
doubt that they can be overused and end up
| | 03:29 | making your document look hackneyed.
| | 03:30 | So proceed with caution.
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| Using other transparency effects| 00:00 | Drop shadows are nifty keen.
| | 00:02 | Yes, I said that, I
actually used the word nifty keen.
| | 00:05 | But there are even niftier
keener effects in InDesign.
| | 00:09 | All kinds of special Photoshop like
effects that you can apply to any object.
| | 00:13 | Let me show you where to find them.
| | 00:14 | I want to place a little bit
of a glow behind this object.
| | 00:18 | So I am going to is select it, zoom to
400% with Command+4 or Ctrl+4 and I am
| | 00:21 | going to turn on my View > Display
Performance > High Quality Display, that
| | 00:26 | way I can see the quality of both the
artwork and the transparency effect much better.
| | 00:30 | I will open my Effects panel and I am
going to apply an effect called Outer Glow.
| | 00:36 | That's pretty cool.
| | 00:37 | I will move this dialog box
out of the way a little bit.
| | 00:39 | It gives it kind of an ethereal look.
| | 00:41 | As you can see there are many other
effects that you can apply to objects
| | 00:45 | inside this dialog box.
| | 00:46 | I am going to hit the Enter key or
Return key and close that dialog box and
| | 00:50 | let's go apply another one.
| | 00:51 | I will zoom out to fit the spread in
the window and I am going to select this
| | 00:55 | object, this picture at the bottom of my screen.
| | 00:58 | The Effects panel tells me there's already
an effect applied to that and I could see it.
| | 01:02 | It blends from fully transparent to
not transparent. Let's take a look.
| | 01:08 | I will double-click on the Effects
icon and up comes the Effects dialog box
| | 01:11 | which shows me that it has a Gradient Feather.
| | 01:14 | There are actually three kinds of
feathers in InDesign, the Basic Feather,
| | 01:18 | Directional Feather, and Gradient
Feather, and each of those controls how
| | 01:22 | objects blend out or fade
out from opaque to transparent.
| | 01:27 | The Gradient Feather effect is the
most powerful of all three, because it
| | 01:30 | actually gives you gradient stops where
you can control exactly how transparent
| | 01:35 | the object should be at each point.
| | 01:37 | For instance, this gradient stop right
here, which I just clicked on, says it's
| | 01:42 | 100% opaque, which means no transparency.
| | 01:45 | But on the other end of it,
it's 0% opaque, fully transparent.
| | 01:50 | Up above this there's a little
diamond that moves back and forth.
| | 01:53 | That lets you control how
quickly it moves from one to the other.
| | 01:57 | And because the Preview checkbox is
turned on in this dialog box I can actually
| | 02:00 | watch what's going on, on my page.
| | 02:05 | Over here it's mostly opaque.
| | 02:06 | If I drag it to the left
it's mostly transparent.
| | 02:10 | I can even change the angle of this
feather by dragging this line around.
| | 02:14 | I will set it back to 90
degrees here. I like that look.
| | 02:17 | You may notice that as I make those
changes it's affecting this side of the
| | 02:21 | image, but not this side.
| | 02:23 | That's because this is actually a
separate image, separate image, separate
| | 02:27 | graphic frame, it just
looks like it's connected.
| | 02:29 | I will click OK, press Option+Page
Down or Alt+Page Down on Windows and let's
| | 02:35 | apply a couple of more transparency effects.
| | 02:37 | How about to this text?
| | 02:38 | Remember, you can apply a transparency
effect to any object whether it's text,
| | 02:42 | graphics, lines, anything.
| | 02:44 | I am going to zoom into 400% with the
Command+4 or Ctrl+4 and I'm going to apply
| | 02:49 | a Bevel and Emboss to give
this a little bit of a 3D look.
| | 02:53 | So while this is selected I
will choose Bevel and Emboss.
| | 02:55 | I will move this out of the way a
little bit so we can see it better.
| | 03:01 | Right now I can tell that this Bevel and
Emboss effect is too strong, it's too big.
| | 03:05 | You can barely see the 3D effect at all.
| | 03:08 | But when I change the size down to about 2
points, you can see it looks much better.
| | 03:12 | All right, that look pretty good.
| | 03:14 | I will click OK and I am going to move
down to the lower right corner of the
| | 03:17 | spread by holding down the Option+Spacebar
to get the grabber hand and then
| | 03:22 | click and don't move so I
get the power zoom mode.
| | 03:25 | Now I will just drag down to where I
want to go and let go and it zooms back in.
| | 03:30 | I'll select both of these
frames and apply an inner shadow.
| | 03:34 | This time I will do it from the Control panel.
| | 03:35 | I will choose Inner Shadow and I can
change the amount of shadow I see on the inside.
| | 03:41 | You can kind of see a darkening in the
upper left corner of each of these which
| | 03:44 | gives a little bit of the 3D effect
as though it's inset into the page.
| | 03:48 | I am going to change the Opacity to
something little darker maybe 85%.
| | 03:52 | Then I will tab down and change the
Distance to little bit less, maybe 4 points.
| | 03:57 | I will leave the Size alone,
but I will change the Choke.
| | 04:01 | The Choke value lets you
control how quickly it fades out.
| | 04:04 | And as I drag this slider to the right
you'll see that it actually gets darker
| | 04:08 | and darker and darker. That's crazy dark.
| | 04:11 | So I'll bring it back in just to make it a
little bit darker, a little bit more intense.
| | 04:15 | Now the one last thing I need to
tell you about having to do with
| | 04:19 | transparency and this is an important
one, it's how to get rid of it, how to
| | 04:24 | delete the transparency.
| | 04:25 | There are two ways to do that.
| | 04:27 | You could drag the Effects icon down
into the Trashcan or you could go to the
| | 04:31 | Effects flyout menu and choose Clear Effects.
| | 04:35 | That applies all the
effects applied to these objects.
| | 04:38 | Obviously, the options for cool
effects in InDesign are endless.
| | 04:41 | In fact, check out Mike Rankin's
title on InDesign effects here in the
| | 04:45 | lynda.com Online Training Library if
you want to see amazing effects that
| | 04:49 | anyone can learn to do in InDesign.
| | 04:52 | Sometimes it takes a little work to
build these effects, but fortunately once
| | 04:56 | you find an effect you like you
could easily copy it to other objects.
| | 05:00 | One way we saw earlier is to
drag that little effects icon.
| | 05:03 | Another way is to create an object
style which I am going to show you how to do
| | 05:07 | in the chapter on Styles
| | 05:09 | In the next movie though, we'll focus
on a third feature that lets you copy
| | 05:12 | formatting, the Eyedropper tool.
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| Copying and formatting with the Eyedropper tool| 00:00 | When you're laying out a document
you'll often find yourself needing to copy
| | 00:03 | formatting from one place
in the document to another.
| | 00:06 | One way to do that is Styles,
Paragraph Styles, Object Styles, and so on.
| | 00:10 | I'll talk about all of those in a later movie.
| | 00:13 | But another, sometimes faster
way is to use the Eyedropper tool.
| | 00:16 | There are two ways to use the
Eyedropper tool and it's a little bit
| | 00:20 | non-intuitive I find.
| | 00:21 | So pay attention, you'll catch on.
| | 00:24 | The first way to use the Eyedropper tool
is with and object or some text selected.
| | 00:28 | In this case I'm going to select this
text down in the lower left corner by
| | 00:31 | double-clicking on it and selecting it.
| | 00:34 | Now I'll choose the Eyedropper tool
and I'm going to apply some formatting to
| | 00:38 | whatever is selected by clicking
on it with the Eyedropper tool.
| | 00:42 | In this case I want to pull out
this formatting from this text up here.
| | 00:46 | When I click on it, it automatically
sucks up all of this formatting and applies
| | 00:50 | it to whatever was currently
selected on the page, in this that text.
| | 00:55 | You'll notice too that the
Eyedropper icon has changed.
| | 00:58 | It was a white, empty icon which indicates
that it's ready to suck up the formatting.
| | 01:03 | Now it's a full eyedropper.
| | 01:05 | Now I can apply it wherever I want to use it.
| | 01:08 | In this case, this was the only place I
want to use it so I'm going to show you
| | 01:11 | how to use the full
Eyedropper tool in a different way.
| | 01:14 | I'll choose the Type tool and I'm going
to zoom in on some other text over here,
| | 01:18 | by pressing Command+2 or Ctrl+2 on Windows.
| | 01:21 | Now I'm going to format some text.
| | 01:23 | I'll grab this person's name and I'm
going to change its font and style, and so on.
| | 01:27 | I'm just going to type Myriad
Pro here and change this to Bold.
| | 01:31 | Maybe I'll make it a little bit bigger, 11.5,
and why don't we change its color as well?
| | 01:37 | I'll pick this nice purple color. Terrific!
| | 01:40 | Now I'd like to use that same
formatting in other places in my document.
| | 01:44 | So while nothing is selected on my page,
I'll grab the Eyedropper tool and click on it.
| | 01:50 | Notice that the white Eyedropper changed
to a full eyedropper and now it's ready
| | 01:54 | to start applying that
formatting wherever I click.
| | 01:58 | In this case I'm not going to click.
| | 01:59 | I'm going to click and drag, and it applies
that formatting to anything that I drag over.
| | 02:03 | Let's try it again.
| | 02:05 | I'll drag over this word
Roux, and it applies it.
| | 02:08 | I'll drag it over this word
Environment and it applies it.
| | 02:12 | So you can see that I can apply
this same formatting very quickly using
| | 02:16 | that full Eyedropper.
| | 02:17 | If I later want to pick up some
different formatting, I can turn it back into an
| | 02:21 | empty Eyedropper either by clicking on
the Eyedropper tool again or by holding
| | 02:25 | down the Option or Alt key.
| | 02:27 | Now it's ready to pull up some formatting.
| | 02:29 | But in this case, I'm not quite done yet.
| | 02:31 | I want to apply this one more place.
| | 02:33 | I'm going to scroll over a little
bit with my Option+Spacebar+Drag or
| | 02:36 | Alt+Spacebar+Drag, and I'm going to try
and apply this to some text over here.
| | 02:41 | Well, it did apply it to that one word,
but it applied something else to the
| | 02:45 | rest of the paragraph.
| | 02:47 | Why did it do that?
| | 02:48 | Why did it apply so much
formatting to the entire paragraph?
| | 02:51 | Well, by default the Eyedropper tool
picked up all the formatting that we
| | 02:55 | clicked on, including the font, the
size, but also the paragraph formatting.
| | 03:00 | You can control that however.
| | 03:02 | Let me undo this with a Command+Z
or Ctrl+Z on Window and I'm going to
| | 03:06 | double-click on the Eyedropper tool.
| | 03:08 | That opens the Eyedropper Options
dialog box, and now we can turn off the parts
| | 03:13 | that we don't want it to choose.
| | 03:15 | I don't care about Stroke, Fill,
Paragraph or Object Settings.
| | 03:19 | I only want it to be pulling
the Character Settings right now.
| | 03:22 | So I'll click OK and now I'm going
to click on some text down here, this
| | 03:26 | Environment word, and it sucked up
some formatting and it looks the same, but
| | 03:30 | now it's only grabbed that character formatting.
| | 03:34 | So when I drag over this word
it only changes that one word.
| | 03:38 | In this case, it'll also change the leading.
| | 03:41 | Leading is a character attribute
which we'll talk about in a later chapter.
| | 03:44 | Now the Eyedropper tool doesn't just
work for text, it works for objects too.
| | 03:48 | For example, I'm going to choose the
Selection tool and I'll pan up here and
| | 03:53 | select this graphic and I'm going
to change the graphic a little bit.
| | 03:56 | Why don't I give it a purple frame?
| | 03:58 | Let's make it a little bit thicker and we'll
change its formatting to this left slant hash.
| | 04:05 | There we go!
| | 04:06 | Kind of an interesting effect applied
around the border of that image, and
| | 04:10 | I'd like to take that same
formatting and apply it to these other three
| | 04:14 | images on the page.
| | 04:15 | Once again there's two ways
to use the Eyedropper tool.
| | 04:18 | I could select all three of these
objects, then choose the Eyedropper tool, and
| | 04:23 | then click on the edge of this object.
| | 04:25 | I have to click on the edge of the
object because I'm trying to pull up the
| | 04:28 | formatting of the frame, not
the image inside the frame.
| | 04:31 | I'll come up here and click on
the edge, and nothing happens.
| | 04:35 | Why does nothing happen?
| | 04:37 | Well, remember I changed the
Eyedropper Options a moment ago.
| | 04:40 | I better go back and change them
to pick up the object formatting.
| | 04:44 | Double-click on the Eyedropper,
turn on all of those other settings.
| | 04:48 | I don't care about the Text Settings,
but I might as well turn them on here and
| | 04:51 | now one more time I click on the edge
of the frame and all of that formatting
| | 04:56 | that I applied to the stroke is applied
to all of these other objects as well.
| | 05:00 | So that's one way I can use the Eyedropper tool.
| | 05:03 | Let me undo that, Command+Z or Ctrl+Z.The
other way is to not select any of those objects.
| | 05:09 | I just press Command+Shift+A or
Ctrl+Shift+A to deselect everything, and now I'm
| | 05:14 | going to reselect the formatting from
this object by holding down the Option or
| | 05:18 | the Alt key, which turns it
into the empty Eyedropper.
| | 05:21 | I'll click on the edge of the frame,
which fills it up, and now I can start
| | 05:25 | applying that formatting wherever I want to.
| | 05:27 | I'll click on the edge of
this one and it applies it.
| | 05:29 | I'll click it on this one and
it applies it. You get the idea.
| | 05:33 | I can now go to any frame in my
document and apply that same formatting.
| | 05:37 | The Eyedropper tool is great for the
quick formatting pickup from here to there.
| | 05:42 | But honestly, if you need it to apply a
lot of formatting throughout a document,
| | 05:46 | Styles are a much better way to go.
| | 05:48 | As I said I'll explore those in a later chapter.
| | 05:51 | But there's one other way to apply
formatting quickly throughout your whole
| | 05:54 | document, the Fine Change dialog box
and that's where we're headed next.
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| Finding and changing object formatting| 00:00 | When I am working on designing or
laying out a document, I don't want to be
| | 00:03 | bothered by mind-numbing tasks.
| | 00:06 | For example, can you imagine working on
a 200 page document like this, and then
| | 00:10 | your client or art
director says something like, hey!
| | 00:12 | Can you make all of these graphics over
here have a different colored background
| | 00:17 | and change the stroke around them?
| | 00:19 | Oh man this kind of thing would make the
scream if I didn't have the Find/Change
| | 00:23 | feature to do it for me.
| | 00:24 | But I do and it lives just where
you'd expect, the Find/Change dialog box.
| | 00:29 | I'm going to open the Find/Change
dialog box by going to the Edit menu and
| | 00:33 | choosing Find/Change or you could
press Command+F or Ctrl+F on Windows.
| | 00:37 | Right now it's set to the Text tab;
| | 00:39 | I want to change it to the Object tab.
| | 00:42 | The Object tab lets me search and
replace object formatting like Strokes and
| | 00:47 | Fills and all that kind
of Object Formatting stuff.
| | 00:50 | I'll move this out of the way and we
can see that all of these graphic frames
| | 00:54 | have a 1 point Stroke around them, so
I am going to search for graphic frames
| | 00:58 | with a 1 point Stroke.
| | 00:59 | To do that, I'm going to click in this
blank area here which brings up the Find
| | 01:03 | Object Format Options dialog box.
| | 01:06 | We can dial-in exactly what we're looking for.
| | 01:09 | In this case it's a Fill of
None and a Stroke of Black.
| | 01:14 | Now I could dial this in even more
precisely by saying only find objects that
| | 01:18 | have a Stroke of 1 point Black if I
wanted to, but in this case I am going to
| | 01:22 | leave it blank so it's more flexible.
| | 01:24 | In other words, it will find any frame that
has a Stroke of Black, not just 1 point strokes.
| | 01:29 | I'll click OK and you can
see that it fills it in here.
| | 01:34 | Now what do I want to change it to?
| | 01:36 | I'll click in the blank area down here
and I'm going to say I want to fill this
| | 01:40 | with a Tint of Cyan.
| | 01:42 | I'll come in here and say let's get a
15$% tint of Cyan and I'll put a stroke
| | 01:47 | around this as well.
| | 01:48 | There currently is a stroke, but why
don't we change it something different like
| | 01:51 | Blue and let's make it a little bit
crazy here so you can see it well, 5 point
| | 01:56 | Dotted lines, there we go.
| | 01:58 | It's going to put a 5 point
Blue Dotted line around the frames.
| | 02:04 | May be that's what my
client wants, I don't know.
| | 02:05 | Now let's try it out.
| | 02:07 | I'll click OK and you can see it
fills in all of that information here.
| | 02:11 | There is one more thing I want to change here
and that's the scope of what it's looking for.
| | 02:16 | I can tell it to search just in this
document or all open documents, I just want
| | 02:20 | this document and I can tell it
what kind of frames to look for.
| | 02:24 | I don't want it to search for all of
my frames, in this case I want to just
| | 02:27 | search for Graphic Frames.
| | 02:29 | I am ready to go, let's try it out.
| | 02:31 | I'll click Change All and it goes through
and it finds 11 objects in this chapter.
| | 02:36 | Now, honestly this could have been 1100
objects and it would've gone just as fast.
| | 02:41 | I'll click OK and we can see the
changes made, cyan background, crazy
| | 02:46 | dotted lines around.
| | 02:48 | I'll press Command+F or Ctrl+F on Windows
to close the Find/Change dialog box again.
| | 02:53 | That same keyboard
shortcut opens it and closes it.
| | 02:56 | And then I'm going to go through my
document to make sure they're all changed by
| | 03:00 | pressing Option+Page Down
or Alt+Page Down on Windows.
| | 03:03 | And you can see it's gone through and changed
each of these, looks pretty good. Let's do one more.
| | 03:08 | I'll open the Find/Change dialog box, I
am going to clear out all the formatting
| | 03:13 | that it was searching for before by
clicking on this little trash can icon.
| | 03:17 | That just clears this out.
| | 03:19 | In this case I am going to search for
all Text Frames in my document, so I am
| | 03:21 | going to change this to Text Frames and
I don't really care what the formatting
| | 03:25 | is, so I'm going to leave this blank.
| | 03:28 | But when it finds a Text Frame,
I want to apply some formatting.
| | 03:31 | So I'll click down here and say that
I would like to apply, oh let's put a
| | 03:35 | Stroke around it again, why don't we make
this may be a 2 point Black Solid Stroke.
| | 03:40 | And I want to change it into a 2 Column Frame.
| | 03:43 | So I'll change this to Text Frame
Options, increase my Columns to 2, why don't
| | 03:49 | we add a Gutter here of let's say
12 points and give it some Text Inset
| | 03:55 | Spacing of maybe 9 points, and I'd
like to have that on all four sides, so
| | 03:59 | I'll turn on the Link icon. You get the idea.
| | 04:02 | You dial-in exactly the way you want
these things to look and then click OK.
| | 04:07 | And when you do that it lists them all here.
| | 04:10 | Now as soon as I click Change All, it
goes to the entire document, finds all
| | 04:14 | of my Text Frames and turns them into 2
Column Frames, and puts the stroke around them.
| | 04:19 | I'll close that dialog box, hit W to
go into Preview mode and we can see they
| | 04:24 | all have strokes just the
way we wanted them to look.
| | 04:26 | I'm not saying that it looks good or
that you should do this, I am just saying
| | 04:31 | that's what my art director asked for.
| | 04:33 | I happen to know a bunch of the people
on the InDesign engineering team and they
| | 04:37 | all say the same thing.
| | 04:38 | Their aim is to make mind-numbing,
painful tasks easy and automated, so that you
| | 04:43 | can focus on what you do best,
making great-looking pages.
| | 04:47 | Now this Find/Change feature is
a great example of how they're
| | 04:50 | really succeeding.
| | Collapse this transcript |
|
|
8. ColorCreating color swatches| 00:00 | The Swatches panel over here in the
dock is the central headquarters for
| | 00:04 | your documents colors.
| | 00:05 | As we saw in an earlier movie, you can
use it to apply Fill and Stroke colors to
| | 00:09 | any object or text on your page.
| | 00:11 | But what if you get tired
of the colors listed here?
| | 00:14 | What if you want something more?
| | 00:15 | Let's look at how to create a new
color swatch for your documents.
| | 00:19 | When you want to create a new color
swatch, open the Swatches panel menu in the
| | 00:23 | upper-right corner, and choose New Color Swatch.
| | 00:26 | The first thing you need to
decide is what Color Type to choose?
| | 00:30 | Spot should only be used if you're
going to be printing on a printing press and
| | 00:33 | you know that your printer is using
special PANTONE inks, those are spot inks.
| | 00:39 | If you want to make a spot color,
choose Spot, and then choose from the
| | 00:42 | Color mode pop-up menu, one of the
Pantone Color Libraries, for example,
| | 00:47 | PANTONE + Solid Coated.
| | 00:49 | In this case however, I'm going
to be creating Process Colors.
| | 00:52 | Virtually, every color that you are
going to create in InDesign probably will be
| | 00:56 | one of these Process Colors.
| | 00:57 | From here, you can choose a Color
mode, either CMYK or RGB typically.
| | 01:03 | If your document is going to be
printed, you probably want CMYK.
| | 01:07 | But if it's for mostly on screen
viewing, an RGB color swatch is fine.
| | 01:12 | In this case, I am going
to leave it set to CMYK.
| | 01:14 | From here, we can define our color.
| | 01:16 | Right now, we have this bright yellow color.
| | 01:18 | I can change this, maybe
add a little bit of cyan.
| | 01:21 | Generally, you don't want to pick
colors by just how they look on screen unless
| | 01:25 | you're in a very tightly
controlled color managed workflow.
| | 01:28 | For all the rest of us, you really
want to look at color swatch books to pick
| | 01:32 | out colors based on how they look on a printed
piece if the document is going to be printed.
| | 01:37 | Once you have a color, you need to
decide how you're going to name it.
| | 01:40 | By default, it's set to Name with Color Value.
| | 01:43 | I had turned that off because
I like naming my own colors.
| | 01:46 | I am going to call this Happy Green.
| | 01:49 | If you're only making one
color, go ahead, and click OK.
| | 01:51 | But if you have more colors to
create, go ahead and click Add.
| | 01:55 | That adds it to the Swatches panel,
but leaves the dialog box open to
| | 01:58 | make another color.
| | 02:00 | Let's go ahead and pick some other color here.
| | 02:02 | This one I am going to name with a color
value and you can see that it takes all
| | 02:06 | the values from my CMYK settings,
and puts it in to the name for me.
| | 02:10 | I'll click OK and you can
see that it add it as well.
| | 02:13 | Now, a big warning;
| | 02:14 | if any object had been selected on my
page when I created those color swatches,
| | 02:19 | the last color I created would have
been applied to that color swatch.
| | 02:23 | That's the reason I recommend every one
deselect everything on your page before
| | 02:27 | your create color swatches.
| | 02:28 | Now, let's go ahead and apply those
color swatches to objects on our page.
| | 02:32 | In this document, this roux_catalog from the
exercise files, this happens to be one big group.
| | 02:37 | So I have to double-click to
actually select an object inside that group.
| | 02:41 | I'll select this orange one,
and I'll make it green.
| | 02:43 | Then I'll grab this blue one and make it purple.
| | 02:47 | Those are the colors I just created.
| | 02:49 | Now, what happens if I want to edit
those colors, if I didn't get that green
| | 02:52 | just right, for example, what do I do?
| | 02:55 | Well, I have two choices;
| | 02:56 | I could double-click on this green,
but that would actually not only edit it,
| | 03:00 | but also apply that green to
anything I have selected on my page.
| | 03:04 | So instead of double-clicking, I am
going to Right+Click, Ctrl+Click with a
| | 03:07 | one-button mouse, and choose Swatch Options.
| | 03:10 | This really should have been
called Edit Color, that's what it is.
| | 03:12 | It lets you edit the color.
| | 03:14 | Now, I am going to come in here and
change the color to something else, maybe
| | 03:17 | make it a little bit lighter, and I'll click OK.
| | 03:20 | You can see that not only was this
color changed in the Swatches panel, but any
| | 03:24 | object that was filled or stroked
with that color is also changed.
| | 03:27 | Okay, what do you do if you want to
get these colors into a new document?
| | 03:32 | You have got a couple of choices.
| | 03:33 | One option is to copy some objects
that have the colors applied to them.
| | 03:37 | For example, I'll grab a
couple of these objects;
| | 03:39 | the one that has the green,
and the one that has the purple.
| | 03:42 | I am going to copy it to the
clipboard and then go create my new document.
| | 03:48 | Now, I can paste, and when I paste those
objects, the colors come along for the ride.
| | 03:53 | There they are in the Swatches panel.
| | 03:55 | I can delete the colors off the
page, I didn't really need those.
| | 03:58 | I just wanted the colors and they
stick around in the Swatches panel.
| | 04:01 | There is another way to get colors from
one document to another, and that is, in
| | 04:05 | the Swatches panel menu, I
can choose Load Swatches.
| | 04:09 | Load Swatches lets me pull in colors
from any InDesign document, or I can also
| | 04:13 | tell it to load colors out of an ASE file,
that's the Adobe Swatch Exchange file
| | 04:19 | that I could create out of
Photoshop or Illustrator.
| | 04:22 | So the Swatches panel is one
way to inspect colors in InDesign.
| | 04:24 | There is another way too, the Colors panel.
| | 04:27 | In the next movie, I'll show you how
to do that and why you might or might
| | 04:31 | not want to.
| | Collapse this transcript |
| Understanding the danger and power of unnamed colors| 00:00 | Some people spec in their colors far
ahead of ever applying them in the document.
| | 00:04 | Others like working more interactively,
playing with colors as they lay out a page.
| | 00:09 | You can work either way in InDesign.
| | 00:11 | But if you're in the play as you go corner,
you'll probably like using the Colors panel.
| | 00:15 | You can find the Colors panel by going
to the Window menu, choosing the Colors
| | 00:19 | submenu, and then choosing Color.
| | 00:21 | You can also find a version of the
Color panel hiding inside the Control panel
| | 00:25 | if you Shift+Click on one of
these Fill or Stroke buttons.
| | 00:28 | Normally, if you click on that pop-up
menu, you get the Swatches panel, right?
| | 00:32 | Well, if you Shift+Click on it,
it turns into the Color panel.
| | 00:35 | It's just a little known fact.
| | 00:37 | I'm going to use the Floating Color panel,
because it's easier to see, easier to demo with.
| | 00:42 | I'm going to create and
apply a color on the next page.
| | 00:45 | So I'll press Option+Page Down or
Alt+Page Down on Windows and I want to apply a
| | 00:49 | color to this text, Roux.
| | 00:50 | Now normally you'd think that you have to
select that text with a Type frame first.
| | 00:56 | Well, you don't have to.
| | 00:57 | I'm going to select it with the
Selection tool, and then I'm going to up here to
| | 01:00 | the Color panel and click on the little
T. That T means apply the color to the
| | 01:06 | text inside the frame, not the frame itself.
| | 01:09 | The little box next to it
means apply it to the frame.
| | 01:12 | The T means apply it to
the text inside the frame.
| | 01:15 | You can see those same things
in the Swatches panel over here.
| | 01:18 | There's the box and the T and also at
the bottom the tool panel, the little box
| | 01:22 | and the T. So, we're going to apply
this to the T, the text inside the frame.
| | 01:28 | That way we can see the color being
applied to the text instead of having to pay
| | 01:31 | attention to all the
highlighting around the text.
| | 01:34 | When I select any object on my page
that already has color applied to it, the
| | 01:38 | Color panel displays a tint ramp.
| | 01:41 | This tint ramp lets me change the
tint of the color, not the color itself.
| | 01:45 | You see how the other cursor changes to
an eyedropper, and then I can click on
| | 01:48 | that tint ramp to change the tint of the color.
| | 01:51 | In this case, I don't want a tint.
| | 01:53 | I want a different color entirely.
| | 01:54 | So I'm going to click on this little
full strength swatch at the end and I'm
| | 01:58 | going to change this tint ramp into a
color ramp and I can do that by going to
| | 02:03 | the Color panel flyout menu
and choosing either CMYK or RGB.
| | 02:07 | RGB if it's an onscreen document;
| | 02:09 | but in this case I'm going to choose CMYK.
| | 02:11 | Now I can dial in colors here or
just click in the colored ramp.
| | 02:16 | Whatever I click on is applied
whatever selected on the page.
| | 02:20 | Now you need to be very careful when
choosing colors from the screen, because
| | 02:24 | unless you've done a lot of work to
set up your color management environment,
| | 02:27 | the colors that you see on screen
may not match what you see in print.
| | 02:31 | Believe me I've been burned by that one myself.
| | 02:34 | So it's better to pick your colors from
a printed swatch book, such as the True
| | 02:38 | Match, Pantone Books.
| | 02:39 | Unfortunately, there are two other
problems with using the Color panel too even
| | 02:43 | if you're typing colors in from a swatch book.
| | 02:46 | First, if I handed this document to
somebody else and they selected this text
| | 02:50 | frame, they would not know if that
color is a CMYK color or an RGB color,
| | 02:56 | because it does not show up
in the Swatches panel at all.
| | 02:59 | Second, the fact that it doesn't show
up in the Swatches panel makes it really
| | 03:03 | difficult to apply that same
color elsewhere in my document.
| | 03:06 | So if I care about consistency
throughout my document and I want the same color
| | 03:09 | on multiple pieces of text or
multiple objects, that's a problem.
| | 03:13 | So here's what you do.
| | 03:14 | It's really important if you're going to use
the Color panel to make these kinds of colors;
| | 03:19 | these are called Unnamed Colors, then
you have to go to the Swatches panel,
| | 03:24 | choose the flyout menu, and choose Add
Unnamed Colors from the Swatches panel flyout menu.
| | 03:30 | Add Unnamed Colors goes through your
whole document, finds all the unnamed
| | 03:34 | colors, all the ones that you've
created with a Color panel, for example, and
| | 03:37 | adds them to the Swatches
panel, and it links them.
| | 03:40 | So if I changed the Color Swatch
here this text will change as well.
| | 03:45 | If you like working on the fly and
you like this Color panel, there are two
| | 03:48 | other ways of making colors
that I want to point out to you.
| | 03:52 | One is the Color Picker.
| | 03:53 | The Color Picker you can find by
double-clicking on the Fill or Stroke icons in
| | 03:57 | the Color panel or the Fill and Stroke
icons at the bottom of the tool panel.
| | 04:01 | When I do that, up comes the Color
Picker and some people really like this,
| | 04:05 | because it kind of reminds
them of Photoshop I guess.
| | 04:08 | You can click on any color in here as
long as you're aware that just because you
| | 04:12 | click on it, doesn't mean
you're going to get that in print.
| | 04:14 | But you can pick a color just by
clicking on it, and then you can click on OK or
| | 04:19 | better Add CMYK Swatch which adds
it to the Swatches panel, like that;
| | 04:24 | it just adds it right there, and then click OK.
| | 04:27 | Now the color is applied and the
swatches in the Swatches panel.
| | 04:31 | The last method is to use the Eyedropper tool.
| | 04:33 | I'm going to grab the Eyedropper
tool out of the tool panel here.
| | 04:36 | I'm going to make sure that the
formatting effects Type button is selected
| | 04:40 | in the Color panel or the Swatches panel,
that little T icon that we looked at earlier.
| | 04:44 | And then I'm going to
grab a color out of an image.
| | 04:47 | I can grab any color I want, like the
green from these trees, for example.
| | 04:51 | It actually picks up that color, and
puts it into the Color panel and because
| | 04:56 | this was selected, it
also applies it to that text.
| | 04:59 | If I want to choose a different color
instead, I need to hold down the Option
| | 05:03 | or the Alt key to change the Eyedropper from
the field Eyedropper back to the empty Eyedropper.
| | 05:09 | As long as I'm holding down Option or
Alt I can pick up a different color.
| | 05:13 | So, for example, I might want
to pick this up from her shirt.
| | 05:16 | That changed it to the purple or I might want
to pick it up from this blue shirt down here.
| | 05:21 | You can see that it updates
automatically as long as I'm holding down
| | 05:24 | that Option or Alt key.
| | 05:26 | Once again, this is an Unnamed Color.
| | 05:28 | So I have to go to the Swatches panel,
choose Add Unnamed Colors, and suddenly
| | 05:33 | it shows up in my Swatches panel as well.
| | 05:35 | Personally, I rarely use any of
these methods to create colors.
| | 05:39 | I'm in the camp that believes that
you should set up your colors in the
| | 05:41 | Swatches panel first.
| | 05:42 | But if these tools work for you, then go for it.
| | Collapse this transcript |
| Creating gradient swatches| 00:00 | Gradients, Blends, Vignettes,
whatever you want to call them, they can be
| | 00:03 | beautiful in your document or they can
make your life a study in frustration.
| | 00:08 | I'm going to show you how to make them
in the Swatches panel first and then in
| | 00:11 | the next movie we'll talk about how to
apply them to object in your document and
| | 00:15 | then customize them.
| | 00:17 | To create a gradient swatch I first open
the Swatches panel here in the dock and
| | 00:21 | then from the Swatches panel flyout
menu I choose New Gradient Swatch.
| | 00:25 | Now it's a little tricky to make a
gradient swatch just in the dialog box.
| | 00:29 | So what I usually like to do is just
click OK where it adds this default
| | 00:33 | gradient swatch to my Swatches panel.
| | 00:35 | Then I'll apply that default
swatch to any object in my document.
| | 00:39 | In this case, I'm selecting a frame in the
background and then clicking on the swatch.
| | 00:43 | You'll see that it just fills it
with that default white to black swatch.
| | 00:47 | Now I'll deselect that frame by
clicking on that pasteboard and I'm going to
| | 00:51 | edit that swatch by right-clicking on
it or Ctrl+Clicking with a one-button
| | 00:55 | mouse and choosing Swatch Options.
| | 00:57 | The reason I like doing that is
because it's much easier to see an example in
| | 01:01 | the background as I'm
editing inside the dialog box.
| | 01:04 | To do that I turn on the Preview
checkbox and now any change I make in the
| | 01:08 | dialog box will update on my page automatically.
| | 01:11 | So right now I have a gradient, a blend
that goes from white to black, and you
| | 01:15 | can see those reflected in these stops
along the bottom, these gradient stops.
| | 01:20 | If I click on one of these stops,
you see the colors reflected up here in
| | 01:24 | the Stop Color area.
| | 01:26 | Right now this first one
is CMYK white, just 0000.
| | 01:29 | If I click on the other stop I can see
that it's reflected as a swatch called Black.
| | 01:36 | If I want to change this from
Swatches to CMYK, I can do that from the
| | 01:39 | Stop Color pop-up menu.
| | 01:41 | I'll just change this to CMYK.
| | 01:43 | You can see that now I can type
in a different CMYK value here.
| | 01:47 | But in this case I am going to pick a
swatch that I've already created, this
| | 01:50 | orange swatch down here.
| | 01:53 | That updates that selected Gradient
Stop and now I have a blend that goes
| | 01:56 | from white to orange.
| | 01:58 | I could add additional Gradient Stops
in here simply by clicking anywhere along
| | 02:01 | the Gradient Ramp on the bottom.
| | 02:03 | As soon as I click it, it adds a new stop.
| | 02:05 | So I could add green, for example.
| | 02:07 | So now it's going from white to green
to orange, and I can move these Gradient
| | 02:12 | Stops around to change the effect.
| | 02:15 | I can also change these
little diamonds on the top.
| | 02:18 | When you drag a diamond, you change
where the half-way point is between.
| | 02:23 | It's almost like dragging a
rubber band back and forth.
| | 02:25 | If I drag it to the right,
I get more of the white.
| | 02:28 | If I drag it to the left,
I get more of the green.
| | 02:31 | In this case I do only want white to orange.
| | 02:34 | So I'm going to get rid of the green stop
simply by clicking and dragging it off the ramp.
| | 02:39 | Then I'll reset this to about half way point.
| | 02:42 | I also have an option here, whether I want it
to be a Linear Gradient or a Radial Gradient.
| | 02:48 | I can choose that from the Type pop-up menu.
| | 02:50 | Linear of course is just one direction only
and Radial makes it look kind of like a circle.
| | 02:55 | It's a little bit hard to see here,
because the center of the circle is in the
| | 02:59 | lower left corner and it moves out from there.
| | 03:01 | In the next movie I'll show you how
you can put that center anywhere you
| | 03:04 | want inside the object.
| | 03:06 | Here I'm going to leave this set to
Linear and I'm going to give it Name.
| | 03:10 | I'm going to call it
White to Orange and click OK.
| | 03:14 | You may have noticed that there
are several buttons at the bottom of
| | 03:16 | the Swatches panel.
| | 03:17 | The first button shows all of the swatches.
| | 03:20 | The second one shows only the solid
Swatches and the third one shows only
| | 03:24 | the Gradient Swatches.
| | 03:26 | So if I had a bunch of different
Gradient Swatches that I'd created and I wanted
| | 03:29 | to find just those, I could click that button.
| | 03:32 | Usually though I leave this set to all.
| | 03:34 | By the way, I should point out something here.
| | 03:36 | I'm going to edit this Swatch one
more time, and you may notice here that
| | 03:39 | there's no way to set a gradient's opacity.
| | 03:42 | For example, you can't fade a
blend from white to transparent.
| | 03:46 | If you need that effect, take a look
at the movie in an earlier chapter about
| | 03:50 | the feathering transparency effects.
| | Collapse this transcript |
| Applying gradients| 00:00 | In the last movie I talked about how to
make a gradient swatch in the Swatches panel.
| | 00:04 | Now let's look at applying
gradients and stuff on your page and how to
| | 00:08 | fine-tune those gradients.
| | 00:09 | I have my brochure file opened from the
Exercise folder and I'm going to jump to
| | 00:13 | the first spread by pressing Option+Page Up
or Alt+Page Up on Windows.
| | 00:17 | Now I'm going to open my Swatches panel
and I'm going to create two quick gradients.
| | 00:21 | I'll open a New Gradient Swatch dialog
box, and the first one I'm going to be is
| | 00:26 | a Radial Gradient from white to black.
| | 00:28 | I'll just call it black to white.
| | 00:31 | It doesn't really matter.
| | 00:32 | And I'll click Add.
| | 00:34 | The second one is going to be a Linear
Gradient that's going to be purple light to dark.
| | 00:40 | Again, you can call these things
anything you want, but this one's going to be
| | 00:43 | Linear and the first one is
going to be kind of a purplish color.
| | 00:47 | Let's add little bit of black, little
bit of cyan, kind of a light purple, and
| | 00:52 | the last color is going to be another
CMYK swatch, which is also purple, but a
| | 00:58 | darker purple, much darker purple. There we go!
| | 01:00 | I'll click OK and now we have both
gradient swatches in the Swatches panel.
| | 01:05 | Let's go ahead and apply those.
| | 01:07 | I'm going to make this middle panel
the purple light to dark, and I'm going
| | 01:10 | to apply the black to white radial to this
object over here which is actually inside a group.
| | 01:15 | So I need to double-click on it to select it.
| | 01:18 | Now I click on black to white and it
fills it with the black to white gradient.
| | 01:22 | Now I don't really like
the way either of those look.
| | 01:24 | So I want to fine-tune those a little bit.
| | 01:27 | To do that I'm going to
switch to the Gradient panel.
| | 01:30 | If you don't see the Gradient panel in
the dock you can find it in the Window
| | 01:33 | menu under the Color submenu.
| | 01:36 | The Gradient panel lets you apply
local formatting to your gradients.
| | 01:40 | In other words, if I select this
purple gradient I can see that it goes from
| | 01:44 | light to dark purple here.
| | 01:46 | I can now tweak the gradient a
little bit in all kinds of ways.
| | 01:50 | For example, I can make it more dark purple
by dragging the midpoint slider to the left.
| | 01:55 | It immediately updates on my page as well.
| | 01:58 | I can also change the angle of this.
| | 01:59 | For example, I'd rather have this be 90 degrees.
| | 02:02 | So I'm going to change the
Angle field to 90 and hit Enter.
| | 02:06 | Now the whole gradient has been rotated
90 degrees so it goes from bottom to top.
| | 02:10 | If I wanted to flip that around
I could click the Reverse button.
| | 02:13 | So you have a lot of control over how
this gradient sits inside of that frame.
| | 02:18 | I like it kind of like that.
| | 02:20 | Now let's turn our attention to
this black to white Radial gradient.
| | 02:23 | I'll double-click on that
once again to select it.
| | 02:25 | You can see that the Gradient panel
shows that it's a Radial gradient and the
| | 02:29 | center is 50%, right in the middle.
| | 02:32 | Once again I can drag this to the
left or to the right to change the effect
| | 02:36 | pretty dramatically.
| | 02:37 | However, in this case instead of futzing
about with the Gradient panel I'm going
| | 02:41 | to use the Gradient tool.
| | 02:43 | Over here in the tool panel I can
choose the Gradient tool and now I can simply
| | 02:48 | click and drag over my
gradient to change it dramatically.
| | 02:52 | I'd click where I want the beginning
point to be and I drag to where I want the
| | 02:57 | endpoint of the gradient to be.
| | 02:59 | So this is going to put the white in the
center and the black out near the side.
| | 03:04 | When I let go you see the effect.
| | 03:06 | Radial gradients always take on the
shape of the object or I should say the
| | 03:10 | height/width proportion of the objects here.
| | 03:12 | So it's going to be taller than it is wide.
| | 03:15 | Sometimes it takes a few tries of clicking
and dragging to get just the effect you want.
| | 03:20 | Try clicking and dragging in
different directions as well, and then you can
| | 03:24 | start dragging this
midpoint slider to fine-tune it.
| | 03:27 | That's how you apply gradients to
objects like frames, but you can apply
| | 03:31 | gradients to text too.
| | 03:32 | Let me jump back to the second spread
with an Option+Page Down or Alt+Page Down
| | 03:36 | and I'm going to zoom in on this word Design.
| | 03:38 | I'd like to make this word a Design.
| | 03:41 | To do that I'll switch the
Type tool and select the word.
| | 03:44 | Now I'll go to the Swatches panel
and click on the Gradient swatch.
| | 03:48 | It's hard to see here, because it's
highlighted but if I deselect that I can see
| | 03:52 | that it goes from light to dark purple.
| | 03:54 | Just like we saw earlier if I want to
fine-tune this I can use the Gradient
| | 03:58 | panel or the Gradient tool.
| | 04:00 | I'm going to select the Type itself,
switch to the Gradient tool, and then drag
| | 04:05 | from the bottom of the type to the top.
| | 04:07 | Now when I deselect, I can
see that it's taken effect.
| | 04:10 | That looks pretty good.
| | 04:12 | Blends are certainly the trickiest
color feature in InDesign to get right, but
| | 04:16 | practice fine-tuning them and using
the Blend tool and the Gradient panel and
| | 04:19 | you'll soon become a blend master.
| | Collapse this transcript |
|
|
9. Frames and PathsEditing frame and path shapes| 00:00 | InDesign has a wide variety of drawing
tools, including a fully featured Bezier
| | 00:04 | Pen tool just like Illustrator.
| | 00:06 | Now I wouldn't use InDesign to do a
detailed technical illustration, but it's
| | 00:11 | perfect for basic drawing such as
most logos and relatively simple shapes.
| | 00:15 | Let me I show you how it's done.
| | 00:17 | I have my roux_ article document open
from Exercise folder and I am just going
| | 00:21 | to pan up to the upper left corner
here, so I have some space to work with.
| | 00:25 | Here in the tool panel there are
several tools to let me draw shapes.
| | 00:28 | For example, the Line tool
which draws simple lines.
| | 00:32 | Next down, a little bit more
interesting is Bezier Pen tool.
| | 00:36 | Here I can click and drag to
get Bezier points and handles.
| | 00:41 | And I will click and drag and you get the idea,
you can make a Bezier line very quickly.
| | 00:46 | You might use a line like
this for text on a path.
| | 00:48 | I will go to the Type in a Path tool and
click on the edge of this path and just
| | 00:53 | start typing some text.
| | 00:57 | Now I can select all that with a Command+A or
Ctrl+A on Windows I will make it much larger.
| | 01:02 | You can see that it fits
right along that Bezier path.
| | 01:04 | Of course, in this case you can see the path
because the path itself has a stroke on it.
| | 01:09 | So I would have to select that with the
Selection tool and turn off the Stroke.
| | 01:13 | I will just apply a stroke of None here.
| | 01:17 | Now even though I can't see that
path right now I can still edit it.
| | 01:20 | I would do that with a Direct
Selection tool, the White Arrow tool.
| | 01:24 | When I choose the Direct Selection
tool and place my cursor over the path it
| | 01:28 | highlights, and now I can
choose a point or just drag a path.
| | 01:33 | By dragging the segment between the
points, it actually changes the curve.
| | 01:38 | I can also change this path by going
back to the Pen tool and then hovering the
| | 01:42 | Pen tool over parts of the path.
| | 01:44 | For example, if I drag over this part of
the path here where there's no Bezier
| | 01:48 | point, it changes into a little plus
cursor that indicates that if I click or
| | 01:53 | click and drag it's going to add a point.
| | 01:55 | I will click, drag, and you can see that
it's actually adding a point onto that curve.
| | 02:02 | On the other hand, if I place my cursor
over a position where there already is a
| | 02:05 | point, it changes into a Pen
tool with a little minus.
| | 02:08 | That means it's going to delete that point.
| | 02:11 | Click, the point goes away.
| | 02:13 | Whenever you're editing paths with
the Pen tool you can always hold down
| | 02:16 | the Command key on the Mac or Ctrl
key on Windows to switch to the last
| | 02:20 | used Selection tool.
| | 02:21 | That way I can actually drag these
corner handles around or even move
| | 02:26 | whole points around.
| | 02:27 | When you let go of the Command or Ctrl
key it switches back to the Pen tool.
| | 02:32 | Let's draw some more paths.
| | 02:33 | I am simply going to click out here
and click a few times and you can see you
| | 02:36 | can very easily get some
very sharp cornered paths.
| | 02:40 | When you're done, you can either
Command+Click or switch to a different tool
| | 02:45 | to finish the path.
| | 02:47 | I'll draw another path down here, and
then I am going to select both of those
| | 02:50 | with the Selection tool.
| | 02:53 | With two paths selected I can go to
the Object menu and way down here at the
| | 02:57 | bottom of the Object menu
you'll find the Paths submenu.
| | 03:01 | This lets you do all kinds of things to paths.
| | 03:03 | For example, I could join both of
these so they'd become a single path.
| | 03:07 | InDesign looks for where they're the
closest, and then it draws a line between them.
| | 03:12 | Now that path submenu also lives inside
a panel and if you are going to do a lot
| | 03:16 | of things with Paths you
should check out the panel.
| | 03:19 | I will go to the Window menu, go down
to Object & Layout and choose Pathfinder.
| | 03:25 | This button here is the Join command
which we just used, but there are a lot of
| | 03:30 | other commands in here
that you should know about.
| | 03:32 | For example, you can open a closed path like
a closed frame or you can close an open path.
| | 03:39 | In this case, this is an open path, it
doesn't close all the way and I can close
| | 03:43 | it by clicking that button.
| | 03:45 | Now it's a closed path.
| | 03:46 | There are all sorts of other goodies in here.
| | 03:48 | I just want to point out the Convert Shape
buttons, because I find those really useful.
| | 03:52 | For example, it's very hard to draw a
perfect triangle in InDesign, but it's
| | 03:57 | very easy to click this Triangle button.
| | 04:00 | You can draw any shape, even a
rectangle or an ellipse, and click that Triangle
| | 04:04 | button and you will get a perfect triangle.
| | 04:06 | Now as you can tell I am not the
greatest artist, but I do find the Pen tools
| | 04:11 | useful inside of InDesign especially
when I already have a frame that I want to
| | 04:16 | tweak a little bit, I want to make
it a little bit more interesting.
| | 04:18 | For example, this text frame down here,
I'll zoom in on this so we can see it better.
| | 04:24 | And I am going to close my Pathfinder panel.
| | 04:26 | This is a regular of rectangular text
frame and it's all very well and good, but
| | 04:30 | it might be nice to give a little flair.
| | 04:33 | So I'm going to choose the Pen tool and then
place the Pen tool over the edge of this path.
| | 04:38 | Now remember, whenever you place the Pen
tool over the edge of a frame or a path
| | 04:42 | it changes to the Add Point
tool and now I can click and drag.
| | 04:47 | And you'll notice that as I click and
drag it changes the shape of this frame.
| | 04:52 | It's still a text frame, the text
reflows in that shape, but it's much
| | 04:56 | more interesting now.
| | 04:57 | Now if I really need a heavy-duty
illustration tools, I can always switch
| | 05:01 | to Adobe Illustrator.
| | 05:02 | But in most cases when I'm just
trying to make my design look interesting,
| | 05:06 | InDesign gives me everything I need.
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| Adding rounded corners and other corner options| 00:00 | In the last movie I discussed how to
change the shape of objects on your page.
| | 00:04 | Here's one more way to change a
shape, but here we are only going to be
| | 00:08 | changing Objects Corners.
| | 00:10 | I have my roux_flyer document
open from the Exercise Folder.
| | 00:14 | I'm going to zoom in here on the upper
right corner and I want to change the
| | 00:17 | shape of the corners on this object.
| | 00:20 | I'll select it, go to the Object
menu and choose Corner Options.
| | 00:25 | The Corner Options dialog box let's me
change the corners on each of the four
| | 00:29 | sides of this rectangle.
| | 00:30 | For example, right now all four
sides are set to sharp edge corners.
| | 00:35 | But if I click on this pop-up menu, you
can see that I could change it a Fancy,
| | 00:39 | a Bevel, Inset, Inverse Rounded or Rounded.
| | 00:43 | Most people just go with Rounded and
when I change that it affects all four
| | 00:47 | sides because I have this Link button turn on.
| | 00:51 | If you want it to affect some corners
and not others, you can turn that off.
| | 00:55 | So, for example, I'm going to have a
sharp edge in the upper left, in the
| | 01:00 | lower right and I'm going to have Rounded
corners in the upper right and the lower left.
| | 01:05 | Currently it doesn't look like any
thing is rounded, because all of these
| | 01:08 | are set to 0 Picas.
| | 01:10 | You can think of this number as the radius
of a circle that's placed up in that corner.
| | 01:15 | For example, this one would
be in the lower left corner.
| | 01:18 | So if I change this to let's say 2 picas, it
changes the radius of the curve to 2 picas.
| | 01:24 | Let's change the upper right
corner as well to the same value.
| | 01:28 | That looks pretty good.
| | 01:30 | I'll click OK, and take a look at my work.
| | 01:32 | There is another more interactive
way to change the corners as well.
| | 01:35 | To do that click on this little yellow
box in the upper right corner of your frame.
| | 01:41 | When you do that it changes into a
corner editing mode and you can see
| | 01:45 | four yellow diamonds.
| | 01:47 | Those yellow diamonds determine
how each corner is going to appear.
| | 01:51 | For example, if I drag this yellow
diamond in the upper right corner of this
| | 01:55 | frame to the left, you can see that it
changes the radius for all four corners,
| | 02:00 | including the one in the lower left corner.
| | 02:02 | Of course the upper left and lower
right is still sharp, there is no radius, so
| | 02:07 | it doesn't affect them.
| | 02:09 | If I want to change the radius for
one single corner I hold down the Shift
| | 02:13 | key, Shift+Drag lets me change the radius of
a single corner without affecting the others.
| | 02:20 | If I hold down the Option key or the
Alt key on Windows, it changes the corner
| | 02:24 | type, remember all those types
we saw Fancy, Beveled, and so on.
| | 02:28 | So if I Option+Click or Alt+Click on
this diamond in the lower left corner it's
| | 02:32 | going to toggle through
each one of those in order.
| | 02:35 | Now because I Option or Alt
clicked, it changed all four corners.
| | 02:39 | Let me the Undo that with the Command+Z
or Ctrl+Z on Windows and instead I'm
| | 02:43 | going to use Option+Shift or Alt+Shift,
remember the Shift key means apply it
| | 02:48 | to just this corner.
| | 02:50 | There is my Fancy, there is that Beveled
shape and in this case I am going to go
| | 02:56 | all the way back to a Sharp Corner.
| | 02:59 | One of the coolest things about this
Corner Options feature is that it doesn't
| | 03:03 | work only on frames;
| | 03:04 | you can do it on open pads as well.
| | 03:06 | Here let me show you.
| | 03:07 | I am going to pan over to my
Pasteboard here with Option+Spacebar or
| | 03:11 | Alt+Spacebar on Windows, press W to jump
out of Preview mode and I am just going
| | 03:16 | to use the Pen tool to
draw a nice sharp jaggy line.
| | 03:20 | But may be these corners are
little bit too sharp for my taste.
| | 03:24 | So with the object selected with
the Selection tool, I'll return to the
| | 03:27 | Corner Options dialog box.
| | 03:29 | And I can see that I can
change this to a different value.
| | 03:32 | Once again I'll choose Rounded and increase
the radius to something large like 3 Picas.
| | 03:39 | Now you see that InDesign
makes those sharp corners rounded.
| | 03:43 | Technically these are still sharp corners.
| | 03:45 | I'll switch to the direct Selection
tool and you can see that each of these
| | 03:48 | points is still very sharp.
| | 03:51 | I'll deselect it and then selected
just that point and move it around.
| | 03:55 | And you can see that even though it's
sharp InDesign is constantly updating
| | 03:59 | it to make it Rounded.
| | 04:01 | These kinds of Corner Effects make it
easy to create great looking layouts fast
| | 04:05 | and even better, update or edit them later.
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| Making polygons and starbursts| 00:00 | Over here in the tool panel, hiding
underneath the Rectangle Frame tool is a
| | 00:04 | tool called the Polygon Frame tool;
| | 00:07 | and if I choose that and start dragging out
on my page, you'll see that it makes hexagons.
| | 00:12 | Technically, to make a true hexagon
you'd have to hold down the Shift key
| | 00:15 | to constrain the height and the width, but
you get the idea, you draw out a hexagon.
| | 00:20 | To see it, I'm going to change
its Fill to something like yellow.
| | 00:23 | Now I don't know about you but I very
rarely need hexagons, so I'm going to go
| | 00:28 | ahead and delete that and I'm going to
replace it with a different polygon, a
| | 00:31 | more interesting polygon.
| | 00:33 | I'll select it, delete it, and now to
get my more interesting polygon, I'm going
| | 00:38 | to double-click on the Polygon tool.
| | 00:41 | When you double-click on it, it opens
the Polygon Settings dialog box, and now
| | 00:46 | you can choose how many sides you want.
| | 00:48 | For example, I'll choose 12 sides, click OK,
and now I've got a more interesting shape.
| | 00:54 | Or I'll delete that;
| | 00:56 | I'll double-click on it and change not just
the sides, but the Star Inset value as well.
| | 01:02 | When you increase your Star Inset,
you're not making a regular shape like a
| | 01:06 | polygon or a triangle or
something, you're making a starburst.
| | 01:10 | I'll increases this to 30%, hit OK, and
start drawing, and you'll see that now I
| | 01:16 | have a really interesting polygon, a starburst.
| | 01:19 | Once again, I'll fill it with a
color and that's looking pretty good.
| | 01:23 | But what if I want to change that shape,
maybe I have more points, so a larger
| | 01:27 | inset, where you can do that by
once again double-clicking on the tool.
| | 01:32 | Up comes the Polygon Settings dialog box,
I'll then increase this value to maybe
| | 01:36 | 18, and I'll change this Star
Inset to let's say 50%, and click OK.
| | 01:42 | Because this object was still selected on
the page, it updates it with the new values.
| | 01:47 | Granted, a fancy starburst like this
might be out of place if you're laying
| | 01:50 | out of scholarly scientific journal,
but if you're doing a magazine or a
| | 01:54 | catalog, and you want to really catch
somebody's eye, these starbursts are
| | 01:58 | just the ticket.
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| Creating text outlines| 00:00 | In an earlier chapter I've mentioned
that I can't draw that well, fortunately
| | 00:04 | we all have a huge library of cool shapes that
somebody else drew for us, they are called Fonts.
| | 00:11 | InDesign lets you convert any text
from any font into editable paths.
| | 00:15 | In fact, there are two ways to
convert text to outlines, converting a whole
| | 00:19 | frame or converting just some selected text.
| | 00:22 | I am going to zoom in on this word ART
here and we are going to see what happens
| | 00:26 | when we convert it to text.
| | 00:27 | First, I will double-click on this with
a Selection tool to switch to the Type
| | 00:31 | tool so I can select just the letter R.
| | 00:34 | Then I'll go to the Type
menu and choose Create Outlines.
| | 00:39 | When you do that, you see that the text
changes a little bit, the space between
| | 00:43 | the R and that T got larger.
| | 00:45 | That's because back when this R was
actual text, it could kern properly with
| | 00:49 | the T, it would adjust the space between the R
and the T that was built into the font itself.
| | 00:55 | Now that this R has been converted to
outlines, it doesn't know anything about kerning;
| | 01:00 | it can't kern in fact, so the spacing changes.
| | 01:03 | We can see that this is actually an
outline by selecting the Direct Selection
| | 01:07 | tool and then clicking on the R.
| | 01:10 | See all the Bezier points on there, now
it's actually relatively rare that you'd
| | 01:14 | want to convert a single letter or a
single word into outlines within a text
| | 01:18 | frame but there are
times when you want to do it.
| | 01:21 | For example, let's say I want to apply a
particular Transparency effect just to that letter.
| | 01:26 | I'll go up to the Effects menu and I'll
choose Bevel and Emboss and you can see
| | 01:31 | that now I've applied a Bevel and
Emboss just to that one character.
| | 01:35 | The outline text acts like its own
object inside this text frame, so you can
| | 01:40 | apply an effect to it without
changing the rest of the text in the frame.
| | 01:45 | Let's see the other way of
converting text outlines.
| | 01:47 | I am going to undo this just by
pressing Command+Z or Ctrl+Z a few times to
| | 01:52 | go back to the way it was and now I'm going to
select the entire frame with a Selection tool.
| | 01:57 | Because I have the whole frame
selected when I go to the Type menu and choose
| | 02:01 | Create Outlines, all of the text in
that frame is converted to outlines.
| | 02:04 | I will switch to the Direct
Selection tool and you can see all three
| | 02:08 | characters are converted to outlines
and the spacing didn't change, it stays
| | 02:13 | exactly the same as it was.
| | 02:15 | People have different reasons
for converting text to outlines.
| | 02:17 | For example, sometimes you
want to change the shape of text.
| | 02:21 | I am going to deselect this by
pressing Command+Shift+A or Ctrl+Shift+A on
| | 02:25 | Windows, and then I am going to use
the Direct Selection tool to drag some of
| | 02:29 | these points around.
| | 02:31 | You can see that you can
change it to any shape you want.
| | 02:33 | I can also use my Pen tool to add points,
remove points and edit this and all kinds of ways.
| | 02:40 | But one of the best reasons to
convert text to outlines is to put something
| | 02:44 | inside those outlines.
| | 02:46 | For example, I will go back and choose
this with the Selection tool, go to the
| | 02:50 | File menu and choose Place and I am
going to place a picture inside of here.
| | 02:55 | I'll grab one of these pictures and
click Open and you can see it immediately
| | 02:58 | fills this with the image.
| | 03:01 | It gives these letters a
really interesting texture.
| | 03:04 | I do not recommend people
converting a lot of their text to outlines.
| | 03:07 | For example, if your printer tells you
that you should convert everything in
| | 03:11 | your document to outlines, I
suggest really grilling them on why.
| | 03:16 | It's a very bad practice
and almost always unnecessary.
| | 03:20 | Plus you may lose some really
important stuff when converting text outlines.
| | 03:24 | For example, let me pan over here
so we can see the text in this frame.
| | 03:28 | If I select this entire frame, go to
the Type menu and choose Create Outlines,
| | 03:32 | the text does change, but look what happened.
| | 03:36 | Now all that text changed to
outlines, but I lost a lot in the process.
| | 03:40 | The background fill of course
disappeared, but even worse the line that was
| | 03:44 | above this URL disappeared as well.
| | 03:47 | That line was created with the Rule
Above feature which is a future I will talk
| | 03:51 | about in a later chapter, but because
it was part of the text and because those
| | 03:55 | Rule Aboves disappear when you convert to
outlines, I've completely messed up my design.
| | 04:01 | You really have to be careful when
creating outlines, but for the occasional
| | 04:04 | letter or word that may be some text
that you want to apply some kind of special
| | 04:08 | effect to, Create Outlines is
great for that kind of thing.
| | Collapse this transcript |
|
|
10. Managing ObjectsPositioning objects with the Gap tool| 00:00 | If you've ever taken a design or art
course, you've learned to think both in
| | 00:04 | positive and negative space.
| | 00:06 | That is, the space between
objects is just as important as the
| | 00:09 | objects themselves.
| | 00:11 | We've already learned how to move objects
around on the page using the Selection tool,
| | 00:14 | but InDesign has a Gap tool that
let's you move objects around based on the
| | 00:19 | space between and around them.
| | 00:21 | The Gap tool is number four in the Tool
panel over here, and in order to use it,
| | 00:26 | you need to move it between objects.
| | 00:29 | When you do move it onto your page, you'll
see that an area of your page becomes gray.
| | 00:34 | That indicates what is going to
be moving when I click and drag.
| | 00:38 | If I place the cursor on top of an
object itself, it turns into a cursor saying
| | 00:43 | nothing is going to happen,
| | 00:44 | so I need to find a space.
| | 00:46 | I'm going to click in the space between
the edge of the page, and these objects.
| | 00:51 | Note that the Gap tool sees that the
two text frames on the left are aligned
| | 00:56 | exactly, and so it's going
to move of both them together.
| | 00:59 | When I click and drag, you'll see that
the Gap tool actually changed the size of
| | 01:03 | each of those frames.
| | 01:04 | I'll drag to the right, and
it makes the frames larger.
| | 01:08 | I'll drag to the left, and
it makes them smaller again.
| | 01:11 | So dragging with the Gap tool
changes the size of the gap, by changing the
| | 01:15 | size of the objects.
| | 01:16 | Let me undo that with a Command+Z or
Control+Z, and I'll show you how to change the
| | 01:21 | gap in a different way.
| | 01:22 | This time I'm going to
hold down a modifier key.
| | 01:25 | I'm going to hold down the
Option key, or Alt on Windows.
| | 01:29 | Holding down Option or Alt doesn't
change the cursor at all, but it does
| | 01:32 | change the behavior.
| | 01:34 | Now when I click and drag,
something different happens.
| | 01:37 | It does not change the size of
those objects; it simply moves them.
| | 01:41 | What's great about this is it moves
more than one object at the same time.
| | 01:45 | I didn't have to select all of them to
move them, or I didn't have to select one, and
| | 01:49 | then move each one in succession.
| | 01:50 | I simply Option+Drag, or Alt+Drag,
and it moves all of the objects that
| | 01:55 | are already aligned.
| | 01:58 | Different modifier keys
do different things.
| | 02:01 | So holding down the Option or Alt key
tells InDesign to move; holding down
| | 02:05 | Command+Option or Control+Alt tells it
move, and change the size of the gap.
| | 02:11 | I'll move my cursor over here
between the word Roux in this text frame.
| | 02:15 | Notice that this gray bar goes all
the way across the two-page spread.
| | 02:19 | The Gap tool can see across spreads.
| | 02:22 | Now I'm going to hold down Command+Option,
or Control+Alt, and click and drag in this gap.
| | 02:28 | You'll see that it's actually moving
all three frames up or down, and by doing
| | 02:32 | so, changes the size of the gap.
| | 02:35 | Sometimes you don't want it to change all
the objects just because they're aligned.
| | 02:39 | For example, I'm going to undo that with a
Command+Z, or Control+Z, and I'm going to
| | 02:43 | place my cursor in between
these two text frames. I see that
| | 02:47 | that gray bar goes all the way across
and I want to tell InDesign to limit the
| | 02:52 | Gap tool to just the text
frames on either side of the cursor.
| | 02:56 | I don't want it to be
changing that graphic at all.
| | 02:59 | So I'm going to hold down the Shift key.
| | 03:01 | The Shift key tells InDesign to
constrain it only to the objects that are on
| | 03:06 | either side of the cursor itself.
| | 03:08 | So now Shift+Option+Command, or Shift+
Control+Alt, click, and drag, will move just
| | 03:16 | those two, and it ignores the graphic.
| | 03:18 | By the way, I implied this earlier,
but it's worth saying explicitly that the
| | 03:23 | edge of your page always
acts as one of your objects.
| | 03:26 | So if I want to change the space
between the edge of the page, and this object,
| | 03:30 | I simply place the cursor between the
edge of the page and the object, and then
| | 03:34 | I can hold down the Option key, and drag, and
that lets me move the object based on the gap.
| | 03:40 | Now, I admit all these modifier keys can
be very confusing, but InDesign is all
| | 03:45 | about offering options to make your life easier.
| | 03:48 | The Gap tool is a terrific alternative
to the Selection tool when it comes to
| | 03:52 | moving a bunch of objects around on your page.
| | Collapse this transcript |
| Stacking objects| 00:00 | Every object on your page is in a stack.
It's like each object is a separate
| | 00:04 | piece of paper on your Desktop, and you
can move them above and below each other.
| | 00:08 | For the more technically minded among you,
this is also called the object's Z-order.
| | 00:11 | For example, each object has an X
and Y coordinate on the page, and also a
| | 00:17 | Z-Order, which describes
which object is on top of which.
| | 00:20 | I'm going to talk about how layers
help you organize your objects in the next
| | 00:24 | movie, but for now, let's just focus
on how objects stack up on the one layer
| | 00:29 | that every document has: layer 1.
| | 00:32 | Here in this brochure document
from the exercise folder, I'm going to
| | 00:35 | select this photograph in the upper right
corner, and I want to change its stacking order.
| | 00:39 | To do that, I go to the
Object menu, and choose Arrange.
| | 00:44 | Inside the Arrange submenu, I have several
options, including Bring to Front, or Bring Forward.
| | 00:49 | Because these last two options -- Send
Backward, and Send to Back -- are grayed out, I
| | 00:53 | know that this must be on
the very bottom of my stack.
| | 00:56 | There is no more down to go,
but I can go up.
| | 01:00 | I'm going to choose Bring Forward.
| | 01:01 | Now, notice that it doesn't
seem like anything happened.
| | 01:05 | That's because the stack of all
those objects is spread wide. That is, it
| | 01:10 | moved on top of another object, but that
object is not necessarily over by that photograph.
| | 01:16 | For that reason, there was no visual difference.
| | 01:18 | However, if we go back to the Object
menu, and go to Arrange, and choose Bring
| | 01:23 | to Front, now it moves all the way to the top
of the stack, on top of all these other objects.
| | 01:28 | Let's try moving it behind some objects.
| | 01:30 | I'll go to the Object menu, choose
Arrange, and say Send Backward, and you'll
| | 01:35 | see it moved right behind
one of the objects on my page.
| | 01:38 | If I do it again, it moves down one more.
| | 01:42 | Once again, I don't know what it moved
behind, but it did move behind something.
| | 01:47 | Now, what would be really cool is if we
could get some kind of visual on these
| | 01:50 | stacks, showing us exactly which
objects are above or below others, and then
| | 01:55 | allowing us to control it visually,
instead of haphazardly with this menu command.
| | 02:00 | And we're in luck, because
InDesign does offer that.
| | 02:03 | It's called the Layers panel.
| | Collapse this transcript |
| Creating and controlling layers| 00:00 | I know people who never work with more
than one layer in their InDesign document,
| | 00:04 | and they manage all their objects
using Send to Back, and Bring to Front.
| | 00:08 | Now, there's nothing wrong with that,
other than it will eventually drive you
| | 00:11 | insane, especially in a complicated layout.
| | 00:14 | No, no; it's much better to create
multiple layers in your document, and then use
| | 00:18 | them to organize your objects.
| | 00:21 | Every document starts
with a layer called layer 1.
| | 00:24 | You can see that by opening the
Layers panel here in the dock.
| | 00:27 | There's layer 1, and all my
objects are currently on that later.
| | 00:32 | Let's start organizing this
document by creating more layers.
| | 00:35 | You can do that in a couple different
ways. You could go to the Layers panel
| | 00:38 | flyout menu, and choose New layer, or you
could just click on the New layer button
| | 00:43 | at the bottom of the Layers panel.
| | 00:45 | When I make a new layer, I prefer it
to hold on the Option key or the Alt key
| | 00:49 | when I click on this button. That way
it forces InDesign to open a New layer
| | 00:53 | dialog box, and I can name my layer.
| | 00:55 | I am going to call this Text, I will
quick OK, and then make another one.
| | 01:00 | I am going to call this Graphics.
| | 01:02 | I will click OK by
hitting the Enter key, or Return,
| | 01:06 | and I now see that I have three layers.
| | 01:09 | So how do I get my objects
onto those layers?
| | 01:12 | Well, I will select one
of my objects on my page,
| | 01:15 | and you'll see that in the Layers
panel, this little blue square shows up.
| | 01:19 | That little blue square is a proxy for
whatever is selected on the page right now,
| | 01:24 | and I can drag that blue square
from layer 1 up onto the Text layer.
| | 01:30 | When I let go, we can see that the blue
square turned into a red square, and the
| | 01:35 | object changed its color as well.
| | 01:37 | The object itself didn't change,
but the frame edge highlighting did.
| | 01:42 | The edge highlighting always
reflects the color of the layer.
| | 01:46 | The Text layer right now is red,
so this is red.
| | 01:49 | Once again, this color changed does not change
how this document will print, or export to PDF;
| | 01:54 | it only changes it onscreen for reference.
| | 01:57 | Okay; let's go move the other text frames.
| | 01:59 | I will Click on this one, and Shift+Click
on these others, and then drag that
| | 02:03 | little proxy icon up to the Text layer.
| | 02:05 | Now let's handle our graphics.
| | 02:07 | I am simply going to select all of
these graphics by Shift+Clicking on them, and
| | 02:11 | drag that up to the Graphics layer.
| | 02:14 | When I move those images up onto the
Graphics layer, you can see that they moved
| | 02:18 | on to top of the text. Of course,
that's because the Graphics layer is sitting
| | 02:22 | on top of the Text layer.
| | 02:24 | So I'd like to move all of those graphics
down to below the Text layer, and I can
| | 02:28 | do that simply by clicking and
dragging the Graphics layer down, down, down
| | 02:32 | until I see the black bar
between Text, and layer 1.
| | 02:37 | I'll let go, and all the
graphics move down as well.
| | 02:41 | I see one more problem here, and that is
this orange frame should be between the
| | 02:45 | image and the graphic.
| | 02:47 | So I am going to select that frame,
and move it up to the Text layer.
| | 02:50 | But now it's sitting on
top of the text frame.
| | 02:53 | That's not what I want either.
| | 02:54 | I want to move it down, so it's
between that text frame, and the graphic.
| | 02:58 | So I will go back to my Object menu,
and choose the Arrange submenu, and I am
| | 03:02 | going to choose the Send to Back.
| | 03:04 | In this case, Send to Back doesn't
mean send behind all the objects; it just
| | 03:08 | means send to the back
of this particular layer,
| | 03:11 | so it goes all the way to the bottom of the
Text layer, which is behind that text frame,
| | 03:16 | and the Text layer is on top of the
graphics, so it looks perfect now.
| | 03:20 | So this is looking pretty good, but the
Layers panel gives us even more control.
| | 03:24 | For example, I can click on these eyeball
icons to hide and show objects on that layer.
| | 03:29 | If I click on eye next to the
Graphics layer, all the graphics disappear.
| | 03:34 | I will turn that back on,
and turn off the Text layer.
| | 03:37 | On a complicated layout, when you are
trying to manipulate certain objects, being
| | 03:41 | able to would turn off all the
non-important objects is really helpful.
| | 03:46 | Another thing you might do if in a
complicated layout is lock layers.
| | 03:49 | For example, I can click in the second
column next to the Text layer, and that
| | 03:54 | locks all of the objects on that layer.
| | 03:56 | I will talk about locking later in this chapter,
| | 03:59 | but you can see that anything that's
on a locked layer cannot be selected.
| | 04:03 | I simply can't click on them. But if I
click over here, I select the graphic on the
| | 04:08 | layer below the locked layer.
| | 04:09 | There are two more tricks about the
Layers panel that I want to point out.
| | 04:13 | One is, if I want to select all the
objects on a particular layer, I can hold
| | 04:17 | down the Option or Alt
key, and click on that layer.
| | 04:21 | So, for example, to select everything
that's on the Text layer, I would first
| | 04:25 | have to unlock it, and then Option+
Click or Alt+Click on the Text layer.
| | 04:29 | That selects all the objects on that layer.
| | 04:32 | The second trick I want to point out
to you is that you can double-click on a
| | 04:35 | layer to open the Layer Options dialog box.
| | 04:38 | This offers all kinds of options. For
example, I can change the Name, the Color,
| | 04:43 | or even various behaviors.
| | 04:44 | For example, I am going to turn off
the Print Layer checkbox. Now with this
| | 04:49 | layer will display on screen, but if I
print, or export a PDF, it won't be there.
| | 04:54 | That text will just disappear.
| | 04:56 | I will click OK, and you can see an
indication of that, because the word text --
| | 05:00 | the name of the layer -- is in Italic.
Italic layers mean they're nonprinting.
| | 05:06 | As you can see, building and using
layers isn't required, but it really helps
| | 05:09 | you organize your documents.
| | 05:11 | But whether you use lots of layers, or
only one, the Layers panel has one more
| | 05:15 | trick up its sleeve: it lets you see and
manipulate your stack of objects inside
| | 05:20 | the layer by clicking
this little twirly triangle.
| | 05:23 | In the next movie, I'll explain
how best to use that newfound power.
| | Collapse this transcript |
| Managing objects in the Layers panel| 00:00 | As we saw at the end of the last movie,
InDesign provides a list of every object
| | 00:04 | on each spread in the Layers panel.
| | 00:06 | You can find that by going up to the
Layers panel, and clicking on the little
| | 00:09 | twirly triangle next to the layer name.
| | 00:12 | At the end the last movie, I reverted
my document, so now I'm back to the
| | 00:16 | original document that has
only one layer in it.
| | 00:19 | So why don't I go ahead and create one more
layer by Opt+Alt+Clicking, and typing Text in it.
| | 00:24 | I'll click OK by pressing Return or
Enter, and I'm going to move all of my text
| | 00:29 | frames up onto that layer.
| | 00:32 | The names listed under the layer in the
Layers panel give me a clue about what
| | 00:36 | the object is. For example, rectangle
is going to be one of the unassigned
| | 00:40 | rectangular shapes on my page.
| | 00:42 | Text frames are a little bit different.
| | 00:44 | Text frames listed in the Layers panel
shows you a little piece of the story;
| | 00:48 | just the beginning of the story,
so you can identify what's what.
| | 00:52 | Graphics, on the other hand,
actually list out the name of the picture;
| | 00:55 | the name of the file as it appears on disk.
| | 00:58 | So in this case, I want to place
all my text frames on my new layer,
| | 01:02 | so I am going to select
them in the Layers panel.
| | 01:05 | I'll select the first one, and then
hold down the Command key on the Mac, or
| | 01:08 | Control key on Windows,
and select the others.
| | 01:12 | The Command or Control key means select
discontinuous items in a list; that is,
| | 01:16 | items that are not next to each other.
| | 01:19 | Now I can drag all of these up to the
Text layer, but first I have to open the
| | 01:23 | Text layer twirly triangle,
so that it can receive them.
| | 01:26 | I'll drag them up until I see that dark
black bar, let go, and all of them are
| | 01:32 | now moved up to the Text layer.
| | 01:33 | I am also going to move
this orange frame down here,
| | 01:38 | so I select it on my page, and I can see
that it's highlighted -- it has this little
| | 01:42 | blue Proxy square there --
| | 01:44 | and that's how I know which
item it is inside my Layers panel.
| | 01:48 | It might actually be helpful for me to
change this from rectangle to some other
| | 01:51 | name, and you can do that in the Layers
panel by click, pause, clicking on it.
| | 01:56 | I know that sounds a little bit strange,
| | 01:59 | but that's the standard for renaming
things. Click, pause, and then click. It
| | 02:03 | highlights, and I am going
to this call this orange box.
| | 02:07 | That way I'll always know what it is.
I'll press Enter, or Return, and now I can
| | 02:11 | drag this up to my Text layer as well.
| | 02:14 | Unfortunately, I dragged a little bit
too high, so it's on top of this text
| | 02:18 | frame. I'll drag it down a little bit, so
it's underneath that text frame. Here we go.
| | 02:24 | If you're familiar with Adobe
Illustrator, you probably know that Illustrator
| | 02:27 | calls each of these things sublayers.
| | 02:29 | I don't understand why;
| | 02:30 | to me, they're just Objects.
Objects on a layer.
| | 02:33 | There are few more things I can do inside
the Layers panel that I want to show you.
| | 02:38 | First, if I can't easily
select an object on the page --
| | 02:41 | for example, perhaps it's behind
other objects, and it makes it difficult to
| | 02:44 | select -- it's easy to select just by the
clicking on this little box on the right column.
| | 02:49 | So, for example, this selects that
text frame, or if I want to select this
| | 02:52 | image, I can simply click on that,
and that image is selected on the page.
| | 02:57 | Also, I can hide objects on the page just by
clicking on the little eyeball next to them.
| | 03:02 | So, for example, if I don't want to see
this Studying at Roux text frame, I can
| | 03:06 | simply click that button, and it disappears.
| | 03:09 | That way I don't accidentally click on it,
and I can work on objects that are behind it.
| | 03:14 | Click the button again, and it comes back.
| | 03:17 | As you can probably tell, I'm a fanatic
for having total control over each and
| | 03:21 | every object on my page.
| | 03:23 | After all, without control,
how can you manage your design?
| | 03:27 | This ability to expand the Layers panel
will really help you, especially when
| | 03:31 | you're working with complex layouts.
| | Collapse this transcript |
| Grouping and locking objects| 00:00 | When you have two or more Objects
that need to stay together on your page,
| | 00:04 | consider grouping them.
| | 00:06 | For example, I am going to zoom in on
this page, this flyer document from my
| | 00:09 | exercise folder, and I see that I have two
different frames here: this frame, and this frame;
| | 00:15 | this one has text on a path.
| | 00:17 | I don't want one to move without the
other, so I am going to select one, and then
| | 00:21 | Shift+Click on the other.
| | 00:22 | They are both selected, and now I'm
going to go to the Object menu, and choose
| | 00:26 | Group, or press Command+G or Control+G.
You can always tell a group on your page,
| | 00:31 | because it has a dashed line;
dashed lines mean these are a group,
| | 00:36 | and if I drag one of those objects,
the other object moves too. They
| | 00:40 | always move together.
| | 00:41 | In fact, InDesign treats
this group as a single object.
| | 00:46 | Grouping is great, but it does come with
one limitation that you should know about.
| | 00:50 | All the objects in a group have to be
on the same layer. If they're not on the
| | 00:54 | same layer, grouping them
will put them on the same layer.
| | 00:57 | So unfortunately, you sometimes have to
give up one form of organization, layers,
| | 01:02 | for another, grouping.
| | 01:04 | Another thing you might want to do on
the objects on your page is lock them.
| | 01:08 | While this group is selected, I'll go
to the Object menu, and choose Lock, or
| | 01:12 | press Command+L or Control+L. Now if I try
and I click and move this group, or the
| | 01:17 | objects inside of it, it doesn't move.
| | 01:19 | In fact, I can't even select it. I'm
clicking, and dragging; clicking, and clicking,
| | 01:23 | and it simply will not be selected.
| | 01:26 | I'll go ahead and do the
same thing to this text frame.
| | 01:28 | I'll select it, go to Object, choose
Lock, and you can see that it deselects,
| | 01:33 | because objects that are
locked cannot be selected.
| | 01:36 | Now, if I do want to unlock
these Objects, how do I do it?
| | 01:39 | Well, there's a couple ways.
| | 01:41 | One is to go to the Object menu, and
choose Unlock All on Spread, or press
| | 01:45 | Command+Option+L, or Control+Alt+L. That
unlocks everything on the spread, so you
| | 01:51 | can start moving it again.
| | 01:52 | Let's go ahead and lock those,
because I want to show you a different way.
| | 01:55 | The second way you can unlock objects is
to click on the little lock icon that's
| | 02:01 | attached to the object.
| | 02:02 | Right now you can't see that lock
icon, because we're in Preview mode.
| | 02:06 | All of the adornments attached to
objects are invisible in Preview mode.
| | 02:10 | But if I press the W key to jump out
of Preview mode, you'll see this little
| | 02:15 | tiny blue lock icon in the upper
left corner of each of these objects.
| | 02:19 | If I place my cursor on top of that
lock icon, the cursor changes to indicate
| | 02:24 | that when I click, it will unlock an Object.
| | 02:27 | I'll go ahead and click it, and
you can see that it unlocks it.
| | 02:31 | The third way to handle locked
objects is in the Layers panel.
| | 02:34 | I'll go ahead and open the Layers panel, and
twirl open the type layer that I see right here.
| | 02:39 | You can see that this group
in the type layer is locked.
| | 02:43 | It has a lock icon in the lock column.
| | 02:45 | I'll open up that twirly for the
group, and you can see that there are two
| | 02:48 | objects in this group; those are the
two that I just grouped together, and they
| | 02:52 | both have lock icons next to them.
| | 02:54 | To unlock this group, I simply
click on the lock in the lock column,
| | 02:58 | and now all of those
objects are unlocked.
| | 03:00 | That means I can come over here,
and select the group again.
| | 03:03 | You don't have to lock
or group objects,
| | 03:05 | but these features do make it much
easier to lay out your projects faster.
| | Collapse this transcript |
| Nesting objects| 00:00 | Here's a wacky concept that you have
to get into your head before you really
| | 00:03 | become an InDesign expert:
| | 00:05 | you know that text and graphics both
go inside frames, right? But did you know
| | 00:09 | that you can actually put
any object inside of a frame?
| | 00:12 | In fact, you can put a whole
frame inside another frame.
| | 00:15 | This concept is called nesting, and it
turns out to be crucially important for a
| | 00:20 | wide range of effects.
| | 00:21 | Let me show you an example.
| | 00:23 | I'll select this text frame inside this exercise
file, and I'm going to cut it to the clipboard.
| | 00:30 | Now I'm going to select this circle
that has text on it, and I'm going to go
| | 00:33 | back to the Edit menu, and I won't
choose Paste; I'm going to choose Paste Into.
| | 00:38 | Paste Into is the main trick for
nesting one object into another.
| | 00:43 | You'll see that I now have a text
frame inside of this circular frame.
| | 00:48 | If I want to select that frame inside
the other frame, the easiest way to do it
| | 00:52 | is to go to control panel, and
select the Select content button;
| | 00:56 | that's the little button that
looks like a Martian with a down arrow.
| | 01:00 | That means select the content
inside the frame.
| | 01:03 | If I want to go back and select the container
of the frame -- the circular frame --
| | 01:08 | I would click the one that has the up arrow.
| | 01:11 | Now, this is sort of a frivolous example,
because you probably wouldn't put that
| | 01:14 | text inside this circle.
| | 01:15 | Let me show you an example of a cool
special effect that you might want to do.
| | 01:19 | I'm going to zoom in on this text down
here, and I'll select this text frame, go
| | 01:24 | to the Type menu, and choose Create Outlines.
| | 01:27 | Now I don't have a text frame anymore;
I have an outline of this word, and I'm
| | 01:32 | going to move this text frame
up, so that it sits behind it.
| | 01:36 | I'll resize it, so that it fits
right on top of that word, Roux.
| | 01:39 | Let's go ahead and put this text frame
behind this blue word by going to Object
| | 01:43 | > Arrange > Send to Back. All right!
| | 01:47 | Now, I'm going to copy this; instead of
cutting it, I'll simply go to Edit menu,
| | 01:51 | and Copy this to the clipboard,
select my outlines, and use Paste Into.
| | 01:57 | Now, it doesn't look like anything
changed, because when it pasted, it pasted an
| | 02:01 | exactly the same place, so
its pin registered together.
| | 02:04 | Now, to create my special effect, I
need to select the text frame that's
| | 02:08 | inside that blue word.
| | 02:10 | So to do that, once again, I go up,
and I click the Select Content button.
| | 02:15 | Now the text frame is selected inside there,
and I'm going to change that text to white.
| | 02:20 | I'll go to the Swatches menu, click the
formatting effects text button -- that's that
| | 02:24 | little T -- and click Paper.
| | 02:27 | You can see that the text inside that frame is
now white, but the text behind it is still black.
| | 02:32 | Cool effect, huh?
| | 02:33 | Well, it doesn't have to stop there.
| | 02:36 | I'll go ahead and select both of these
objects; both the text frame, and that
| | 02:40 | blue outline, and I'm
going to group them together.
| | 02:44 | If you want a nest more than one object
into another object, you have to group
| | 02:47 | them, because technically, you can
only nest single objects into a frame.
| | 02:52 | So I group these together, I'll cut
them to the clipboard, I'll draw out an
| | 02:57 | elliptical frame, and then I'll use Paste Into.
| | 03:02 | So now I have an ellipse, and inside
the ellipse, I have a group; inside the
| | 03:08 | group, I have some blue text; and
then inside that blue text, I have a text
| | 03:12 | frame with white text.
| | 03:14 | As you can see, nesting object inside
other objects can really get out of hand,
| | 03:18 | but it's extremely helpful for a wide
range of really cool layout effects.
| | Collapse this transcript |
| Aligning and distributing objects| 00:00 | Whenever you have two or more objects
on your page, you need to think about the
| | 00:04 | relationship of those two objects.
| | 00:06 | Stacking order is one kind of
relationship; that is, which is in front of the
| | 00:09 | other. Another kind of relationship is
aligning, or distributing objects on the page.
| | 00:14 | For example, how do you make objects
align just along their left edges?
| | 00:19 | Let's zoom in on this page, and
see if we can line up these objects.
| | 00:23 | As I drag one of these objects
around, you will see little green lines
| | 00:27 | flashing on and off.
| | 00:29 | Those green lines are smart guides, and smart
guides make it really easy to line up objects.
| | 00:35 | When I drag this image, so that it's
aligned with the image on its left, I see a
| | 00:39 | green line across the top of both objects.
| | 00:42 | Now I know that they are snapped
right to align along their tops.
| | 00:46 | I will drag this image over to the left,
and when they are aligned on their left edge,
| | 00:51 | I see a green line going
right through their centers.
| | 00:54 | Technically this means their centers
are aligned, but because these objects have
| | 00:58 | the same width, I know that means
their left edges are also aligned.
| | 01:02 | Finally, I will drag the fourth object
over, until I see two green lines; one
| | 01:06 | going through the middle of the one above
it, and one going across the top of the
| | 01:10 | object to the left of it.
| | 01:11 | That means it's aligned with those objects.
| | 01:14 | You can also use smart guides to adjust
the distribution of space between objects.
| | 01:19 | For example, I will drag this object up
until it's aligned with the one to its left.
| | 01:24 | Now I am going to drag the one between these
to the left and right until I see two arrows.
| | 01:30 | You see those green arrows just below
the images? They are double headed arrows;
| | 01:35 | a little bit hard to see,
but when you see those,
| | 01:37 | that means that there is equal space to
the left and to the right of this image.
| | 01:42 | Smart guides are great for aligning two
or three things, but if you have a lot
| | 01:46 | of objects to align,
| | 01:47 | it's much easier to use the Align panel.
| | 01:49 | For example, let's say I want to align
all these images up against their left
| | 01:54 | edges with one click.
| | 01:55 | I'll move them around, so that they're
roughly in the right place, and then I
| | 02:01 | will select all four of them by
Shift+Clicking.
| | 02:04 | Then I'll go to the Window menu,
choose Object and Layout > Align.
| | 02:10 | The Align panel gives me a number of options
for aligning and distributing my objects.
| | 02:14 | It's all very visual; very intuitive.
| | 02:17 | To align these on their left edges, I
would click on this first button: Align Left.
| | 02:22 | One click, and they're all aligned.
| | 02:24 | Next I want to distribute the space
between them equally, so I have the same
| | 02:27 | amount of space between each one.
| | 02:29 | To do that, I simply click on
the Distribute Spacing button.
| | 02:33 | The top and bottom objects remain
exactly where they are, and all the other
| | 02:37 | objects move, so that we
have equal space between them.
| | 02:40 | Sometimes it's helpful to specify a specific
amount of space that you want between them.
| | 02:45 | For example, maybe I want exactly
one centimeter between each of these objects.
| | 02:49 | To do that, I need to turn on the Use Spacing
checkbox, and I will specify my amount here.
| | 02:55 | I will say I want 1cm.
| | 02:57 | Now I'll click on the Distribute
Spacing again, and I know that I have exactly
| | 03:01 | one centimeter of space
between each object.
| | 03:04 | Here's one more alignment trick. I
will zoom out a little bit, with the
| | 03:08 | Command+Hyphen, or Control+Hyphen
to zoom out.
| | 03:12 | I am going to move these objects around
to get them out of alignment again, and
| | 03:15 | this time I want to align
them right on this second one.
| | 03:18 | I will select all four of these, and I
could go over to the Align panel, and click
| | 03:23 | on the Align to Top,
| | 03:25 | but the Align to Top always aligns
to the topmost object of that group.
| | 03:29 | Align to Bottom always aligns to
the bottommost object on that group.
| | 03:33 | What if I want to align to one
of the objects in the middle?
| | 03:36 | I want this one to stay
stationary, and the other ones to move.
| | 03:40 | To do that, I need to go over to the
Align panel, and click Align to Key Object.
| | 03:46 | This is a new feature in
InDesign CS6: Align to Key Object.
| | 03:50 | You'll see that one of these objects
is selected: this one in the lower right
| | 03:54 | corner. It has that big,
thick, red line around it.
| | 03:57 | But if I click on a different
object in this group -- there we go --
| | 04:00 | now it's highlighted.
| | 04:01 | So any alignment I make now
will align to that object.
| | 04:05 | I'll choose Align to Top;
| | 04:07 | there we go. All four of
them align to this object.
| | 04:12 | I love InDesign, because it gives me
incredibly precise control over every object
| | 04:16 | on my page, which is exactly what I
need to build high-quality documents.
| | Collapse this transcript |
| Understanding text wrap| 00:00 | How do you get text to run
around something else on your page?
| | 00:04 | For example, I'll zoom in here, and I
would really like this text to wrap
| | 00:07 | around this guy's head. How can I do that?
| | 00:11 | Well, I need the Text Wrap panel,
and I can find that in the Window menu.
| | 00:16 | I'll choose Text Wrap, I'll select the
image that I want to cause the wrap, and
| | 00:21 | then I'm going to choose one
of these Text Wrap options.
| | 00:23 | But first, I want to point out that this
image is actually underneath the text frame.
| | 00:28 | That's okay;
| | 00:29 | InDesign can do Text Wrap whether the
image is behind the frame, or on top of it.
| | 00:35 | The first button in the
Text Wrap panel means no wrap.
| | 00:38 | There's no Text Wrap going on right now.
| | 00:40 | If I click the second button, it means
wrap around the graphic frame; the whole frame.
| | 00:45 | Now, that's probably appropriate
when you have a rectangular image,
| | 00:49 | but in this case,
it completely doesn't work.
| | 00:52 | So I want the third button:
wrap around the object's shape.
| | 00:56 | It doesn't look like anything changed
here, but technically, InDesign is now
| | 00:59 | wrapping around the shape of the object.
| | 01:01 | Unfortunately, the object is the
image itself, and the image is a rectangle.
| | 01:05 | Images are always rectangular,
| | 01:07 | so we need to tell InDesign, don't
wrap around the image; wrap around
| | 01:12 | what's inside the image.
| | 01:13 | That is, the figure
of this person's head.
| | 01:16 | We can find that by changing
the Contour Options pop-up menu.
| | 01:20 | Right now it's set to Same as Clipping.
| | 01:23 | This image doesn't have a
clipping path, so that doesn't help us.
| | 01:26 | We could choose Graphic Frame,
| | 01:27 | and that definitely wouldn't help us,
because the frame is a big rectangle too.
| | 01:31 | No; what we want is Alpha
Channel, or Detect Edges.
| | 01:35 | Detect Edges asks InDesign to find
the edge around this person's head.
| | 01:41 | But in this case,
we have an Alpha Channel.
| | 01:43 | Alpha Channel is a technical
way of saying the transparency.
| | 01:47 | This image has transparency.
| | 01:48 | It's obvious;
you can see right behind him,
| | 01:50 | so we can choose Alpha Channel.
| | 01:52 | As soon as we choose that, we can see
that the text wraps around the Alpha
| | 01:57 | Channel of the image.
| | 01:58 | This thin red line is the
text wrap contour.
| | 02:02 | It's slightly pushed away from his head,
because there's a value applied here in
| | 02:07 | the Text Wrap panel.
| | 02:08 | Right now it's set to 3.175 millimeters.
| | 02:12 | If I set this down to 0, and hit Enter,
you can see that it goes all the way in
| | 02:16 | to the edge of his hair.
That's too tight,
| | 02:19 | so let's bring it out.
| | 02:20 | If I bring it to 10 millimeters, it's way
out here away from him. That's too wide,
| | 02:26 | so let's bring it back to
about 3 millimeters.
| | 02:28 | The cool thing about this text wrap
contour is that we can actually edit it
| | 02:32 | manually if we need to.
| | 02:34 | We'll do that by choosing the Direct
Selection tool, and as soon as we do that,
| | 02:38 | we see all the points on that path.
| | 02:41 | Obviously, moving those one
at a time is really a hassle,
| | 02:44 | so you're not going to want
to do that a lot,
| | 02:46 | but it's nice that you could. And you'll
see that as soon as you do that, the
| | 02:50 | Contour Type changes to
User-Modified Path.
| | 02:54 | Okay; let's look at some of the
other options in the Text Wrap panel.
| | 02:57 | I'm going to pan over here, so that I
can see this image, and I'll drag this
| | 03:01 | image, with the Selection tool, onto my
page. There we go; on top of this text.
| | 03:07 | I'm going to scale this down a little
bit, or I'll resize this a little bit,
| | 03:11 | so I can see text flows on both
the left side, and the right side.
| | 03:15 | That's a little bit weird.
| | 03:16 | A lot of people don't like having the text
flow on both the left and the right side.
| | 03:20 | But you can control that by going to
the Text Wrap panel, and change Wrap To,
| | 03:25 | from Both Right & Left Sides, to
just the Right, or just the Left Side.
| | 03:30 | However, the option that I
usually use is Largest Area.
| | 03:34 | Largest Area is nice, because if I move
this a little bit to the left, there's
| | 03:37 | more area on the right,
and so the text flows there.
| | 03:40 | If I move this over to the right, then
it flows around the left side of the image.
| | 03:45 | You can see this thin red
line in a rectangle around that.
| | 03:48 | Again, that's the text wrap contour, and
sometimes we want to have more text wrap
| | 03:53 | on one side than the other.
| | 03:55 | To do that, go to Text Wrap panel, turn
off this little link icon, and then you
| | 03:59 | can set the left, right,
top, and bottom separately.
| | 04:02 | For example, I'll change the bottom to 0.
| | 04:08 | Now the text flows a little bit closer.
| | 04:10 | Okay; what are these last two
buttons in the Text Wrap panel?
| | 04:13 | Well, the first one means
Jump over the Object.
| | 04:17 | That means there should never be any
text on the left or the right side.
| | 04:21 | Whenever I move this, you'll see
that the text flows right over it.
| | 04:24 | It jumps right over it.
| | 04:26 | The last button means
skip to the next column.
| | 04:29 | In this case, it's forcing the
text right out of that text frame,
| | 04:32 | but if I move this to the left column,
you'll see the text goes up to it, and then
| | 04:36 | forces it into the next column.
| | 04:38 | I find that both of these options -- the
jump over, or push to the next column -- are
| | 04:42 | really most helpful when laying out books.
| | 04:45 | So it's great that text wrap
forces text to run around an object,
| | 04:49 | but sometimes it can get you into trouble.
| | 04:51 | I'm going to move down here to the
lower right corner of this page, and I can
| | 04:55 | see that I have a caption, and I'm going to
move that caption down on top of the image.
| | 05:00 | What happened?
| | 05:01 | Where did the caption go?
| | 05:02 | Well, I can see that there's a little
red overset mark here, which means that
| | 05:06 | all of that text was
forced out of the frame.
| | 05:09 | The reason is,
this image has text wrap.
| | 05:12 | I need the text wrap to be on, because
I don't want this text up here to flow
| | 05:16 | on top of the image,
| | 05:17 | but I don't want the text
wrap to affect the caption here.
| | 05:21 | Fortunately, InDesign let's you
make an exception to text wrap.
| | 05:25 | So while this text frame is selected,
I'll go to the Object menu, and choose Text
| | 05:29 | Frame Options, and one of the options
hiding in here is Ignore Text Wrap.
| | 05:35 | When I turn that on, and click OK,
this text frame will never be affected by
| | 05:39 | text wrap on my page.
| | 05:40 | Now, these text wrap features do take
some getting used to, but I love the way
| | 05:45 | that the text wrap feature let's me
precisely manage where my text will and
| | 05:49 | won't flow on the page.
| | Collapse this transcript |
| Using anchored objects| 00:00 | This graphic has been placed on my
page, and given a text wrap, so that text
| | 00:04 | flows right past it.
| | 00:05 | If I double-click in this text to switch
to the Type tool, I can drag over it, and
| | 00:09 | you can see that the text is
one stream, right over the image.
| | 00:14 | It looks pretty good right now,
but what if I need to edit the text?
| | 00:18 | It's imperative that that graphic and
the caption underneath it stay together.
| | 00:22 | But if I come over here and just grab some
text and delete it, well, we have problems.
| | 00:28 | The text moved, but the graphic didn't.
How can we tell the picture to move
| | 00:32 | along with the text?
| | 00:34 | Well, to do that we need an
inline, or an anchored object.
| | 00:37 | Let me undo what I just did with a
Command+Z, or Control+Z, and I am going to turn
| | 00:42 | this object into an inline object.
| | 00:45 | To do that, I am first going to
give it its own line to sit on.
| | 00:48 | So I'm going to click at the end of
this paragraph, and just press a Return.
| | 00:52 | I want that graphic to be on
that line, as though it were text.
| | 00:56 | To do that, I am going to choose the
Selection tool, click on the image itself,
| | 01:00 | and cut it to the clipboard.
| | 01:03 | Now I am going to switch back to the
Type tool, place the cursor inside that
| | 01:06 | blank line, and paste.
| | 01:10 | When you cut or copy with the Selection
tool, and then paste with the Type tool,
| | 01:14 | the object becomes an inline object;
| | 01:17 | it's sitting there right on that paragraph.
| | 01:19 | Now, it doesn't look quite right, of course,
and that's because this paragraph has
| | 01:23 | an absolute leading. I talk
about leading in a later chapter,
| | 01:27 | but for right now, I am just going to
point out that I can drag over that line
| | 01:31 | with the Type tool, and change the
leading here in the control panel from an
| | 01:35 | absolute 15 to an Auto leading.
| | 01:38 | Auto leading is great for inline objects,
because it says, just take however much
| | 01:43 | space you need; I'll move
the text around to make it fit.
| | 01:45 | Also, I am going to make this paragraph
centered by going to the right side of
| | 01:50 | my control panel, and clicking
on the center alignment button.
| | 01:54 | That looks much better.
| | 01:56 | Now this object is inline, so if I
make that same kind of edit, like taking out
| | 02:01 | a bunch of text, it flows with the text.
| | 02:04 | If I add text -- I'll just
type a bunch of gibberish here --
| | 02:07 | you'll see that as I'm typing,
it's moving down.
| | 02:10 | Let's look at another example.
| | 02:12 | I am going to press Option+Page Down,
or Alt+Page Down, to go to my next spread,
| | 02:16 | and I'm going to zoom in
on this part of this page.
| | 02:20 | I have an object out here in the margin,
and I'd like to make that an inline object.
| | 02:24 | I want to put it right
into this paragraph up here.
| | 02:27 | Instead of using the cut and
paste method, I am going to show you a
| | 02:30 | slightly different method.
| | 02:32 | See this little blue box in the upper
right corner? If I hold down the Shift
| | 02:35 | key on my keyboard, and drag that box
into the text, you'll see a black line
| | 02:41 | show up wherever I drag.
| | 02:42 | That black line means this is where
it's going to be anchored, or placed inline,
| | 02:47 | as soon as I let go of the mouse button.
| | 02:49 | For example, if I put it right before
this word, Memling, you will see that it
| | 02:53 | gets anchored, or inline right there.
| | 02:55 | Let me pan down a little
bit, so we can see this better.
| | 02:59 | Now, in this case, I want the object to
be really small, like a little icon before
| | 03:02 | that word, so I'm going to drag
this down to be the proper size.
| | 03:07 | Once again, I am going to switch back
to the Type tool, place my cursor in the
| | 03:11 | text, and just type a little gibberish.
| | 03:13 | That icon moves along with the text,
because it really acts as though it were a
| | 03:18 | single character in the flow.
| | 03:20 | But what if I don't want that object
inline inside the text moving around?
| | 03:25 | What if I want to have it outside of the text
frame, in the margin where it was originally?
| | 03:29 | To do that, I need to turn it into an
anchored object; not an inline object.
| | 03:34 | I am going to press Command+Z or Control+Z
a few times to go back to where it was
| | 03:38 | before I anchored it,
| | 03:39 | and I am going to move it into position.
| | 03:43 | Now, instead of holding down the Shift
key while I drag the little anchor box,
| | 03:46 | I'm simply going to drag the
anchor box with no modifier key.
| | 03:50 | I still get that little black bar,
but it does something different.
| | 03:53 | I am going to let go of this right
before the word V, at the beginning of the
| | 03:57 | paragraph, and when I do that, you'll see that
that little blue box turns into an anchor icon.
| | 04:03 | That anchor icon says that it's an
anchored object in the text flow, and its
| | 04:07 | anchored right into that
position I placed it, before the T.
| | 04:11 | While inline objects can only be inside
of a text frame, an anchored object can
| | 04:15 | go anywhere I want. I can drag this
anywhere; outside the frame, inside the
| | 04:20 | frame, doesn't matter,
| | 04:21 | and the cool thing is, as I type in here --
I'll just type a bunch of gibberish --
| | 04:25 | you'll see that that thing keeps moving down.
It's anchored to that position in the text.
| | 04:31 | If I delete all of that, it moves back up.
| | 04:34 | Now I am going to use the Selection tool
to drag a little bit further in, so it's
| | 04:39 | covering up some of that text.
| | 04:41 | I obviously don't want it to cover up
the text entirely, so I'll go to the
| | 04:44 | Window menu, choose Text Wrap, and
turn on text wrap for that object.
| | 04:48 | I want the text to flow around the object,
so that I can see the icon, and the text.
| | 04:53 | Well, the text wrap is doing
something very strange here.
| | 04:57 | This is a quirk in InDesign. You just
have to understand how it's going to work,
| | 05:01 | and you can work around it.
| | 05:03 | When you apply a text wrap to an
anchored object in InDesign, you have to
| | 05:06 | understand that it only applies to
lines after the line that it's anchored in.
| | 05:11 | So in this case, this icon is anchored
before that letter T, and so it will not
| | 05:16 | apply to that whole line.
| | 05:18 | It does apply to all the lines after it,
but it doesn't apply to that line, or
| | 05:22 | any lines before where it's anchored.
| | 05:24 | So if I want this to work, I need to
reposition the anchored object, and I am
| | 05:28 | going to do that by dragging that
little anchor icon out, and I am going to put
| | 05:32 | it at the end of the previous paragraph.
| | 05:36 | Technically, it's anchored after this word,
Ursula, but it's still positioned out here.
| | 05:41 | So as this text is edited, the icon
will continue to flow with it, but it
| | 05:45 | text wraps properly.
| | 05:47 | One last thing I should point out about
these anchored objects. and that's how to
| | 05:50 | get them unanchored again.
| | 05:52 | To do that, I simply select the Anchored
Object, go to the Object menu, and choose
| | 05:57 | from the Anchored Object submenu, Release.
| | 06:00 | That object is now no
longer anchored in the text.
| | 06:03 | Now, there is a lot more you can do
with anchored and inline objects in your
| | 06:06 | documents, but the important thing is
to see that you can quickly set up these
| | 06:10 | relationships between text and objects.
| | Collapse this transcript |
|
|
11. Transforming ObjectsDuplicating objects| 00:00 | In the old days, when we needed a copy of
something on our page, we used to drive
| | 00:04 | downtown and buy a photostack.
| | 00:07 | Fortunately, it's a little easier now.
| | 00:09 | There are more than a dozen ways to
duplicate your text frames, graphic frames,
| | 00:13 | and other items in
InDesign. Here are just a few.
| | 00:16 | My favorite way to make a duplicate of
an object in InDesign is to hold down the
| | 00:20 | Option or Alt key, and drag an object.
| | 00:24 | Here I'll hold down the Option or Alt
key, and drag this caption down, and when I
| | 00:29 | do that, it automatically
makes a duplicate of it.
| | 00:31 | Now in this case, I'd like my duplicate
to be exactly lined up with the first.
| | 00:36 | So I am going to delete that, and
instead of holding down Option or Alt, I am
| | 00:40 | going to hold down Option and Shift, or
Alt and Shift, and drag this object down.
| | 00:45 | That way it stays in perfect
alignment horizontally, or vertically.
| | 00:50 | Now I could edit that text if I wanted
to, but I am going to move on, and show
| | 00:53 | you another way to duplicate that object.
| | 00:55 | I am going to delete this one that
I just created, go back and select
| | 00:59 | that caption one more time, and
I'll duplicate it by going to the Edit
| | 01:02 | menu, and choosing Duplicate.
| | 01:04 | Now, an interesting thing happened.
| | 01:07 | Not only did it make a duplicate of
that object, but it did it with exactly the
| | 01:11 | same offsets as the last duplication I did.
| | 01:14 | It remembered; isn't that cool?
| | 01:16 | That turns out to be
really useful in other ways, too.
| | 01:18 | For example, if I go to another page,
like page 3, and select this frame, and
| | 01:24 | choose Duplicate, it moves it in exactly
the same way as it did on the first page.
| | 01:30 | Okay, let's go back to page 1,
and do a couple more duplications.
| | 01:33 | I am going to select this
white line at the top of the frame.
| | 01:37 | It's on the master page, so I need to
override it by holding down Command+Shift,
| | 01:41 | or Control+Shift on Windows.
| | 01:42 | When I click on it, it overrides
it, and now lets me duplicate it.
| | 01:47 | This time I want a whole
bunch of these lines,
| | 01:49 | so I am going to go to the Edit
menu, and I won't choose Duplicate, but
| | 01:52 | instead, Step and Repeat.
| | 01:55 | Step and repeat is a great way to make
a lot of duplicates at the same time.
| | 01:59 | You can either make it in
one direction, or as a grid.
| | 02:02 | In this case, I only want it to go down
the page, so I'll turn off Create a grid,
| | 02:06 | and I am going to specify how
far down I want each line to go.
| | 02:10 | I am just going to type in 1 centimeter
here. It'll convert that to pixels for
| | 02:14 | me, and I'm going to start increasing
this account by clicking on this up arrow.
| | 02:18 | As I do, it starts adding duplicates.
| | 02:22 | I'll just take a shortcut here, and
type in how many I want; how about 25?
| | 02:26 | Hit Tab to jump to the next field, and you
see that it fills the whole page with these lines.
| | 02:31 | I'll click OK, and I can
see all my lines are created.
| | 02:34 | Let's try another step and repeat.
| | 02:36 | This time I'm going to create my own
object. Maybe I'll just make a square on
| | 02:40 | my page, and I'll fill it with this
purple color, or you can pick any color you
| | 02:43 | want out of here; maybe something a little
bit better, like this yellow. How about that?
| | 02:47 | Looks nice.
| | 02:48 | Now I am going to duplicate this,
| | 02:50 | so I'll select it with the Selection tool,
go to Step and Repeat, and this time, I
| | 02:54 | am going to turn on Create as a grid,
and you'll see that it remembered that I
| | 02:58 | want 25 at these same offsets, but
that's not what I want to do here.
| | 03:02 | I am going to start off by just doing a
grid of 2 by 2, and I am going to set the
| | 03:07 | Offsets to about 100 pixels each.
| | 03:09 | I am just tabbing through
from one field to the next.
| | 03:14 | That looks pretty good, but I'd like a
little bit more space, so maybe I'll up
| | 03:18 | this to about 110 pixels.
| | 03:19 | There we go; looks good.
| | 03:23 | Once I have the effect the way I want, I
can increase the Rows, maybe by 6 by 6, or
| | 03:28 | perhaps one more column; 6 by 7. Looks good.
| | 03:32 | Click OK, and I have my grid.
| | 03:35 | Now, everybody knows you can do copy and
paste to make a duplicate of an object,
| | 03:39 | but sometimes it doesn't
put it exactly where you want.
| | 03:41 | For example, I'll deselect everything
here with a Command+Shift+A, or
| | 03:45 | Control+Shift+A on Windows, and then I'll
select my image, and one of these captions.
| | 03:50 | I am going to go to the Edit menu, and
choose Copy, and then go to page 2, and paste.
| | 03:56 | But when I paste, it always centers
it on my screen; not on the page, but
| | 04:01 | centers it on the screen.
| | 04:03 | In this case, that's not where I want
it. I want it to be in exactly the same
| | 04:06 | place as it was on page 1.
| | 04:08 | So I'll delete that, and instead of
choosing Paste, I am going to choose
| | 04:12 | something slightly different.
| | 04:14 | Here in the Edit menu,
I'll choose Paste in Place.
| | 04:17 | Paste in Place tells InDesign to remember
where it was when I copied it, and put
| | 04:21 | it in exactly the same place.
| | 04:24 | Are you ready for one more way to
duplicate your objects? All right!
| | 04:27 | I am going to deselect
everything, and select this caption.
| | 04:31 | Now I am going to go up the Control panel,
and in the Y field that determines how
| | 04:36 | far down on the page this object is, I
am going to replace this with a different
| | 04:40 | value; let's say 400 pixels. But
instead of hitting Enter or Return, like I
| | 04:45 | normally would to have InDesign move
it 400 pixels, I'm going to hold down
| | 04:49 | Option or Alt while pressing Return or Enter.
| | 04:53 | You remember what Option or Alt means, right?
| | 04:55 | It means make a duplicate of it, and
that's, in fact, exactly what's going to
| | 04:59 | happen here. Option+Return or
Alt+Enter moves it down, and duplicates it.
| | 05:06 | That Option+Enter or Alt+Enter trick
works in all the fields in the control
| | 05:09 | panel, which, as we'll see later in this
chapter, turns out to be really useful.
| | 05:14 | Knowing more than one way to perform
the same task in InDesign is helpful, not
| | 05:18 | just because you can impress your
friends, but because the more ways you know
| | 05:21 | how to do something, the more likely you
are to use the most efficient technique
| | 05:25 | in any given situation,
especially when under deadline.
| | 05:29 | In the next movie, we are going to look
at one more brand new in CS6 method for
| | 05:33 | duplicating objects, and this
one could knock your socks off.
| | Collapse this transcript |
| Collecting, conveying, and placing content| 00:00 | As you're working, you'll often find that you
need the same content in more than one place.
| | 00:04 | You know you can copy and paste it,
but sometimes that's clunky and slow,
| | 00:08 | especially if you need to grab a bunch
of frames from one document, and lay them
| | 00:11 | out differently in another document.
| | 00:13 | That's where the content collector shines.
| | 00:16 | I have my brochure document open
right now, and I want to grab some of this
| | 00:19 | content, and lay it out slightly
differently in a new document over here;
| | 00:23 | this letter-size flyer.
| | 00:26 | To do that, I am going to go
back to my brochure, and choose the
| | 00:29 | Content Collector tool.
| | 00:30 | That's the fifth tool over here in the
Tool panel, and when you click on it, or
| | 00:34 | press the letter B to select it, up comes the
content conveyor at the bottom of the screen.
| | 00:40 | This big gray box is where all the objects
are going to be stored temporarily, so
| | 00:45 | that I can place them in the other document.
| | 00:47 | Now, there is technically two tools
involved here: the Content Collector, which is
| | 00:52 | down here, and the Content Placer, over here.
| | 00:55 | You can also select those in the Tool panel,
just by clicking and holding for a moment.
| | 01:00 | Again, two tools: the Content Collector,
which lets me pull up objects into the
| | 01:04 | conveyor, and the Content Placer, which
will let me place those conveyor objects
| | 01:08 | down into my new document.
| | 01:10 | I want the collector tool right now, of
course, so I'm going to select that, and
| | 01:14 | then, when I place that on top of any
object inside my document, it highlights,
| | 01:18 | saying this is available
for putting into the conveyor.
| | 01:21 | I'll click on it, and you'll see
that it shows up in the conveyor.
| | 01:24 | There is various ways of getting objects
into the conveyor. One is by clicking;
| | 01:29 | another is by clicking and dragging.
| | 01:30 | For example, I'll click and drag on the
pasteboard over here, right over pretty
| | 01:34 | much everything on the
right side of that page.
| | 01:37 | And as soon as I let go of my mouse
button, you'll see all those objects are
| | 01:40 | added into my conveyor as a set.
| | 01:42 | It's a set of, in this
case, six different objects --
| | 01:45 | I could tell there are six, because
there is a little blue 6 at the top here --
| | 01:48 | and those six objects are in a set.
I'll talk about sets in just a moment.
| | 01:52 | I think I'll also grab this photographer,
and then let's jump to the next spread,
| | 01:56 | with an Option+Page Down, or Alt+Page Down.
| | 01:59 | Now in this case, I see there are three
images on the page that I'd like to move
| | 02:02 | into my conveyor. I am going
to do it slightly differently.
| | 02:05 | I am going to select the Selection
tool, and you'll notice that as soon as I
| | 02:08 | choose any other tool,
the conveyor disappears.
| | 02:11 | Those objects are still there; don't worry.
| | 02:14 | I am going to select all three of the
images that I want to collect, and then go
| | 02:17 | back to my Content Collector tool
by pressing B.
| | 02:20 | Up comes the conveyor, and now I'm
going to place all of those selected
| | 02:23 | objects into my conveyor by clicking
the little Load Content button in the
| | 02:28 | lower right corner.
| | 02:30 | When I click on that, up comes the Load
Conveyor dialog box, and you can see that
| | 02:33 | I could choose all of the objects on my
page, or even all of the objects on all
| | 02:37 | of my pages, and load them all into the
conveyor, or in this case, I am just going
| | 02:41 | to choose the Selection.
| | 02:43 | Click OK, and I get another
set, with three images in it.
| | 02:47 | That's good enough for now. Let's switch
over to our other document, and start placing.
| | 02:51 | It's a blank document. I'll press the
B key to switch to the Content Placer
| | 02:56 | tool, because that B key toggles between
the two tools, and now I need to choose
| | 03:01 | what I want to place.
| | 03:03 | When I have the Content Placer tool, I
can use the arrow keys on my keyboard to
| | 03:07 | move between each item in the conveyor.
| | 03:10 | So I'll hit the right arrow key, and you
can see that now I have this set of six
| | 03:14 | different objects. I'll hit right
arrow again, and I've got this photographer.
| | 03:18 | Now I'll press the left arrow key to go
back to that set, and the down arrow key
| | 03:22 | to go into this set.
| | 03:24 | This actually lets me look inside, and see
those six objects that are inside this set.
| | 03:28 | I'd like to get that black box over
there for a background, so I'll hit the
| | 03:31 | left arrow key a couple of
times to move over to it.
| | 03:35 | Now all I need to do is click and drag.
| | 03:38 | The object is always scaled
proportionally when I click and drag.
| | 03:42 | In this case, I actually
need it disproportionally;
| | 03:44 | I want it to fill the page.
| | 03:45 | So I am going to hit the V
key to jump my Selection tool.
| | 03:49 | Then I'll drag this out to fill the page.
| | 03:52 | Hit B again to jump back to the
conveyor, and let's place another image.
| | 03:57 | I like this one that I have loaded up.
Why don't I just click, and drag that out.
| | 04:00 | Now I've got a logo, and I am
not sure when I need the logo yet.
| | 04:07 | Let's go ahead and skip past that one.
| | 04:09 | This one I didn't actually mean to grab.
| | 04:12 | That was a mistake, so let's take it
out of the conveyor, or just throw it away
| | 04:16 | by hitting the Escape key. That just
dismisses it; don't need that one.
| | 04:19 | We are going to need this image,
probably up here somewhere, and this graphic
| | 04:24 | design text frame, we're going to click
and drag up here, and you can see that
| | 04:28 | scales it proportionally.
| | 04:30 | I should point out that as I am clicking, or
dragging, it's removing them from the conveyor.
| | 04:35 | That's because I have this
first mode selected in the conveyor.
| | 04:38 | There is three modes here: one
places, and removes it from the conveyor;
| | 04:42 | the next one places it, and leaves it
on the conveyor; and the third places it,
| | 04:47 | leaves it in the conveyor, but then
goes on to the next object in the conveyor.
| | 04:51 | Most of the time, you're going to
want to stay in that first mode.
| | 04:54 | I am not ready to place that logo yet,
so I'll hit the up arrow key to go back
| | 04:58 | to my rest of my objects, and I
think I'll drag that photographer.
| | 05:02 | I want to put the photographer down to
the bottom of the page, but I can't see
| | 05:05 | the bottom of my page right now, so I
could move the conveyor; it's easy to drag
| | 05:09 | around. Or you could hide it temporarily
by pressing Option+B or Alt+B. Then I'll
| | 05:14 | click and drag; let go.
| | 05:17 | That's pretty good. And then Option+B or
Alt+B again, up comes the conveyor, and I
| | 05:22 | am ready to add a few more things.
| | 05:24 | Let's grab those three pictures.
| | 05:26 | In this case, I want to drag all of them
out at the same time, so I am not going
| | 05:29 | to go into this set; I'm
simply going to click and drag.
| | 05:33 | You'll see that when I click and drag,
it actually positions them in the same
| | 05:36 | arrangement as they were
in the original document.
| | 05:39 | In this case, I want to lay
them out slightly differently,
| | 05:42 | so I am going to Undo, and then hit the
arrow key to select them again in the
| | 05:46 | conveyor. And now when I click and
drag, I am going to use a little trick:
| | 05:50 | the arrow keys on the keyboard again.
| | 05:52 | By pressing the up arrow key, I'm moving
to what's called the Gridify mode, and I
| | 05:57 | start getting a grid of objects.
| | 05:59 | I'll hit the arrow again, and you can
now see by the blue outlines that I have
| | 06:03 | three objects stacked up on top of each other.
| | 06:06 | When I let go, you'll
see the images are imported.
| | 06:09 | Let's go ahead and lay those out on
the page, I'll switch to the Selection
| | 06:13 | tool, drag these onto the page little bit,
and then I'll use my smart guides to align them.
| | 06:25 | While I am here, I think I'll move this
image to the bottom, and lay this out a
| | 06:32 | little bit differently,
| | 06:38 | and I think I'll scale this photographer up.
| | 06:40 | All right; I only have a
couple of more things to add.
| | 06:44 | I'll go back to my Content Placer by
pressing B, and I'll select this logo with
| | 06:49 | the right-arrow key, and I think I'll
add this down in the lower left corner. So
| | 06:52 | I am going to hide that content conveyor,
and then click; looks pretty good, and
| | 06:57 | it loads up the last item on
here, which is the text frame.
| | 07:00 | Now, that text frame I want
to do something special with,
| | 07:03 | so I need to show my conveyor again, and I
want to turn on two checkboxes at the bottom:
| | 07:09 | Create Link, and Map Styles.
| | 07:12 | Create Link means InDesign should make
a link between this object, and the other
| | 07:17 | document, so that if the text or object
changes in the other document, it will
| | 07:21 | also be able to be changed in this document.
| | 07:23 | It's an extremely powerful feature that
let's you keep multiple documents in sync.
| | 07:29 | The Map Styles feature is important,
because the styles in one document don't
| | 07:33 | necessarily match the
styles in another document.
| | 07:35 | For example, in this case, if I simply
drag out this frame, it's going to be
| | 07:39 | black text on a black
background. That won't do.
| | 07:43 | But I have a different paragraph
style in this document called White
| | 07:46 | Bodytext, and I want that black body
paragraph style to map automatically to
| | 07:50 | the White Bodytext here.
| | 07:53 | So to do that I'd click on the Map
Styles button, up comes the Custom
| | 07:58 | Style Mapping dialog box.
| | 08:00 | First I need to choose what the source
document is; where this text is coming from.
| | 08:04 | That's the brochure document.
| | 08:05 | Next, I click New Style Mapping, and
then I choose the paragraph style which is
| | 08:09 | incoming; I happen to know that's called body.
| | 08:13 | But when it comes into this document,
I want it to map to a different one. I
| | 08:17 | click there, and I say
map it to White Bodytext.
| | 08:21 | That's all I need to do. I'll click OK,
and now when I click and drag, the text
| | 08:27 | comes in, and it's mapped. Let's take a look.
| | 08:30 | Let's jump to the previous spread. Over
here, it was black text in that font, and
| | 08:35 | over here it's white text; very different.
| | 08:38 | All right, I think we're done.
| | 08:41 | I'll jump to the Selection tool, and go
into Preview mode by pressing the W key,
| | 08:44 | and you can see that these conveyor
tools are an incredible boon to production
| | 08:48 | artists, and designers who need to take the
same content, and rework it, day in and day out.
| | 08:53 | It certainly takes some practice, and
getting used to, but it can really help
| | 08:56 | you lay out pages fast.
| | Collapse this transcript |
| Rotating objects| 00:00 | Having all your objects straight
up and down on the page is no fun;
| | 00:03 | let's learn how to rotate them.
| | 00:05 | I'm going to rotate this image, this
piece of artwork here, and the easiest
| | 00:09 | way to do that is to go up to the control panel,
and click on one of these two rotation buttons.
| | 00:14 | These rotate objects in 90 degree increments,
either clockwise,
| | 00:18 | or counterclockwise.
| | 00:19 | If I want to rotate it in more fine
increments, I'll move to the left a little
| | 00:23 | bit to the rotation field
inside the control panel.
| | 00:27 | Here I've a pop-up menu, and I can
choose one of these rotation amounts, or if
| | 00:30 | I know exactly what angle I want to rotate
it by, I can type it here into this field.
| | 00:35 | I'll type 25 degrees,
and hit Enter or Return.
| | 00:38 | But why did it rotate
around the upper left corner?
| | 00:40 | Why was it anchored there,
and not some place else?
| | 00:43 | Well the answer to that can be
found on the far left side of the control
| | 00:46 | panel, way over here.
| | 00:48 | That's the reference point, and it
tells InDesign where the anchor should be.
| | 00:52 | Let me undo that with a Command+Z or
Control+Z, and I can see that the anchor point
| | 00:57 | is set to the upper left corner.
| | 00:59 | If I click in the center point of that
reference point instead, then go back and
| | 01:03 | change this to 25 degrees, you'll
see that it rotates around the center.
| | 01:07 | Now, if you want even more control over
how you rotate objects, you can do it
| | 01:11 | with the rotation tool.
| | 01:13 | You can find the Rotate tool down
here in the tool panel underneath the
| | 01:17 | Free Transform tool.
| | 01:18 | I'll just click and hold for a moment,
up comes the pop-up menu, and then
| | 01:22 | I'll choose Rotate tool.
| | 01:24 | You'll notice that in the center of this
object there is a tiny little crosshair.
| | 01:28 | That reflects the reference point that
was up in the control panel, but with the
| | 01:32 | Rotate tool, I can put that
anywhere I want, just by clicking.
| | 01:35 | For example, I'm going to click in
this little orange blobby space that, to me,
| | 01:39 | looks like kind of like an eyeball.
| | 01:40 | I'll click there, the crosshairs
move there, and now I can click and drag
| | 01:45 | anywhere on my page to see this rotate.
| | 01:49 | You'll notice the background changed colors,
sometimes dramatically, as you're dragging.
| | 01:53 | That's not a big deal;
| | 01:54 | it's just a screen redraw problem, and
when I let go, it's going to go back to
| | 01:57 | the way it was. But
here's what you should notice:
| | 02:01 | as I'm dragging, I see a little tiny
readout to the right of my cursor that
| | 02:05 | shows me exactly
what angle this object is at.
| | 02:09 | Then, when I let go, you can see that
the object rotated exactly around the
| | 02:12 | point that I wanted.
| | 02:13 | Now that we know how to rotate objects,
the obvious question is how to scale
| | 02:17 | them larger or smaller.
| | 02:19 | That's what I'm going to
cover in the next movie.
| | Collapse this transcript |
| Scaling objects| 00:00 | It's a golden law of page layout:
| | 00:02 | nothing ever seems to be the
size you need it to be on your page.
| | 00:06 | Fortunately, there are a number of ways to
scale graphics, text, and other page items.
| | 00:11 | I have my portfolio page open from
the exercise folder, and I'm going to jump
| | 00:15 | to page 4 by pressing Command+J, or
Control+J on Windows, then 4, then Enter.
| | 00:20 | This artwork just isn't the right size.
| | 00:22 | I need to scale it up.
| | 00:23 | The first way we will do that is by choosing
the Free Transform tool from the tool panel.
| | 00:28 | The Free Transform tool is great,
because if I select it, and drag a side or
| | 00:33 | corner handle, it automatically scales it.
| | 00:36 | Now, in this case, it scaled it, but
it did it disproportionally. It got
| | 00:40 | wider; kind of stretched it out, which I
think this artist would not be very happy with.
| | 00:45 | So I am going to undo that, and instead, I'm
going to hold down the Shift key while I drag.
| | 00:50 | The Shift key is a shortcut for always
constrain proportionally; makes sure
| | 00:55 | the height and width is always proportional.
| | 00:58 | But I have to tell you, I don't
usually use the Free Transform tool. Why?
| | 01:02 | Because I just use a Selection tool;
plain old black arrow Selection tool.
| | 01:07 | This lets me do exactly the same thing,
except I have to remember to hold down
| | 01:10 | one modifier key: the Command key
on the Mac, or Control key on Windows.
| | 01:15 | If you hold down Command or Control, and
drag a side or corner handle, then it will,
| | 01:20 | once again, scale; does the same
thing, just like the Free Transform tool.
| | 01:24 | I better undo that, and
instead, Command+Shift or Control+Shift.
| | 01:30 | That scales it proportionally.
| | 01:32 | Now, we are seeing the screen
redraw kind of strangely here.
| | 01:35 | That's just an artifact while we're scaling,
and as soon as we let go, it goes away.
| | 01:39 | I really like that Command+Shift
or Control+Shift, drag;
| | 01:42 | that's honestly what I use
almost all the time.
| | 01:45 | That said, there is one other technique
which is pretty useful, and that is to
| | 01:48 | scale in the control panel.
| | 01:51 | Up here in the control panel, there are two
scaling percentages: the width, and the height.
| | 01:56 | Next to them, there is a little link
icon, and when that's turned on, which it is
| | 02:00 | by default, the height and width
will always scale proportionally.
| | 02:03 | Before I use those, I want to make sure
that the reference point is set properly.
| | 02:08 | The reference point over here on the
left side of the control panel tells
| | 02:12 | InDesign where it should anchor, where
it should not move, and everything else
| | 02:16 | will scale around that point.
| | 02:18 | Right now, it's set to the upper right
corner, which is just right for this image.
| | 02:21 | So I'm going to come over here,
and scale this to, let's say, 200%.
| | 02:25 | Now, an interesting thing
happened here; it scaled it up,
| | 02:29 | but it still says 100%.
What's going on there?
| | 02:33 | Well, by default, when InDesign scales a
frame, it always sets it back to a 100%.
| | 02:38 | The image inside is not necessarily 100%.
| | 02:42 | Remember, you can double-click on an
image with the Selection tool to select the
| | 02:45 | image inside the frame.
| | 02:47 | The true value of this scaling, we can see
in the control panel, is about 81% or 82%.
| | 02:52 | Double-click on the image again, and it
goes back to the frame, and the frame is 100%.
| | 02:56 | I am going to undo that, because what I
want is for this image and this caption
| | 03:02 | to be together exactly 7 inches wide.
| | 03:05 | Now, you might think you could go to
control panel, to this Width field, and type 7
| | 03:09 | inches. 7in, now hit Enter, but it
doesn't really work, because that changes the
| | 03:15 | width of the frame. It actually
resizes the frame; not scales them.
| | 03:19 | You can see that now the frame for this
image is too big, and this caption got wider.
| | 03:24 | That's not what I wanted to
happen. I want it to scale.
| | 03:28 | So let's undo that, and
try a different technique.
| | 03:32 | Instead of scaling in the Width field,
I'm going to go to the Scale field, and I
| | 03:37 | am going to change that 100% to 7
inches. You can type 7in, or 7 with a double
| | 03:43 | quote; either way works.
| | 03:45 | That's a little bit strange; I am replacing
a percentage with an absolute value,
| | 03:49 | but it works, because when I hit Return
or Enter, the whole thing gets scaled, so
| | 03:54 | that I know that these two objects
together make up exactly 7 inches wide, which
| | 03:59 | I guess, according to that Width field,
is 504 pixels. I didn't know that.
| | 04:03 | Of course, while you can scale your
text and vector art all you want, scaling
| | 04:07 | bitmap images, like this Photoshop
image, has an effect on their quality.
| | 04:11 | If you scale one of these
images up, its resolution goes down.
| | 04:15 | Scale it down,
and the resolution goes up.
| | 04:17 | It's just something to keep in mind
when scaling objects on your page.
| | Collapse this transcript |
| Skewing objects| 00:00 | Skewing, also called shearing, helps
give an object a sense of perspective, or
| | 00:04 | dimensionality, or it can draw attention
to an object by making it look just odd.
| | 00:10 | I can grab both of these objects on
my page, and skew them by going to the
| | 00:14 | control panel,
and changing the Skew value.
| | 00:17 | I'll change it to 30%, and it skews it,
so that the top goes to the right, and the
| | 00:21 | bottom goes to the left.
| | 00:22 | That looks kind of interesting I
suppose, but if I really want a lot of power
| | 00:26 | skewing, then I'm going to undo that,
and instead, use the Shear tool. It's
| | 00:30 | underneath the Free Transform
tool. There it is: the Shear tool.
| | 00:34 | First I'm going to go to the reference
point in the control panel to make sure
| | 00:38 | InDesign knows which part of this
group of objects will be anchored.
| | 00:41 | In this case, it's going to
anchor around the center point.
| | 00:44 | Then I'll just start dragging.
| | 00:46 | I'm just going to click
and drag, just a little bit.
| | 00:49 | You can see, as I drag, the object kind
of almost looks like it is rotating in
| | 00:53 | three-dimensional space.
| | 00:54 | Kind of an interesting effect. I'll
click and drag one more time, and you can
| | 00:58 | see that you can really get an
interesting sense of warping.
| | 01:01 | Unfortunately, there's no way to
do true perspective in InDesign.
| | 01:05 | If you need that, you're going have
to use Adobe Illustrator instead.
| | Collapse this transcript |
| Mirroring objects| 00:00 | While flip-flopping may not be such a
good thing in politics, it can be a great
| | 00:04 | thing in page layout, especially when
pictures are facing the wrong direction.
| | 00:08 | There are several ways to
flip, or mirror, an object.
| | 00:11 | I'm going to jump to Page 3 in this document
by pressing Shift+Page Down a couple of times.
| | 00:16 | Now, let's say the artist told
me that this thing is backward.
| | 00:19 | I can flip it over by going to the control
panel, and clicking one of these two buttons.
| | 00:24 | Either I can click it horizontally
by clicking the one on the left; click
| | 00:27 | it again to put it back. Or I'll flip it
vertically by clicking the one on the right.
| | 00:32 | Now, why did it almost
flip right off the page?
| | 00:34 | Well, that's because I didn't pay
attention to the reference point on the left
| | 00:38 | side of the control panel first.
| | 00:39 | Let me click this to put it back to
where it was, and I can see that the
| | 00:43 | reference point was set to
the center-bottom of this image.
| | 00:47 | So when I flipped it over
vertically, it flipped it over that point.
| | 00:51 | It kept that point anchored,
and everything moved around it.
| | 00:55 | That mirroring effect gave me an idea.
| | 00:57 | I'm going to show you a cool trick.
| | 00:58 | I'm going to scale this first by Command
+Shift+Dragging, or Control+Shift+Dragging
| | 01:03 | on Windows, just to give myself a
little bit of extra room on the page.
| | 01:07 | And then I'm going to flip this over,
and I'm going to flip it over from that
| | 01:10 | point; that middle center point.
| | 01:12 | I'll flip it over vertically, but this
time I'll hold down the Option Key or
| | 01:16 | the Alt Key when I flip, and what that does
is make a duplicate of it, and then flip it.
| | 01:21 | I now have a perfect duplicate
of this, like a mirror image.
| | 01:25 | But to make it even more like a mirror
image, I'm going to pan down little bit
| | 01:29 | with the Option+Spacebar.
| | 01:31 | Let's get down to the bottom of it, and
I'm going to skew this image a little bit.
| | 01:35 | Skew it, and scale it.
| | 01:37 | To do that, I'll use my Free Transform tool.
| | 01:40 | The Free Transform tool allows me to move,
rotate, scale, and even skew or shear an object.
| | 01:47 | It's a little non-intuitive, how to do the
shearing or skewing, so let me show you.
| | 01:52 | First you place your cursor
on top of the side handle;
| | 01:55 | it has to be one of the
side handles for the object.
| | 01:58 | This image is so far off the page, it
goes past the pasteboard, onto the next page.
| | 02:02 | We can't see it on the next page, but that's
where I am actually having to put my cursor.
| | 02:06 | Next, I'll hold the mouse button down
for a moment, and then I hold down the
| | 02:10 | Command or Control Key.
| | 02:12 | That's the weird thing;
| | 02:13 | you have to hold on Command or Control
after you click the mouse button down.
| | 02:17 | That's how you get it to shear or skew.
| | 02:20 | Now, I'm going to see a little bit of a
weird screen redraw thing happening here
| | 02:24 | while I'm dragging, but that's natural.
| | 02:26 | It'll go away in just a moment.
| | 02:29 | As I move my cursor, you can see that
I'm shearing and scaling at the same time.
| | 02:34 | That looks pretty good for a
reflection, so I'll let go.
| | 02:38 | I'll scroll up here,
so we can see it better,
| | 02:40 | but I also see that this
reflection is too bright.
| | 02:44 | I don't want it quite so bright.
| | 02:45 | I want it to blend into
the background a little bit.
| | 02:47 | So I'm going to go to the Effects panel, and
I'm going to set the blending mode to Multiply.
| | 02:52 | That way it'll blend into the
background better.
| | 02:55 | Now it's a little bit too dark, so
I'm going to change the Opacity to 50%.
| | 02:59 | The last thing I'm going to do to this,
to make it look more like a reflection,
| | 03:02 | is to apply a gradient feather;
something that will make it look like it's
| | 03:06 | blending out a little bit.
| | 03:08 | So I'll go to the Effects pop-up
menu, choose Gradient Feather, and then
| | 03:13 | change the Angle to 90 degrees.
| | 03:14 | 90 degrees makes it go from the bottom to
the top, which, because this object is
| | 03:20 | mirrored, is backward, so it
goes from the top to the bottom.
| | 03:24 | I can adjust this gradient by changing
the Gradient Stops up here, or get some
| | 03:28 | fine-tune control by changing
the gradient midpoint slider.
| | 03:31 | So I can make it
fade out faster, or slower.
| | 03:35 | When I deselect all with a Command+Shift+A, or
Control+Shift+A, I can see that looks pretty good.
| | 03:42 | I love that I can do these kinds of
creative effects right on my InDesign page,
| | 03:46 | instead of relying on other programs.
| | 03:48 | It's amazing!
| | Collapse this transcript |
|
|
12. Character FormattingApplying basic character styling| 00:00 | It's easy to get text into InDesign;
just click in any text frame with the
| | 00:04 | Type tool, and start typing. But how do you
format that text? How do you make it pretty?
| | 00:09 | Well, let's take a tour through
your options for text formatting.
| | 00:12 | I am going to zoom in on this text
frame, so we can format this text in here.
| | 00:18 | The first thing I need to do, of course,
is select the text that I want to format.
| | 00:21 | So I'll double-click to switch to the Type
tool, and then drag over this text, or you
| | 00:25 | could triple click to select the entire line.
| | 00:27 | If you're familiar with Illustrator, or
Photoshop, or some of the other Creative
| | 00:31 | Suite applications, you might be tempted
to go to the Window menu, and go looking
| | 00:36 | for the Character panel.
| | 00:38 | You can, in fact, find one of those
down here in the Type & Tables submenu.
| | 00:42 | There it is: Character, but I'm not
going to choose it, because I don't need to.
| | 00:46 | I already have all the features
I need right in front of my face.
| | 00:49 | That's right;
it's up here in the control panel.
| | 00:52 | When you use the Type tool to select
text on your page, the control panel
| | 00:56 | changes to show you
all the formatting you need.
| | 00:58 | Now technically, the control
panel has two different modes;
| | 01:02 | there's the character mode, which you get
when you have that little A selected on
| | 01:06 | the left side, or the paragraph formatting
modes, which you get when you select
| | 01:10 | that little pilcrow button.
| | 01:12 | That's the name of that character,
if you didn't know; that's a pilcrow.
| | 01:15 | I'll be talking about paragraph
formatting in the next chapter, but for
| | 01:19 | right now, I am going to stick with
character formatting, so I am going to
| | 01:21 | make sure that A is selected.
| | 01:23 | The first item I see in the
control panel here is the font.
| | 01:27 | I can change the font easily by
simply clicking in this pop-up menu, and
| | 01:31 | choosing a different one.
| | 01:32 | For example,
I'll choose American Typewriter.
| | 01:35 | I'm just using a font randomly here. Or
you can actually select that font name,
| | 01:39 | and type something else.
| | 01:40 | For example, I'll type m, y, and it
guesses that I want Myriad Pro.
| | 01:45 | To apply that font,
just press Return or Enter.
| | 01:50 | Next, you can choose a font
style in the second pop-up menu.
| | 01:53 | Here we see a list of all
the styles in this font family.
| | 01:55 | I am going to choose Bold.
| | 01:58 | In InDesign, there is a lot of redundancy;
that is, there's many ways to do the same thing.
| | 02:03 | So I also want to point out that you can change
the font formatting by going to the Type menu.
| | 02:07 | Here is the same thing: the Font menu,
but in this case, to change the style,
| | 02:12 | I look in submenus.
| | 02:13 | So I could choose Myriad Pro, and then
you see another little submenu pop out,
| | 02:18 | and I can choose a different
value; for example, Semibold.
| | 02:22 | By the way, I just want to point out
that in InDesign CS6, this Font menu
| | 02:26 | has actually changed a little bit, both in
the control panel, and also here in the menu bar.
| | 02:31 | We now see a list of all the most
recently used fonts; all the fonts I used
| | 02:35 | since I last launched InDesign.
| | 02:37 | They're all up here at the
top of the list,
| | 02:39 | so I can get to them quickly.
| | 02:41 | Now let's change the size of this font.
| | 02:43 | That's the third item in the
control panel.
| | 02:45 | I can choose something out of the
pop-up menu, or type something myself.
| | 02:49 | For example, I'll type 16 points.
| | 02:51 | Now, you know how much I like keyboard
shortcuts, so I can't help but give you a
| | 02:56 | little keyboard shortcut here.
| | 02:57 | The keyboard shortcut for jumping to
the first field in the control panel is
| | 03:01 | Command+6, or Control+6 on Windows.
| | 03:03 | That jumps right up to that font field.
| | 03:06 | I could actually type a
different font if I want.
| | 03:08 | For example, I'll type p,a, r, and in it
guesses that I want Party. Hit Return, and
| | 03:13 | it changes it to that font. Or you can
use the Tab key to move from one field to
| | 03:18 | the next in the control panel. So I'll
press Command+6, I'll choose a different
| | 03:22 | font -- let's go back to Myriad Pro -- and
then I'll tab to the style, tab to the
| | 03:27 | size, let's make this a little bit
smaller, and then tab to the next field,
| | 03:32 | which is leading.
| | 03:34 | Leading is the amount of space from the
baseline of the text -- that is, the line
| | 03:38 | that this text is sitting
on -- to the previous line.
| | 03:42 | That's the definition of leading. Because
this text is actually at the top of the
| | 03:46 | text frame, leading has no effect, but
for the rest of this paragraph, it does.
| | 03:50 | So I am going to select some other text
in this paragraph down here, and change
| | 03:53 | its leading to show you.
| | 03:55 | I'll change this to 18 points, and
you'll see the leading changes, but only for
| | 04:00 | the text that I changed.
| | 04:02 | That's because, in InDesign,
leading is a character attribute, not a
| | 04:06 | paragraph attribute.
| | 04:08 | This can cause some real consternation
when you're laying out your pages, because
| | 04:11 | you have to remember to select the
entire paragraph, or else you will get uneven
| | 04:16 | leading throughout that paragraph.
| | 04:18 | This can cause some real problems
when you are laying out your document,
| | 04:21 | because you have to select the entire
paragraph to change the leading, not
| | 04:24 | just some of the text.
| | 04:25 | That's different than it works in
QuarkXPress, and many other programs.
| | 04:29 | Fortunately, you can change InDesign
to work the way you'd expect: to apply
| | 04:33 | leading to the entire paragraph.
| | 04:35 | Let me show you how.
| | 04:35 | I'm going to undo that with a Command+Z,
or Control+Z on Windows, and I am going to
| | 04:40 | go to the Preferences dialog box.
| | 04:42 | In Windows, that's under the Edit menu,
but here on the Mac, it's under the
| | 04:45 | InDesign menu, and you choose
Preferences > Type.
| | 04:49 | There is a checkbox in here called
Apply Leading to Entire Paragraphs, and I am
| | 04:54 | going to turn that on.
| | 04:55 | I like to think that checkbox should
be called, make it work the way you'd
| | 04:58 | expect InDesign to work.
| | 05:00 | I'll click OK, and I'm
going to apply leading again.
| | 05:04 | I'll change this to, let's say, 14 points,
and you can see it changes it for the
| | 05:08 | entire paragraph, no matter
what is selected in the paragraph.
| | 05:12 | That's the way I like to work.
| | 05:14 | Now that we've looked at how to change
the spacing between lines of text, let's
| | 05:18 | look at how you can change the
spacing between individual characters.
| | 05:20 | I am going to come back here, and
triple click on this headline to select the
| | 05:24 | whole line, and I'm going to come up to the
control panel, and look at these two fields.
| | 05:29 | The first one is kerning.
| | 05:30 | Kerning lets you adjust the amount of
space between two letters on a line.
| | 05:35 | The second one is tracking.
| | 05:37 | Tracking is the same as kerning, but
it goes across a range of text, not just
| | 05:42 | two characters at a time.
| | 05:44 | Technically, they're both doing the
same thing: adjusting the amount of space
| | 05:47 | between characters, but you usually
use kerning just for two characters at a
| | 05:50 | time, and tracking for a whole bunch.
| | 05:53 | The first thing I am going to do here is
change my kerning from Metrics to Optical.
| | 05:58 | Optical kerning is a very clever technology
in InDesign which actually looks at
| | 06:03 | the shape of the characters, and it
adjusts the spacing between them very subtly,
| | 06:07 | so you get more even spacing throughout.
| | 06:10 | It doesn't work for all fonts, and all
sizes, but in most cases, it actually gives
| | 06:15 | you a better result than what
you normally get with a font.
| | 06:18 | You can actually see what optical is
doing by clicking in between characters.
| | 06:22 | Here, I'll click between the R and the O,
and I can see in the kerning field that
| | 06:27 | it's applying -7 kerning.
| | 06:30 | Between the O and the U, it's doing -6;
between the U and the X, it hasn't done
| | 06:34 | anything. It's just zero.
| | 06:37 | So optical kerning is changing the
amount of space between each one individually.
| | 06:41 | Now, let's say I wanted to make the
whole line tighter; apply maybe -5 or -10
| | 06:47 | to the entire line.
| | 06:48 | I'll do that by selecting the
line, and then changing tracking.
| | 06:52 | Here I'm going to choose -10, and you can
see that all the characters got -10 together.
| | 06:58 | Now, I am throwing these numbers
around, like -5, -10; what do those mean?
| | 07:03 | Minus ten one-thousandth of an em, and the em is
determined by the size of the font itself. In
| | 07:11 | this case, it's a 15 point font, so
1 em is one thousandth of 15 points.
| | 07:17 | So you are dealing with
very small values here.
| | 07:19 | Of course, font, size, kerning: these
are all just the beginning when it comes
| | 07:24 | to formatting text.
| | 07:26 | In the next movie, we are going
to dive deeper, and explore more
| | 07:28 | advanced character styling.
| | Collapse this transcript |
| Applying advanced character formatting| 00:00 | In the last movie, we looked at
the basics of character formatting.
| | 00:04 | Now let's look at a few more
other styling options that you have.
| | 00:07 | I'm going to open this brochure document,
and I'll zoom in on this text up here,
| | 00:11 | and change some of this text.
| | 00:13 | I'll double-click to switch to the Type
tool, and then just drag over some text
| | 00:16 | that I want to edit, and I'm going to
point out some of the features in the
| | 00:20 | middle of the control panel.
| | 00:22 | Up here, we have the ability to
change the vertical scaling of this text.
| | 00:26 | For example, I could change this
to 150%. When I hit Enter, you see it
| | 00:30 | actually stretches it up.
| | 00:31 | We can do the same thing with horizontal
scaling over here. Maybe I'll change
| | 00:35 | that to 80%, and hit Enter or Return.
| | 00:38 | If you do this, just be sure not to
show it to the type designer, because
| | 00:42 | they're just going to
scream at you; it looks horrible.
| | 00:44 | There's other stuff you can do too.
| | 00:46 | For example, I could select this
single X, come up here to the baseline shift
| | 00:51 | option, and move it up or down.
| | 00:53 | For example, I'll move it up 4 points.
| | 00:57 | It actually moves it straight up.
| | 00:58 | Let's zoom in to 400%, so we can see this
better; Command+4, or Control+4 on Windows.
| | 01:04 | You see how the x has actually
moved up off the baseline of the text.
| | 01:08 | Alternatively, we can actually make this
go down by changing it to, let's say, -2;
| | 01:13 | you see how it actually
drops below the baseline now.
| | 01:16 | And if you really want to get crazy,
let's select this text, and change its skew.
| | 01:21 | The skew or shear field up here in the
control panel let's you actually shear
| | 01:26 | the text over to the left,
or to the right.
| | 01:28 | For example, if I change this to 15,
you'll see that it makes it look italic.
| | 01:33 | It's not a true italic; this is what
we call a fake italic, or oblique, but it
| | 01:38 | does skew it, or shear it in a
way that some people seem to like.
| | 01:41 | If I want to shear it to the left, of
course, I'd use a negative number, like -15.
| | 01:46 | Now, you may not be using that kind of
text formatting very much, but here's some
| | 01:51 | that you probably will use.
| | 01:52 | Let me pan down here, and then
select some text, and I'm going to put an
| | 01:56 | underline underneath this text.
| | 01:58 | You can do that by going up to the
control panel, and clicking the Underline
| | 02:02 | button. That looks pretty good, but
you can see that the underline is kind of
| | 02:06 | blah. You don't have any control over
where it goes, what color it is, what
| | 02:10 | style line it is, and so on.
| | 02:12 | Well, you can get all that
control with one modifier key.
| | 02:16 | Let's select that text again, and go
back to that button, but this time, instead
| | 02:19 | of clicking on it, I'm going to hold
down the Option or Alt key when I click,
| | 02:24 | that gives me the Underline Options dialog box.
| | 02:27 | We can see that the Underline is
turned On here, but you can also see that we
| | 02:31 | can change the Weight, the
Offset, the Color, and so on.
| | 02:34 | Let's go ahead and change this Color
to something like green, I'll change the
| | 02:38 | Weight to something a little bit finer,
like .4 points, and I'm going to change
| | 02:43 | the offset -- that is, how far away from the
baseline it's going to sit -- to a little
| | 02:47 | bit more; let's say 2 points.
| | 02:49 | If I move his dialog box out of the way,
and turn the Preview checkbox on, we can
| | 02:53 | actually see the effect.
| | 02:54 | Of course, because this text is
highlighted, the green underline actually is
| | 02:59 | reversed, so it looks
magenta; that's kind of silly.
| | 03:02 | Let's go ahead and click OK, and click
off the text, and now you can see that the
| | 03:06 | underline is sitting there, exactly 2
points down from the baseline, and it's
| | 03:10 | green, and a little finer.
| | 03:12 | Now, you may notice that some
of these words are hyphenated.
| | 03:16 | I'm going to be talking about hyphenation
in a later chapter, but for right now,
| | 03:20 | I want to point out that you can control
that, to some degree, by selecting it, and
| | 03:24 | turning on the No Break
feature. Let me show you.
| | 03:27 | I'll double-click on his word, and I'm
going to go to the control panel flyout
| | 03:30 | menu. That's this little menu way on
the far right side of the control panel.
| | 03:35 | There are all kinds of great options
in here, but the one I'm looking for is
| | 03:38 | called No Break, and when you choose
No Break, it forces that word to stay
| | 03:43 | together;
it won't hyphenate across two lines.
| | 03:48 | Now, all the other text has to reflow to
make sure that text won't break, but if
| | 03:52 | you want that word to
stay together, it's worth it.
| | 03:54 | I'm going to scroll down here, and I
can show you, you can also apply the No
| | 03:58 | Break effect to more than one word.
| | 04:01 | Let's say I want to make sure Roux
Academic stays on the same line. I can do
| | 04:06 | that by selecting both
words, and choosing No Break.
| | 04:10 | Now both of those words are always
going to stay together; they won't break
| | 04:13 | across two lines,
and they won't hyphenate.
| | 04:15 | Phew; that's a lot of different formatting
options, and we've really only scratched
| | 04:19 | the surface of character level formatting.
| | 04:21 | In the next movie, we'll look at some
features for turning text into uppercase or
| | 04:25 | small caps characters.
| | Collapse this transcript |
| Changing case| 00:00 | Uppercase characters
versus lowercase characters.
| | 00:03 | Which to use, and when?
| | 00:04 | Sometimes, you want text in upper case for
emphasis, but then what about small caps?
| | 00:09 | Well, my basic rule is, never type
anything in all caps, if you can avoid it.
| | 00:14 | Instead, always type in
lowercase, and apply caps styling to it.
| | 00:18 | Let me show you what I mean.
| | 00:20 | I'll zoom in on this text up here, and
I'm going to select this first line by
| | 00:23 | triple-clicking on it.
| | 00:25 | Let's say my design calls for
that heading to be in all caps.
| | 00:28 | Instead of retyping the words, I'm
going to come up here to the control panel
| | 00:32 | and click the All Caps button.
| | 00:35 | It looks like it's in all caps, but
it's not really; it's actually just a style
| | 00:39 | applied to that text.
| | 00:41 | And that's great, because later on,
when my art director says, I don't want it
| | 00:44 | in all caps anymore, you can simply turn this
style off, and it goes back to the way it was.
| | 00:50 | Small caps is like all
caps, but it's more elegant.
| | 00:53 | You can turn on small caps by
clicking on this other Small Caps button
| | 00:57 | just below All Caps.
| | 00:59 | You can see that small caps is actually a
combination of large and small capital letters.
| | 01:04 | Now, different font
handle small caps differently.
| | 01:07 | Some fonts, like the one I'm using here,
Adobe Garamond Pro, actually have true
| | 01:12 | small cap characters built in.
| | 01:14 | That's nice, because we have very
even spacing and color across the line.
| | 01:18 | Do you know what I mean by color?
| | 01:20 | I don't mean red or blue; I mean if
you squint your eyes, and the whole thing
| | 01:24 | kind of goes gray and blurry, you want
to have even color across the whole line.
| | 01:29 | Now look what happens if I change
this to a font that doesn't have true
| | 01:32 | small cap characters.
| | 01:34 | I'll triple-click on it, go to the Type menu,
and I'm going to choose Arial > Regular.
| | 01:41 | I'll deselect here, so we can actually
see the text instead of the highlighting,
| | 01:44 | and you can see that
we have a very different effect.
| | 01:47 | Arial does not have true small caps,
and so InDesign has to fake it.
| | 01:51 | It fakes it by taking the true capital
letters, and shrinking them down to about 70%.
| | 01:57 | The effect is technically small caps, but
you'll see that the color is very different.
| | 02:01 | We have a very thick R and an A, and
then these other characters look kind of
| | 02:06 | anemic next to them.
| | 02:07 | There is not a lot you can
do about that, really.
| | 02:10 | It's just something you need to
pay attention to when you're working
| | 02:12 | with different fonts.
| | 02:13 | I'm going to jump to the second
spread of this document by pressing
| | 02:16 | Option+Page Down or Alt+Page Down, and
then I'll scroll over a little with my
| | 02:20 | Option+Spacebar or Alt+Spacebar, and I
can see that this text here is in all caps.
| | 02:26 | Somebody actually typed that in all caps.
| | 02:29 | That's an uncommon, but it is icky.
| | 02:31 | We don't like that style. We would
rather apply italic or bold to it to give it
| | 02:35 | some emphasis, not all caps; that
makes it looks like someone is shouting.
| | 02:39 | Simply select it, go to the Type menu,
and choose from the Change Case submenu.
| | 02:44 | Here, you can see, we can choose any of
four different cases: UPPERCASE, lowercase,
| | 02:49 | Title Case, and Sentence case.
| | 02:51 | I'm going to choose the last one, and you can
see that InDesign actually changes it for me.
| | 02:57 | In this case, it's not a style;
| | 02:58 | InDesign is actually retyping those
characters to make them capital at the
| | 03:02 | beginning, and then
all the rest of lowercase.
| | 03:05 | Now I can apply italic, or bold, or
whatever I'm going to do to them.
| | 03:09 | As I've said before, I really like to
keep my options open whenever possible.
| | 03:13 | I'd much rather use change case to make
these lowercase, and then use italic, or
| | 03:17 | all caps, or small caps in order to
maintain flexibility, and still get the
| | 03:21 | effect that I want.
| | Collapse this transcript |
| Using Find/Change for text formatting| 00:00 | I showed you the Find/Change feature
in an earlier chapter, but I focused
| | 00:04 | just on finding and changing text
throughout your document, or even across
| | 00:07 | multiple documents.
| | 00:08 | Now I want to take it farther, and talk
about adding text formatting to the mix.
| | 00:12 | For example, I have my catalog document
open here, and I am going to zoom in on
| | 00:17 | the lower left corner here,
| | 00:18 | and I can see that I have various
prerequisites, and technical requirements.
| | 00:23 | I would like to format that text, but
it would be really tiresome to have to
| | 00:26 | go in there, and select each one of
those lines in every course in this catalog,
| | 00:31 | and have to change it.
| | 00:32 | No; there's got to be a
better way, and of course, there is.
| | 00:35 | I will double-click on this text to
switch the Type tool, and I'm going to select
| | 00:39 | that word, Prerequisites.
| | 00:40 | I am going to copy it to the clipboard
with a Command+C or Control+C, and I'm going
| | 00:44 | to bring up my Find/Change
dialog box with Command+F or Control+F.
| | 00:49 | Now, in the text pane of the Find/Change
dialog box, I am going to paste what I
| | 00:53 | just copied into the Find What field
with a Command+V or Control+V. I did that
| | 00:57 | copy and paste only because I didn't
want to have to type that text myself.
| | 01:01 | So I want to find that word, with a colon
| | 01:04 | after it, and then I want to
apply formatting to that word.
| | 01:07 | How would I do that?
| | 01:08 | Well, I can do that by changing the
Find Format and Change Format fields at
| | 01:13 | the bottom of the dialog box.
| | 01:15 | If you don't see those fields, then you
need to click on the More Options button.
| | 01:19 | For example, I will click on Fewer
Options, and you'll see they disappear.
| | 01:23 | Click on More Options, and they reappear.
| | 01:26 | You want to have those visible;
| | 01:27 | those are really powerful fields that
we are going to be talking about here.
| | 01:31 | I am going to click on the Change Format
field, just anywhere in this blank space,
| | 01:35 | and up comes a Change Format Settings
dialog box, which lets me specify exactly
| | 01:39 | what I want this text to look like.
| | 01:41 | I am going to click on the Basic
Character Formats pane, and I will type in what
| | 01:45 | font I want this to be,
instead of what it is now.
| | 01:48 | I will change it to Myriad Pro.
| | 01:50 | I only have to type M, Y, and
it guesses Myriad Pro for me.
| | 01:54 | Then I'll hit Tab, and type B, O.
| | 01:57 | Now in this case, I don't want it to be
Bold Condensed; I just want Bold, so I
| | 02:01 | better pull that right out of
this pop-up menu. There we go; Bold.
| | 02:05 | There is no way to make Bold
Condensed go to Bold just with keyboard
| | 02:09 | shortcuts, unfortunately.
| | 02:11 | And finally, I am going to change the
size make it a little bit bigger; maybe
| | 02:14 | 10.5 points, instead of the 9.5.
| | 02:18 | And you know,
why don't I change the color too?
| | 02:20 | I will click on the Character Color
pane over here, and pick a color that might
| | 02:23 | look nice; maybe this blue color.
Looks good.
| | 02:26 | I will click OK, and you can see that
all of that formatting is listed here in
| | 02:30 | the Change Format area.
| | 02:32 | It's tempting to go right for Change All
button, but before I do that, I have to
| | 02:35 | remember that I made a
selection on my page.
| | 02:38 | I did that when I copied
that word, Prerequisites.
| | 02:41 | So I need to change the search pop-up
menu from Selection to story, because I
| | 02:46 | only wanted the Story.
| | 02:48 | I could choose Documents, or All
Documents, which means every document
| | 02:51 | that's open right now,
| | 02:52 | but in this case,
I'm just going to say Story.
| | 02:54 | Now I am ready to go. I will click
Change All, and you can see that it went
| | 02:59 | through and changed 14 of these.
Click OK, and now I will see the change.
| | 03:04 | I will move the Find/Change dialog box
out of the way, and you can see that it
| | 03:07 | changed it throughout the story.
| | 03:10 | Let's do the same thing to this
Technical Requirements text as well.
| | 03:13 | I will select that, copy it, come up
here, paste it, change the Selection to
| | 03:19 | Story, and click Change All, and then
you see, very quickly, it goes through and
| | 03:23 | changes all of those as well.
| | 03:24 | Let's do a couple more of
these while we are at it.
| | 03:27 | What if my art director tells me
that I want all of these to be a
| | 03:30 | different color instead?
| | 03:32 | Well, in this case, I want to delete
the text out of Find what. When the Find
| | 03:37 | what and Change to fields are blank, then it's
only going to find and change the formatting.
| | 03:42 | So in this case, I'm going to click in
the Find format, and say I want to look
| | 03:46 | for anything that's that particular color,
and then I want to change it to something else.
| | 03:52 | I will click and change Format, I will
click on Basic Character Formats, and you
| | 03:56 | can see that I can actually
just delete the text out of here.
| | 04:00 | When I delete that, it means, don't pay
attention to those of all; don't apply
| | 04:04 | formatting to those things.
| | 04:05 | I am just going to change
the character color itself.
| | 04:08 | Maybe I will pick this orange instead.
| | 04:11 | Once again, the Find format and Change
format fields show me exactly what's going
| | 04:15 | to be found,
and what's going to be changed.
| | 04:17 | I will click Change All,
and it changed all of them.
| | 04:22 | Two more things to look out for
inside the Fine/Change dialog box.
| | 04:25 | First is, whenever you do apply some
formatting in Find or Change, you will get
| | 04:30 | that little eye icon; that means that
search format, or change format exists.
| | 04:35 | It's just a little alert that says, watch
out; there is something selected down below.
| | 04:40 | If you wanted to clear out that
formatting, then you click on the little
| | 04:43 | trashcan in the lower right
corner of each of these fields.
| | 04:46 | When you click on that, it simply strips
away all the formatting, and leaves it blank.
| | 04:52 | Consistency and efficiency; that's what
it's all about. Changing text formatting
| | 04:56 | with Find/Change ensures consistency
throughout your document, and there is
| | 04:59 | hardly anything more
efficient than this feature.
| | Collapse this transcript |
| Using Find Font| 00:00 | What's the best way to figure out
what fonts are used in a document?
| | 00:04 | One way is to use Adobe Bridge.
| | 00:06 | Most people don't know that you can
find a list of all the fonts in a document
| | 00:10 | in Bridge's metadata panel.
| | 00:12 | For example, here inside Bridge, I am
going to click on my exercise folder, and I
| | 00:16 | am going to go down to the Metadata
panel in the lower right corner, and scroll
| | 00:19 | down here, until I see my Fonts.
Here they are;
| | 00:23 | the list of all my fonts
in this document.
| | 00:26 | But knowing what fonts are in a document
doesn't really help you change them, right?
| | 00:30 | For that, you need
InDesign's Find Font dialog box.
| | 00:33 | I'll open this document in InDesign by
double-clicking on it here, and now I'm
| | 00:39 | going to go to Find Font dialog box,
which you can find in the Type menu.
| | 00:44 | Find Font shows you all the fonts that
are in your document; not only the fonts,
| | 00:48 | but even the styles within the family.
| | 00:50 | So I can see that this has Adobe Garamond
Bold, Bold Italic, Italic, and Regular.
| | 00:55 | Let's go ahead and find out where
Myriad Pro Bold was used in my document.
| | 01:00 | I'll choose it,
and then click Find First.
| | 01:03 | InDesign jumped to the first instance
of this text in my document, and it
| | 01:06 | selected it, but I can't find it, partly
because all the text is greeked out.
| | 01:12 | Greeked text is this grayed out effect
that InDesign does when you're zoomed out
| | 01:16 | so far that you can't read
the text very well.
| | 01:19 | It just replaces it with gray lines,
but it makes it very difficult to figure
| | 01:22 | out where your text is selected.
| | 01:23 | So let me go ahead and click Done here,
and then zoom in to 400% with Command+4,
| | 01:29 | or Control+4 on Windows.
| | 01:30 | When you do that, it zooms in on
whatever is selected on the page.
| | 01:35 | In this case, text was selected, because
the Find Font dialog box selected it for me.
| | 01:39 | So it zooms in right on the text;
there we go.
| | 01:42 | It's this word: Animation.
| | 01:44 | I'll click off of it here;
| | 01:45 | we can see that it's white
text on this orange background.
| | 01:49 | Now let's say my art director says, I
don't want to use that font; I want to
| | 01:52 | use a different font.
| | 01:54 | Instead of having to go through your
whole document searching for that font, you
| | 01:56 | can simply go to Find Font in the Type
menu, choose the font in the list, and
| | 02:02 | then replace it with a different font.
| | 02:04 | In this case, I'll replace it with a
font called Party, but honestly, you could
| | 02:08 | just choose any font
randomly from the list here.
| | 02:11 | Now, I want to make sure that I
choose this checkbox, Redefine Style When
| | 02:16 | Changing All, because this forces
InDesign to not just change it on my document
| | 02:20 | pages, and my master pages, but also go
inside my paragraph, and character styles,
| | 02:25 | and change it there too.
| | 02:27 | That's really important.
| | 02:29 | I'll talk about styles in great
detail in a later chapter, but believe me,
| | 02:33 | you want to turn that on.
| | 02:34 | Now I am going to click Change All,
and it goes through the entire document.
| | 02:39 | It also gives me a little alert saying,
Overrides have been applied to one or more styles.
| | 02:44 | As far as I can tell, you can
completely ignore that warning.
| | 02:47 | I suggest just turning on the Don't
show again checkbox, clicking OK, and then
| | 02:51 | you won't have to worry about it anymore.
| | 02:53 | It doesn't really mean anything is wrong.
| | 02:55 | As I glance at my Find Font dialog
box here, I notice that it has Times New
| | 02:59 | Roman Regular listed, and that's not
actually a font that I expected to see in
| | 03:03 | this document; I didn't
think I was using that anywhere.
| | 03:05 | So I have a couple options
to figure out where it's used.
| | 03:09 | First, I'll click More Info.
| | 03:10 | That actually gives me all kinds of
information about the font itself, and
| | 03:14 | where that font is on my hard drive,
but more importantly, it shows me what
| | 03:17 | page it's on: Page 5.
| | 03:19 | In that case,
this doesn't really help me.
| | 03:21 | So I'm going to hide that information,
and use the future that we looked at
| | 03:25 | earlier, which is Find First. That
will jump right to it. There it is.
| | 03:30 | I'll close Find Font, and you can
see that this one word had Times New
| | 03:35 | Roman applied to it.
| | 03:36 | That mistake would be really hard to
see if I was proofing quickly, so it's
| | 03:40 | great that Find Font can find it for me.
| | 03:42 | Now I can choose that, and set it back to
what it's supposed to be: Adobe Garamond.
| | 03:48 | I always use Find Font
before finishing a document;
| | 03:50 | you'd be surprised how
often other fonts sneak in.
| | Collapse this transcript |
|
|
13. Paragraph FormattingApplying formatting to a paragraph| 00:00 | In the last chapter, we talked about
formatting that you can apply to individual
| | 00:04 | characters, such as font, size, and so on.
| | 00:07 | Now let's get into formatting
that you apply to a whole paragraph.
| | 00:11 | I have my brochure document opened, and
I'm going to zoom in on some of this text.
| | 00:15 | I'll double-click on this headline to
place my cursor into it, and now I'm going
| | 00:19 | to go up to the control panel to
change my paragraph formatting.
| | 00:23 | Now, I notice that I'm currently in
Character formatting mode in the control panel.
| | 00:27 | I can click on this little pilcrow
character to switch to Paragraph formatting.
| | 00:32 | Now, technically, when you switch from
one mode to the other, you're really
| | 00:35 | just switching what's on the left side
of the panel, because if your screen is
| | 00:39 | wide enough, you can get both Paragraph
and Character formatting along the top
| | 00:43 | of the control panel;
| | 00:44 | it just depends which is on the left.
| | 00:46 | Right now, in Paragraph formatting, I
see all of my Paragraph formatting on the
| | 00:50 | left side, all the way up to here,
and then, to the right of that, I see my
| | 00:54 | Character formatting, like
font, size, and leading.
| | 00:58 | I'm going to focus on the left
side, though; the Paragraph formatting.
| | 01:01 | Now, you'll notice that I didn't select
the entire paragraph; I just have the
| | 01:05 | cursor flashing in the paragraph.
| | 01:07 | That's all you need to do when
you apply Paragraph formatting.
| | 01:10 | InDesign knows, wherever the cursor is,
that's where it's going to apply the formatting.
| | 01:15 | That's very different, obviously, than
Character formatting, where you do need to
| | 01:18 | select the characters
you want to apply it to.
| | 01:21 | Now, the most basic paragraph
formatting is the horizontal alignment.
| | 01:25 | Right now, this is set to left-align,
but if I look over in the left side of the
| | 01:29 | control panel, I can change these
buttons from Align left, to Align Center.
| | 01:34 | Now that paragraph is
centered in the column.
| | 01:36 | Let's change it to Align right.
| | 01:38 | Now it's set to the right.
| | 01:39 | There are a number of these horizontal
alignments, including align towards spine,
| | 01:44 | or away from spine, which is appropriate
when you're creating a facing pages
| | 01:48 | document, like a book or a magazine.
| | 01:50 | You can make it go away or toward the spine;
the center of that facing pages. I like that.
| | 01:56 | So now I'm going to set some indents.
| | 01:58 | I'm going to scroll down, and place
my cursor in this paragraph down here.
| | 02:02 | I can either just click inside
of it, or select some of the text;
| | 02:05 | again, it doesn't really matter.
| | 02:06 | There are four kinds of indents
that I can apply to a paragraph;
| | 02:10 | first, Left indent. Right now it's
set to zero, but I could change this to
| | 02:14 | something larger, like 24 points.
| | 02:16 | Hit Enter or Return, and you can see the
entire paragraph is indented 24 points.
| | 02:21 | I don't want to do that, so I'll undo
that with a Command+Z or Control+Z, and what I
| | 02:25 | want to do is indent just the first line.
| | 02:28 | That's this widget down here;
the indent first line control.
| | 02:33 | I'll change that from 0 to,
let's say, 18 points.
| | 02:37 | You can see that now it adds an
indent, but only on the first line.
| | 02:42 | If you're trying to indent your first lines,
you should definitely use that feature.
| | 02:45 | Don't type Tab at the beginning, or a
bunch of spaces, or something silly like that;
| | 02:50 | use the feature the way it's
meant to be used: first-line indent.
| | 02:54 | Now let me pan over to this text
frame, and I'm going to change the space
| | 02:58 | in between paragraphs.
| | 03:00 | For example, I want an additional space
between this paragraph, and the one that follows it.
| | 03:05 | There is a fundamental rule of Desktop
publishing that says, never type the same
| | 03:10 | invisible character twice. That means
you shouldn't type two spaces in a row, or
| | 03:14 | two paragraph returns in a
row, or even two tabs in a row.
| | 03:18 | So what am I supposed to do if I want
space between these paragraphs, and I'm not
| | 03:22 | supposed to add an extra return like that?
| | 03:24 | I'm going to delete that; don't do that.
| | 03:27 | Well, here's what you should do:
| | 03:28 | select the paragraphs that you want
to change, and then, in the control panel,
| | 03:32 | change the space before, or space
after; that's these two items up here.
| | 03:38 | I'm going to change space before to 9
points, and then I'll hit Enter, and you
| | 03:43 | can see it actually
adds space in between.
| | 03:46 | That's way too much; let's change this something
smaller to, let's say, 3 points. I like that.
| | 03:52 | Alignment, indents, spacing;
this is just a drop in the bucket.
| | 03:57 | In the next few movies, we'll look at
spanning text across columns, creating
| | 04:01 | Drop Caps, Tabs, and more.
| | Collapse this transcript |
| Spanning a paragraph across multiple columns| 00:01 | We looked at how to split text frames
into multiple columns in an earlier chapter.
| | 00:05 | You simply select the text frame, go
to the Object menu, choose Text Frame
| | 00:09 | Options, and type the
number of columns you want.
| | 00:12 | I'll split this into two,
and hit Enter.
| | 00:14 | This text frame is two columns now, but
this heading should not be two columns,
| | 00:19 | we want that to span across both columns.
| | 00:22 | We could cut those paragraphs out, and
put them into a different text frame; one
| | 00:26 | that's only a single column wide, but
there is a much easier way to do it.
| | 00:30 | I'll switch to the Type tool by double-
clicking inside this text, and then I'll
| | 00:33 | select the two paragraphs that I want to affect.
| | 00:37 | Remember, you don't have to select the
entire paragraphs; just select a little
| | 00:40 | bit of the first, a little bit of
the second, something like that.
| | 00:43 | Then I'll go up to my control panel,
and I'm going to look at this pop-up menu
| | 00:46 | here: the span columns pop-up menu.
| | 00:50 | Right now it's set to None, but you
see you've got various options in here,
| | 00:54 | including Span All, Span 2, 3, 4;
that's talking about columns.
| | 00:59 | How many columns should this text span?
| | 01:02 | In this case, I only have two columns,
so it doesn't really matter which I
| | 01:05 | choose. I'll choose Span All, and you
can see that now these two paragraphs span
| | 01:10 | both columns in this text
frame. This looks great.
| | 01:13 | I want to explain a little bit about
what's going on under the hood here.
| | 01:17 | When you choose any of the span
features, InDesign breaks your page, or your
| | 01:22 | text frame technically, into zones.
| | 01:24 | We have a span all zone here, and then
underneath that span all is the rest of the text.
| | 01:31 | If I click down here, and add another
paragraph -- I'll just call this My new
| | 01:35 | heading, and then I'll span that --
you'll see that I now get another zone.
| | 01:42 | I have the top zone, I have this
little zone in between the spans, and then
| | 01:46 | another spanning zone, and
then finally, the rest of the text.
| | 01:50 | If you keep that idea of zones in mind,
you'll really be able to manage your spans better.
| | 01:56 | In this case, of course, I don't want that
paragraph, so I'm going to select it, and delete it.
| | 02:00 | Back in CS4, and earlier, you had to go
through all kinds of crazy workarounds to
| | 02:05 | span text across columns.
| | 02:07 | Now it's just a pop-up menu away.
| | Collapse this transcript |
| Splitting a paragraph into multiple columns| 00:00 | I have my catalog file open here from
the exercises folder, and I am going to
| | 00:04 | zoom in on this text down here.
| | 00:07 | Inside this text frame,
I have a bulleted list.
| | 00:10 | It looks pretty good, but the problem
is, is the column is so wide that it's
| | 00:14 | hard to read each of these bullets.
| | 00:15 | I wish that I could split that
up into two different columns;
| | 00:19 | not the whole text frame,
but just those bullets.
| | 00:23 | Now, in the old days, in order to do
that, you'd have to put that into a table,
| | 00:27 | or split it up into multiple text
frames, or all kinds of crazy stuff.
| | 00:31 | Now it's really easy.
| | 00:32 | I am going to double-click to switch to the
Type tool, and then select those paragraphs.
| | 00:37 | To split this into two subcolumns, I go
up to the span columns pop-up menu -- the
| | 00:43 | same one that we use to span
across columns in a text frame --
| | 00:47 | but instead of spanning, I
am going to choose Split;
| | 00:50 | I'll just choose 2.
| | 00:52 | InDesign creates a new little zone
inside this text frame, and it splits it
| | 00:56 | up into two columns.
| | 00:58 | You can't really see the columns, but
obviously, the text is flowing from the
| | 01:02 | left all the way down,
and then into the right.
| | 01:05 | Now, if I want to add a little bit more
space between the columns, what I would
| | 01:09 | do is select that text, and then Option
or Alt+Click on the little icon next to
| | 01:14 | the pop-up menu in the control panel.
| | 01:16 | That gives me options for this command.
| | 01:18 | Right now, this is set to Split
Columns, and we can choose a gutter amount.
| | 01:23 | We could say, for example, the
Inside Gutter should be 2 picas.
| | 01:27 | When I click OK, it actually adds
more space in between the two columns.
| | 01:31 | Let's see what happens if we
change this to 3 columns instead.
| | 01:35 | I will Option or Alt+Click on that,
change the number to 3, and then change the
| | 01:40 | Inside Gutter to something smaller, because
that's way too big. You get the idea.
| | 01:45 | This ability to break up columns into
little subcolumns is awesome, especially
| | 01:49 | when it comes to bulleted lists like this.
| | Collapse this transcript |
| Using drop caps| 00:00 | Much of the art of design revolves
around drawing the eye to where you want the
| | 00:04 | reader to go, and one of the best ways
to draw the eye to the beginning of a
| | 00:08 | story or a section is with a drop cap.
| | 00:11 | InDesign lets you easily apply a drop
cap to any paragraph, and the most direct
| | 00:16 | path to a drop cap is the control panel.
| | 00:19 | I have my brochure document open from the exercise
folder, and I'm going to zoom in on this text.
| | 00:24 | I want to apply a drop cap
to this second paragraph.
| | 00:26 | It doesn't really matter which I choose,
but in this case, I'm just going to
| | 00:29 | apply to the second paragraph, and I'll
place my cursor in there by double-clicking.
| | 00:34 | Next, I'm going to make sure my
control panel is in the Paragraph mode.
| | 00:37 | Right now it's in the Character mode,
and the keyboard shortcut for swapping
| | 00:41 | between those modes is
Command+Option+7, or Control+Alt+7.
| | 00:46 | In the control panel, there are two fields
to control your drop caps; here they are.
| | 00:52 | The first field let's you choose how
many lines the drop cap should drop.
| | 00:56 | Right now it's set to 0,
because there is no drop cap at all.
| | 00:59 | If I choose 1, it basically does the
same thing; it doesn't drop at all, but in
| | 01:03 | this case, I'm going to go down to 3.
I'll press Tab for it to take effect, and
| | 01:09 | Tab is also a fast way to
jump from one field to the next.
| | 01:13 | You can see the drop cap
is now three lines down.
| | 01:17 | This second field lets me control
how many characters should drop down.
| | 01:21 | Right now it's only set to one, the
first character, but I'm going to change
| | 01:24 | that to 3 as well, and
I'll press Enter or Return.
| | 01:28 | Now three characters are dropped.
| | 01:30 | This is still editable text. There is
nothing special about it; it's just a
| | 01:34 | little bit bigger, and the text is
flowing around it, but I can select it, and
| | 01:39 | change it in any way I want.
| | 01:40 | For example, I'll change the
formatting of this text by going back to the
| | 01:44 | control panel, and switching to the
Character mode, and then turning on Small Caps.
| | 01:49 | The characters are a little
bit far away from each other,
| | 01:51 | so I'm going to track them together a
little bit, and then I'll even change the color.
| | 01:57 | You get the idea.
| | 01:58 | You can make them any style you want.
| | 02:00 | Let's do another drop cap
for this first paragraph.
| | 02:03 | Ordinarily you wouldn't have two in a row,
but I'm just showing how to do it here.
| | 02:07 | For this paragraph, I'll go back to
the Paragraph mode of the control panel,
| | 02:10 | and I'm going to increase the size of
this space before, so we have a little
| | 02:14 | bit of room to work with.
| | 02:16 | I'll press Tab to jump to the space
after Tab again to jump to the drop cap.
| | 02:21 | I'll just drop this one two lines, and I
only wanted to do one character, so I'll
| | 02:26 | just hit Enter or Return.
| | 02:28 | That drop cap is looking
a little bit small to me,
| | 02:31 | so I'm going to select it, and instead of
dropping it farther, I'm going to raise it.
| | 02:35 | I can raise it by going back to the
Character mode, and increasing the font size.
| | 02:41 | So now it's dropped and raised.
| | 02:44 | The only problem here is that drop cap
is kind of bumping into the I on the
| | 02:48 | second line a little bit too much.
| | 02:49 | I'd like to move the text
away from the A slightly.
| | 02:53 | So to do that, I place my cursor
between the A and the T in this word, just
| | 02:57 | after the drop cap. I go up to the
control panel, and I change the kerning --
| | 03:02 | we looked at that in the last chapter --
| | 03:04 | change the kerning to add
a little bit of space.
| | 03:06 | I'll bump this up to about 50.
| | 03:08 | You can see that when I add kerning
between the A and the T, it also affects the
| | 03:12 | other lines below that.
| | 03:15 | So all lines in the drop cap are
moved away from the drop cap character.
| | 03:20 | You can create all kinds of interesting
typographic effects with drop caps; just
| | 03:24 | let your imagination go wild.
| | Collapse this transcript |
| Setting tabs| 00:00 | If you're trying to line up text in
columns, you might find tabs to be useful.
| | 00:05 | I have my table of contents here in my cover and
front matter file file from the exercise folder.
| | 00:10 | I am going to zoom in here, and
take a look at what's going on.
| | 00:13 | I can see that these numbers at the end
of each line don't line up properly.
| | 00:18 | I can also see these blue characters in here.
| | 00:20 | For example, the paragraph symbol at the end
of each paragraph, a little dot where each
| | 00:24 | space is, and then over here, this double angle
bracket called guillemet; that's the Tab character.
| | 00:32 | That's how I know there is a Tab character
there, and the reason I'm seeing those blue
| | 00:35 | characters is because I have
hidden characters turned on.
| | 00:39 | You can make hidden characters visible or
invisible by going to the Type menu, and choosing
| | 00:44 | Show or Hide Hidden Characters, way down here at
the bottom, or you can press Command+Option+I,
| | 00:49 | or Control+Alt+I to do the same thing.
| | 00:52 | However, when you're working with tabs, it's
a good idea to have your hidden characters
| | 00:56 | turned on, so you can
see where those tabs are.
| | 00:58 | I am going to go ahead and double-click here
before the 3, and I am going to press a Tab,
| | 01:04 | then I will add some more
tabs in here; there we go.
| | 01:08 | And now you can see I have tabs before each of
those characters, but they still don't line up.
| | 01:12 | Well, that's because the tabs, by
default, always go to the nearest tab stop.
| | 01:17 | And the tab stops, by default, unless you
have changed them manually, always go about
| | 01:22 | every half inch across the text frame.
| | 01:25 | You might be tempted to come over here and
start adding additional tabs, but don't do
| | 01:29 | it; let me delete those.
| | 01:30 | There are three ground rules you need to
keep in mind if you're going to be using tabs.
| | 01:35 | First, never type a Tab at the beginning of
a paragraph in order to create an indent.
| | 01:40 | That's what the Left Indent and the
First Line Indent feature are for.
| | 01:43 | I talked about those earlier in this chapter.
| | 01:46 | Second, never type two
tab characters in a row.
| | 01:49 | If you want your tab to take you farther than a half
inch, then set a tab stop where you want to put it.
| | 01:54 | I am going to show you how
to do that in just a moment.
| | 01:57 | Finally, if you're using tabs to make something
that looks suspiciously like a table, it probably
| | 02:02 | is a table, and you should probably use
InDesign's table features, instead of tabs.
| | 02:07 | I cover tables in a later chapter.
| | 02:09 | And here, even though it's a table of contents,
it doesn't really look like a table, so it's
| | 02:14 | okay to use tabs.
| | 02:16 | Now let's set that tab stop.
| | 02:18 | First, I need to select all the paragraphs
that I want to affect; in this case, it's
| | 02:22 | everything from that first
paragraph down to the end. There we go.
| | 02:27 | I've selected it.
| | 02:27 | Now I will scroll back up,
and set my Tab Stop.
| | 02:31 | In order to add a tab stop, I need to open the
Tab panel, and I can find that in the Type menu.
| | 02:36 | But before I do that, I want to do a little
trick; But first, I want to scroll up a little
| | 02:40 | bit, just so I can see the
top of this text frame.
| | 02:44 | You don't have to do that, but it turns out
to be really useful, because now when I open
| | 02:48 | the Tab panel, it automatically snaps
to the beginning of that text frame.
| | 02:53 | Otherwise, it'll just kind of be
loosely floating around the page.
| | 02:57 | To add a tab stop, all you do is click in
this blank area along the top of the ruler,
| | 03:02 | and when you click and drag, you can see a
black line show up that indicates exactly
| | 03:07 | where the tab stop is going to be.
| | 03:09 | I'll move this one way over to the right edge of
that text frame, and let go of the mouse button.
| | 03:14 | All those numbers after the tabs are lined up.
| | 03:17 | Unfortunately, they're lined up on the left
edge, and I would like to have these lined
| | 03:21 | up along the right edge.
| | 03:22 | That's okay; I can do that.
| | 03:24 | While this tab stop is still selected -- you
will see a little blue line around it -- I
| | 03:28 | can go to the left edge of the tab stop,
and click on the Right-Justified Tab icon.
| | 03:35 | When I do that, it turns this tab
stop into a right-aligned tab stop.
| | 03:40 | Now the tab goes up to that point, and then
all the text is flushed on the right side.
| | 03:45 | I am going to drag that now a little bit
farther to the right, to be up almost to the right
| | 03:49 | edge of this column.
| | 03:51 | If you know exactly where you want that tab
stop to be, you can select it inside the Tab
| | 03:55 | panel, and go over here to the X field.
| | 03:58 | I am going to change this from 26 picas, to
26 picas 6, and hit Enter, and you'll see
| | 04:04 | that it snaps it exactly to that point.
| | 04:06 | Of course, we can have
additional tab stops as well.
| | 04:10 | I'm going to create a new tab stop in the middle here,
and then set that to be a center-aligned tab stop.
| | 04:16 | I'll come down here, and
add an additional tab.
| | 04:19 | So I say Tab, and then I'll put some text; maybe the
letter A, then another Tab, and then the number.
| | 04:26 | Because this is a centered tab stop, as I type,
the text will always be centered on that point.
| | 04:31 | In this case, that's not what I wanted to do;
I just wanted to show you I could do it.
| | 04:34 | So I am going to select all of that,
delete it, and I'll also delete this tab stop.
| | 04:39 | To delete a tab stop, simply drag it
right out of the ruler. Pop! It's gone.
| | 04:44 | Now I've removed that tab stop, but I only removed it
from the one paragraph where my text cursor was.
| | 04:50 | So I better come back here, and select
all this text over again; there we go.
| | 04:55 | I'll click up there, and then Shift+Click
down here to select everything in between,
| | 04:58 | and then remove that tab stop one more time.
| | 05:01 | There we go! Now we are back to
the way it's supposed to be.
| | 05:05 | This is looking pretty good.
| | 05:06 | Let's go ahead and turn off Hidden Characters,
because we know where the tabs are now.
| | 05:10 | That looks pretty good,
except the space is way too big.
| | 05:14 | It's too hard for me to follow my eye
across from the words to the number.
| | 05:18 | It would be helpful to have maybe some dots,
or something to lead my eye from one side
| | 05:23 | to the other, and the keyword there is lead.
| | 05:26 | What we want is a leader.
| | 05:27 | I am going to Shift+Click up here to add that
paragraph to my selection, and then I'm going
| | 05:33 | to add a leader character.
| | 05:35 | To do that, I select the tab stop in
the Tab panel; it's now highlighted.
| | 05:40 | I can click in the Leader field,
and then type any character I want.
| | 05:44 | I'll press a dot, or a Period, hit Return
or Enter, and you can see that I now have
| | 05:50 | leader characters between
the text and the numbers.
| | 05:54 | This is really starting to look good, but
there is one more problem just lurking in
| | 05:58 | the wings, waiting to jump out at me.
| | 06:00 | I am going to switch to the Selection tool, and I
am going to change the width of this text frame.
| | 06:05 | I'll drag it a little bit narrower.
| | 06:08 | What happens? Bad stuff happens.
| | 06:10 | All the numbers break to the next line,
because the tab goes as far as it can in this text
| | 06:15 | frame, all the way to the end, and it still can't get
to its tab stop, so it breaks to the second line.
| | 06:21 | Well, that's just the problem with tab stops.
| | 06:23 | To fix this, I would have to go in and move
my tab stop for those paragraphs closer to
| | 06:28 | the left, so that it'll fit on the line again.
| | 06:30 | But there's one other solution you can do
instead, and that is, instead of using a tab,
| | 06:35 | you could use a right-align tab.
| | 06:38 | You can select a Tab inside of a text frame
the same way you select any other character.
| | 06:42 | I'll double-click on this to switch the
Type tool, and then just drag over it.
| | 06:46 | Now the Tab is selected, so I'll delete it.
| | 06:49 | Now I am going to insert
a special kind of Tab.
| | 06:51 | I won't press Tab; instead, I'll press Shift+Tab,
and Shift+Tab is a right-align tab.
| | 06:57 | That is, it always aligns with
the right edge of the margin.
| | 07:01 | Right-align tabs are really helpful.
| | 07:03 | Let's go ahead and replace some
of these other ones as well.
| | 07:05 | I'll replace that with a Shift+Tab, and this
with a Shift+Tab, and this with a Shift+Tab;
| | 07:10 | you get the idea.
| | 07:11 | Now all of these are aligned along the right
edge of this text frame, so that if I change
| | 07:16 | the text frame width, those numbers
automatically stretch with them.
| | 07:21 | In a later chapter, I show you how to make
a table of contents, and automatically use
| | 07:25 | that right-align tab.
| | 07:26 | For now, though, you can see that these tab
and tab stop features are essential tools
| | 07:31 | that will take you a long way toward
making sure your documents look good.
| | Collapse this transcript |
| Adding rules (lines) above or below a paragraph| 00:00 | Many designs call for a line, also
called the rule, to sit above or below a
| | 00:05 | paragraph, especially a heading.
| | 00:07 | You could spend all day drawing
lines with the Line tool, but you'd be a lot
| | 00:11 | better off using
InDesign's paragraph rules feature.
| | 00:15 | I have my catalog file open from the
exercise folder, and I'm going to jump to a
| | 00:19 | previous spread by pressing
Option+Page Up or Alt+Page Up.
| | 00:22 | I'm going to zoom in on the lower left
corner of this page, and I can see that I
| | 00:26 | have a heading here, but
it looks kind of a dull.
| | 00:29 | I want the eye to be drawn to it, so I
want to put a rule above or below it.
| | 00:34 | To do that, I need to put my text
cursor inside the paragraph, so I'll
| | 00:37 | double-click on it, and then I'm going
to go to the Paragraph Rule dialog box.
| | 00:43 | To get there, I go all the way over to
the right side of the control panel, and
| | 00:47 | open the control panel flyout menu.
| | 00:49 | Here I can choose a Paragraph Rules.
| | 00:52 | The shortcut is Command+Option+J, or Control+
Alt+J. The Paragraph Rules dialog box is
| | 00:59 | actually two different dialog boxes in one:
| | 01:01 | the Rule Above dialog box,
or the Rule Below dialog box.
| | 01:05 | You can swap between them
using this little pop-up menu.
| | 01:08 | I want to create a rule above, so
I'll choose that, and then I'll turn on
| | 01:12 | the Rule On checkbox.
| | 01:14 | Because the Preview checkbox is
turned on inside this dialog box, I can see
| | 01:18 | the effect immediately.
| | 01:20 | I have a one point black solid line
right at the baseline of the text.
| | 01:26 | That's probably not what I
want, so let's change it.
| | 01:29 | First, I'll change the text
color; let's make it orange.
| | 01:33 | Next I'll make it little thicker;
maybe 3 points instead, and then I'm going
| | 01:38 | to change the Offset.
| | 01:40 | The offset is how far away
from the baseline it should be.
| | 01:44 | I'll increase this to about 8 points, and
you can see it places it right above the text.
| | 01:50 | I also have the ability to
change how wide this rule should be.
| | 01:53 | For example, I'll change the left
indent to 5 points, and hit Tab, and you can
| | 01:57 | see that it moves in 5 points.
| | 02:01 | Alternatively, I can actually make it -5
points, and that way it actually sticks
| | 02:06 | out the side of the text frame.
| | 02:07 | Of course, I could do the
same thing with the right indent.
| | 02:11 | The other way to control how wide this
rule can be is the Width pop-up menu.
| | 02:15 | Right now, this is set to Column, but if
I change it to Text, then the rule goes
| | 02:20 | only to the edge of the text.
| | 02:22 | InDesign is smart enough to know where
the edge of the text is, and however long
| | 02:26 | that line is, that's how
long the rule will be to.
| | 02:30 | InDesign is smart enough to know how
wide that line is, and so if I add text to
| | 02:34 | this line, the rule will get wider.
| | 02:36 | If I take some of the text
away, the rule get shorter.
| | 02:39 | In this case, I actually do want it
to fill the entire column, so I'll
| | 02:43 | just choose Column.
| | 02:44 | You can see that there is a number of
interesting effects that you could create
| | 02:47 | with the paragraph rules feature.
| | 02:48 | For example, let's make this much
thicker; I'll make it up to, like, 10 points
| | 02:53 | thick, and then, instead of using a
positive offset, I'm going to move it down a
| | 02:58 | little bit, like -2 points.
| | 03:00 | By doing that, I actually
place a bar behind the text.
| | 03:04 | If I make this a darker color, like this
dark blue, and click OK, I might want to
| | 03:10 | select the text itself, and
change it to paper color.
| | 03:14 | Now the text is reversed
out of a dark bar.
| | 03:17 | Well, that's pretty cool.
| | 03:18 | It just goes to show, sometimes
you have to think outside the box.
| | Collapse this transcript |
| Adding automatic bullets| 00:00 | Bullets help draw to the reader's eye
to the first line in each item in a list,
| | 00:05 | but adding bullets to a list can be an
exercise in frustration when you don't
| | 00:08 | understand how they work.
| | 00:10 | Before we get into how to use automatic
bullets in InDesign, let me show you how
| | 00:13 | best to make them manually.
| | 00:15 | I have my brochure document open, and
I'm going to zoom in on this center panel.
| | 00:20 | I have five paragraphs here that I want
to add a bullet to, and I'll double-click
| | 00:24 | before the first paragraph,
and add a bullet manually.
| | 00:27 | I'll do that by pressing the Option key, or
Alt key on Windows, and then the number 8.
| | 00:32 | That adds the bullet for me,
and I can follow it with a ab.
| | 00:36 | Now I'll add that to my
other paragraphs.
| | 00:37 | I'll press Command+Down Arrow or Control+
Down Arrow to jump to the next paragraph,
| | 00:41 | and add them, and so on, and so on.
| | 00:46 | So now I have a bulleted list. It's not
a very pretty bulleted list; we need to
| | 00:49 | make it a little bit more attractive,
| | 00:51 | so I'll select these paragraphs, and I'll go
up to the control panel, and change my indents.
| | 00:56 | First I am going to give it a
positive indent; I'll say 18 points.
| | 01:01 | Now I'll press the Tab key two times
to jump to the first line indent field.
| | 01:05 | Here I'm going to not type a positive first
line indent; I'm going to type a negative one.
| | 01:10 | I'll say -9 points, and I'll hit Enter.
This is what's called a hanging indent.
| | 01:17 | A positive left indent and a negative
first line indent makes the first line
| | 01:21 | hang out in the margin.
| | 01:23 | In this case, the bullet hangs in
what is the margin of these paragraphs.
| | 01:29 | Hanging indents are particularly good
when you have paragraphs that span more
| | 01:32 | than one line, like this last paragraph
here, because it automatically wraps
| | 01:37 | to the proper place.
| | 01:38 | So that's how you would add bullets manually.
It takes a little bit of work, but you
| | 01:42 | can get the effect you want.
| | 01:44 | Now let's see how
you could do it automatically.
| | 01:46 | Let's go back to my original
document by choosing Revert.
| | 01:51 | I'll zoom in on the same text, select
the same paragraphs, and this time, instead
| | 01:57 | of typing those bullets manually, I am
going to go to control panel, and just
| | 02:01 | click on the bullet feature.
| | 02:04 | When I click on that bullet button,
they all get bullets automatically, and the
| | 02:07 | text wraps appropriately.
| | 02:08 | Now, I could get the same effect with that
indented bullet by going to the control
| | 02:12 | panel, and changing my negative
first line indent to -9 instead of -18.
| | 02:19 | Now that first line is not
hanging out quite so far.
| | 02:22 | Obviously, the automatic bullet feature
is much faster at getting the same effect.
| | 02:27 | So now the only problem I see is that I
have these really dumb looking round bullets.
| | 02:32 | Everybody uses those bullets.
| | 02:33 | I want to have something
with a little bit more class.
| | 02:36 | To change my bullets I need to go to
the Bullets dialog box. To get there, I am
| | 02:41 | going to on hold down the Option or
Alt key on my keyboard, and click on the
| | 02:44 | bullets button in the control panel.
| | 02:47 | Here you can see a number of bullet
characters we could use: the regular old
| | 02:51 | round one, or an asterisk, or a diamond; I
don't know who would use those. This one
| | 02:55 | I kind of like: the double
angle bracket called the Guillemet.
| | 02:59 | When I click on that, because the
Preview checkbox is turned on, you can see
| | 03:02 | those bullets update immediately.
| | 03:04 | There is one more bullet character in
here, kind of this A with accents on it, and
| | 03:09 | I have to tell you, I think it's a bug.
| | 03:11 | I've had this on my machine for years,
and I don't know; some machines seem to
| | 03:15 | have this, some machines have a different
kind of bullet, but if you see it, just ignore it;
| | 03:19 | obviously you don't want to use that as a bullet.
| | 03:22 | You can, however, get your own custom bullet.
| | 03:25 | I'll click on the Add button, and I'm
going to come over here and choose a font
| | 03:29 | that I know has a lot of
interesting ornaments in it: Minion Pro.
| | 03:33 | Minion Pro ships with
InDesign, so I know everybody has it,
| | 03:37 | and now, when I choose that -- I'll hit
the Tab key to make it take effect -- and
| | 03:40 | now I can see all the characters that are
inside that font. It's kind like the Glyphs panel,
| | 03:46 | Aad as I scroll down here, I can find
interesting characters that I might want to use.
| | 03:50 | I am going to use this triangle; I
like that one. I'll click OK, select it,
| | 03:57 | and then click OK here,
| | 03:58 | and now you can see that all of these
paragraphs have the triangle bullet.
| | 04:02 | See? It wasn't so hard
to get bullets after all.
| | 04:05 | Now how about automatic numbers?
We'll see how to do that in the next movie.
| | Collapse this transcript |
| Numbering paragraphs| 00:00 | In the last movie, we looked
at how to make bulleted lists.
| | 00:05 | Let's give them a little more structure.
| | 00:07 | Here is how to apply numbers or
letters to your paragraphs; what the Web
| | 00:10 | designers call ordered lists.
| | 00:13 | I have my brochure document open.
| | 00:15 | I am going to zoom into the same
text, and select these paragraphs.
| | 00:19 | To turn this into an ordered or
numbered list, all I need to do is go to the
| | 00:23 | control panel, and click on
the Numbered List button.
| | 00:27 | If it's a very simple list like
this, that's all I need to do.
| | 00:30 | Now I will click at the end of one paragraph,
and I will type some more text, and
| | 00:35 | you can see that it
automatically updates the list.
| | 00:39 | Let's say I didn't want that
paragraph to be part of the list.
| | 00:42 | It's easy to turn the number
off; just click on the button.
| | 00:45 | Now that paragraph I just typed looks
like it's part of section number 2, so it
| | 00:49 | goes 1, 2, and then skips, and
then continues on with 3, 4, 5.
| | 00:54 | If I wanted this paragraph to start
over at number one again, I would place my
| | 00:57 | cursor in that paragraph, and then
right-click, or Control+Click with a one button
| | 01:02 | mouse, to show the context menu,
and choose Restart Numbering.
| | 01:07 | When you do that, it
starts the number over at 1 again.
| | 01:09 | So now I see, 1, 2, then blank,
and 1, 2, 3.
| | 01:14 | If I need to do anything more complex
than what I just showed you, I need to
| | 01:17 | visit the Numbering dialog box, and I can
get there by holding down the Option or
| | 01:22 | Alt key, and clicking on the Numbered button.
| | 01:25 | Just to be clear, this numbering
dialog box is actually the Bullets and
| | 01:28 | Numbering dialog box.
| | 01:30 | That's because I can change my selected
text from a Numbered List to a Bulleted
| | 01:34 | List with one pop-up menu.
| | 01:36 | If I change that to Bullets, you'll
see it update automatically on the page.
| | 01:40 | But that's not what I want;
| | 01:41 | I do want a Numbered List here.
| | 01:43 | Let's say I wanted this
Numbered List to start at number 47.
| | 01:46 | To do that, I would make sure the mode
pop-up menu is set to Start At, and then
| | 01:50 | I would type in the
number that I wanted to start at.
| | 01:52 | When I click OK, you can see
that it updates automatically.
| | 01:56 | Let's see some of the other cool
things we can do with numbered lists.
| | 01:59 | I am going to undo a few steps -- Command+Z or
Control+Z -- back to where we had a list from 1 to 6.
| | 02:05 | I will select those paragraphs again,
and Option+Click or Alt+Click on the
| | 02:09 | Numbered List button, and I am going to change
the style of those numbers; that is, the formatting.
| | 02:13 | Right now they are formatted the
same way as the rest of the text in the
| | 02:17 | paragraph, but I can change
that by applying a character style.
| | 02:20 | I am going to be talking about character
styles in the next chapter, but for
| | 02:24 | right now, this document has
some character styles built in.
| | 02:27 | For example, I am going to choose bold.
That applies the bold character style to
| | 02:32 | the numbers;
not the rest of the paragraph.
| | 02:35 | Here is a question:
what if I want a sublist?
| | 02:38 | For example, I'd like this to be
numbered 1, 2, 2a, 2b, and then 3, 4.
| | 02:44 | How would we do that?
| | 02:46 | Well, to make a sublist, I'll click OK,
I'll select the paragraphs that I
| | 02:50 | actually want to affect, and I'll go
back to that dialog box, and I am going to
| | 02:54 | change the Level of this numbering
from 1 to 2.
| | 02:58 | Now it's a second level; a
sublist, within this list.
| | 03:02 | Next I am going to change the
format of this list from regular Arabic
| | 03:06 | numerals to something else.
| | 03:08 | You can see you could
choose Roman numerals, or letters;
| | 03:10 | I will use the lowercase letters.
| | 03:13 | I am going to increase the Left Indent
to, let's say, 36 points, and then I'll press
| | 03:17 | Tab, and that way the whole sublist is indented.
| | 03:22 | And finally, I'm pretty sure I said I
wanted these to be listed as 2a, and 2b;
| | 03:27 | not just A and B. So how do I
tell InDesign to change the format?
| | 03:30 | What it looks like on the page?
| | 03:33 | Well, in fact, there is a field up here
called Number, and the Number has some
| | 03:37 | strange codes in it,
and here is what it means.
| | 03:39 | This first code -- caret, number sign --
means the current number; whatever number
| | 03:44 | you're on right now.
| | 03:46 | Then it's followed by a period, and a
tab, and in fact, that's what we see:
| | 03:51 | the current number, a,
followed by a period, and a tab.
| | 03:55 | So if I want this to say 2a or
2b, I have a couple of choices.
| | 04:00 | I could come in here, and type the word Two,
followed by a space, then I will hit
| | 04:04 | Tab to make it take effect, and you
can see that whatever I type inside that
| | 04:08 | field is reflected here on the page:
| | 04:10 | Two a, and Two b. Or I could come in here, and
replace that with the number 2, and hit Tab.
| | 04:18 | Now it looks right.
| | 04:20 | The problem with this method, where I actually
type the number 2, is that it's not flexible.
| | 04:24 | For example, if this number 2 later
becomes 3, well, then it won't update properly.
| | 04:30 | So I'm going to get rid of that
number 2, and instead, use another code.
| | 04:34 | Now, I don't know what the code is, so
instead, I'm going to use this little flyout
| | 04:38 | menu on the right side.
| | 04:40 | Most people don't even
see that over there.
| | 04:42 | But I'll choose that, and I will look inside
the Insert Number Placeholder pop-up menu.
| | 04:47 | Now, I know that this
sublist is Level 2;
| | 04:49 | I already set that, so I want to go
one level up, so I'll choose Level 1.
| | 04:55 | It typed in the code -- caret,
one -- and when I hit Tab, it updates.
| | 05:00 | Now its 2a, and 2b,
but it's totally flexible.
| | 05:04 | I will click OK,
and let's see it in action.
| | 05:07 | I am going to click at the end of this
paragraph, and hit Return, and then type
| | 05:11 | some more, and you'll see that now it
says 1, 2, 3, 3a, and 3b, so it worked.
| | 05:20 | The last thing I want to point out here
is that as I select text in InDesign, you
| | 05:25 | will see that I am not
selecting the numbers.
| | 05:27 | It's almost like those
numbers aren't even there.
| | 05:30 | That's usually okay; I usually don't
need to select those numbers for any reason,
| | 05:34 | but if you did need to go in and
choose those numbers for some reason, you'd
| | 05:38 | need to convert it into actual text.
| | 05:42 | So to do that, I will go to the Type menu,
come down here to Bulleted & Numbered
| | 05:46 | Lists, and then choose
Convert Numbering to Text.
| | 05:51 | Now these numbers are no longer automatically
going to update; they are actual text.
| | 05:55 | You can select them, edit them, copy
them, whatever you want to do, but they
| | 05:59 | won't update if I later change my text.
| | 06:02 | Like I said, it's rare that you need
to do that, but it's good to know how.
| | 06:05 | So, numbered lists;
| | 06:08 | that wasn't so hard, was it?
| | Collapse this transcript |
|
|
14. StylesCreating and applying paragraph styles| 00:00 | Styles are a way to specify a whole
bunch of formatting with a single name.
| | 00:04 | InDesign lets you create styles for
character formatting, paragraph formatting,
| | 00:08 | object formatting, even table formatting,
| | 00:11 | and there are three main
reasons why you want to use styles.
| | 00:14 | First, they let you apply a lot of
formatting with a single click, so they
| | 00:17 | really boost productivity.
| | 00:18 | For example, I'll zoom in here on the
bottom part of this page, and I can see
| | 00:23 | that some of this text has been
formatted, but most of it has not.
| | 00:26 | I need to apply formatting
quickly to that text.
| | 00:29 | To do that,
I want my Paragraph Styles panel.
| | 00:32 | I can find that over here in the dock.
| | 00:34 | If you don't see the Paragraph Styles
panel over here, then make sure you're in
| | 00:38 | the Advanced workspace.
| | 00:40 | I'll double-click in the name of the
first unformatted paragraph, and I can see
| | 00:44 | that the current paragraph
style is Basic Paragraph.
| | 00:48 | We want to avoid Basic
Paragraph as much as we can.
| | 00:51 | It's much better to apply
our own paragraph styles.
| | 00:54 | In this case, I have one, and it's
called Department Fashion.
| | 00:57 | With one click on that Dept Fashion, it applies
a whole bunch of formatting to that paragraph.
| | 01:02 | Notice that I didn't have to select
the entire paragraph to apply that.
| | 01:06 | I just had the cursor
flashing inside the paragraph.
| | 01:09 | Now let's do a few more.
| | 01:11 | I'll click in the next paragraph,
and I'm going to apply Course name.
| | 01:14 | The next one down is date, this one is
going to be body, and then these last two
| | 01:20 | paragraphs -- I'll just select a little
bit of each of them -- is going to be a
| | 01:23 | paragraph style called Prereq_ns.
There we go.
| | 01:29 | You can see that I was able to format
this whole bunch of text really quickly.
| | 01:32 | If I'd had to do that manually, applying
first the font, and the size, and the
| | 01:36 | leading, and all of that, that
would have taken much longer.
| | 01:39 | Now we'll start over again.
| | 01:41 | Here's the course name, here's the date,
here's the body, and then we have a
| | 01:47 | little bit of the prerequisites
at the bottom.
| | 01:53 | As we'll see later in this chapter,
there are other ways to apply these
| | 01:56 | paragraph styles really quickly, such
as the Eyedropper tool, and quick apply,
| | 02:00 | but for now, I'm going to stick with it
like this, and I'm going to show you how
| | 02:03 | to edit these styles, because the
second reason to use styles is that you can
| | 02:07 | change a style definition at any time,
and every place you use that style in
| | 02:12 | your document is updated immediately.
| | 02:13 | For example, to edit this
Course name style, I click in it,
| | 02:19 | it shows up as highlighted in the
Paragraph Styles panel, and then I can
| | 02:22 | double-click on it to open the
Paragraph Style Options dialog box.
| | 02:26 | Let's just make a few changes here.
| | 02:29 | For example, I'll make this Bold instead
of Semibold, and why don't we give it a
| | 02:32 | color; maybe this blue color?
| | 02:36 | I'll click OK, and you can see that
it changes throughout the document.
| | 02:40 | Everywhere where that paragraph
style was applied is now changed.
| | 02:44 | Now I'm going to edit
the date paragraph style,
| | 02:47 | but instead of selecting it, I'm
going to right-click on it. By
| | 02:50 | right-clicking, or Control+click with a
one-button mouse, I can jump right to
| | 02:54 | Edit "date" without accidentally applying
that date, or changing anything in my document.
| | 03:00 | Here I'm going to choose Basic
Character Formats, and I'll just make this
| | 03:03 | a little bit smaller.
| | 03:05 | Once again, I used that right-click or
Control+click on the date paragraph style,
| | 03:09 | because I didn't want to apply it to the text
which is currently selected on my document page.
| | 03:14 | So now that we've looked at how to
apply styles, and then edit them, let's talk
| | 03:18 | about how to create our own new style.
| | 03:21 | I'm going to create a new
paragraph style for my captions.
| | 03:24 | So to do that, I'm going to
create an example that I want to copy.
| | 03:26 | I'll place my cursor in this text frame
in the middle, and then I'll select all
| | 03:31 | that text with a Command+A or Control+A.
Now I'm going to change the style of this
| | 03:36 | to bold, and I'm going to make it smaller.
| | 03:37 | Let's make this 8.5, or 9.5.
| | 03:40 | That looks pretty good for a caption.
| | 03:43 | Now let's make a paragraph style
based on it.
| | 03:45 | To make a paragraph style based on an
example on your page, like we're going to
| | 03:48 | do here, you can either select the whole
paragraph, or just select a part of it,
| | 03:52 | or just have your cursor
flashing in it, like I do here.
| | 03:55 | Now I'll go to the Paragraph Styles
panel menu flyout menu, and choose
| | 03:59 | New Paragraph Style.
| | 04:01 | Because the cursor was inside that paragraph,
it took all of that formatting, and
| | 04:05 | it dropped it in here.
| | 04:08 | So now all I need to do is give it a name.
| | 04:10 | Of course, if I wanted to, I could
go through these panes one at a time,
| | 04:13 | changing the font, the size, styles,
the scale, indents, all of that,
| | 04:18 | but you could see that would
take a long time.
| | 04:20 | I would much rather just make a
selection, have it sucked up into this
| | 04:24 | dialog box, make sure the Apply Style to
Selection checkbox is turned on, and then click OK.
| | 04:30 | It makes my paragraph style, and
automatically applies it to the paragraph
| | 04:34 | where the text cursor is.
| | 04:36 | Now let's try it out.
| | 04:38 | I'm going to pan over to this other
caption over here on this page, place my
| | 04:42 | cursor there, and click on caption.
Perfect!
| | 04:47 | This demonstrates the third reason I
want to use styles, and that is consistency.
| | 04:51 | I want to ensure
consistency throughout my document,
| | 04:54 | so I don't have to think about, jeez;
| | 04:55 | was that last caption 13 points, or
12 points, or 10 points? I don't know.
| | 05:00 | It doesn't matter.
| | 05:01 | You simply apply the style to all your
captions, and you know they'll look all the same.
| | 05:06 | Now one more thing I want to point out.
| | 05:08 | Sometimes you'll notice a little Plus
symbol in the Paragraph Styles panel.
| | 05:12 | For example, I'll select all this text
by quadruple-clicking on it, and I'm just
| | 05:16 | going to change the size, just for kicks.
| | 05:19 | You'll notice that anywhere I click
inside this paragraph style, I get a little
| | 05:23 | Plus sign in the Paragraph Styles panel,
| | 05:26 | and if I hover my cursor over that,
you'll see the Overrides tooltip.
| | 05:31 | This shows me that there's additional
formatting on top of the paragraph style.
| | 05:36 | These are called overrides, local
overrides, and the tooltip shows me that the
| | 05:40 | override was the size;
it's now 11 point.
| | 05:44 | If you ever have a document where you
see that Plus sign, you can get rid of
| | 05:47 | the local formatting by clicking on
the Remove Overrides button down at the
| | 05:52 | bottom of the Tool panel.
| | 05:53 | As soon as I click on Remove Overrides,
anything that was done to that, outside
| | 05:58 | of, or above the paragraph
style definition, is removed.
| | 06:02 | Once again, paragraph styles are
one of the most important productivity
| | 06:06 | features in InDesign.
| | 06:07 | The more you use them, the
more efficient you'll get.
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| Using character styles| 00:00 | Now that we know how to use paragraph
styles, character styles will be a breeze.
| | 00:05 | There's one big difference
between defining a paragraph style and a
| | 00:08 | character style, however.
| | 00:09 | Paragraph styles always define all the
character and paragraph formatting: the
| | 00:14 | font, the size, the indents;
everything that describes a paragraph.
| | 00:17 | But character styles are different;
| | 00:20 | they can be set up to define just one
attribute, like just the font, or just the
| | 00:24 | size, or the size and the color,
but nothing else.
| | 00:28 | Let's see how it's done.
| | 00:29 | I'm going to jump to the previous spread
by pressing Option+Page Up or Alt+Page
| | 00:32 | Up, and I'll zoom in on
this bottom part of the page.
| | 00:35 | Because I'm going to be working with
character styles, I better open the
| | 00:38 | character styles panel, which I
can find over here in the dock.
| | 00:41 | Now, I have some character styles
already created, but I'm going to start by
| | 00:45 | creating a brand new one.
| | 00:46 | And I'll do that not within the character
styles panel, but instead, on the page.
| | 00:50 | I like to make a
character style based on an example.
| | 00:54 | So I'm going to double-click in here, and
select some text, and change the style of this.
| | 00:58 | For example, I'll change the font,
let's make this bold, why don't we change
| | 01:04 | the size a little bit,
| | 01:07 | and we'll change its color;
| | 01:09 | it's always nice to change
its color, so it really stands out.
| | 01:12 | Now that I have the example, I
can make the character style.
| | 01:16 | I'll place my text cursor inside the
text, or you could select some of that text;
| | 01:20 | it doesn't really matter.
| | 01:21 | Then I'll go to the Character Styles panel,
and choose New Character Style from the menu.
| | 01:27 | All I have to do is give it a name.
| | 01:29 | All the formatting from the text that I
created in my example is sucked up here
| | 01:33 | into the dialog box: the font,
the style, the size, and so on.
| | 01:37 | Now all I need to do is click OK.
| | 01:40 | Notice that it created the character style
for me, but it did not apply it to the text.
| | 01:45 | I need to apply it to all this text
in fact, so I'll select that, and click.
| | 01:50 | Every time I want to use that
character style, I just need to select some
| | 01:53 | text, and click; select some text, and click;
select some text, and click. You get the idea.
| | 02:00 | It's very easy to apply all that
formatting quickly with one click.
| | 02:04 | Now, I want to be really,
really clear about something here:
| | 02:06 | character styles should only be
applied to one letter, or one word, or maybe a
| | 02:11 | sentence or two; not an entire paragraph.
| | 02:14 | This is really important.
| | 02:15 | A lot of people, I find, select an
entire paragraph, and then apply a
| | 02:20 | character style to it.
| | 02:21 | That's not what character styles are
for. Character styles are for only a
| | 02:25 | piece of a paragraph.
| | 02:26 | I'm going to undo that; I don't
like even pretending to do it.
| | 02:30 | If you need to apply formatting to an
entire paragraph, use paragraph styles;
| | 02:34 | that's what it's for.
| | 02:36 | What if I want to
edit that character style?
| | 02:39 | The best way to edit a character style
is to right-click on it, or Control+Click
| | 02:42 | with a one-button mouse, and
that brings up the context menu.
| | 02:46 | From here, I can choose Edit.
| | 02:48 | Here in the Character Style Options
dialog box, I can change it to something else.
| | 02:51 | For example, let's pick a different
color, and why don't we change this from
| | 02:55 | Bold to Bold Condensed?
| | 02:57 | Click OK, and you can see that everywhere
in my document -- everywhere I used that
| | 03:02 | character style -- it gets updated.
| | 03:04 | Notice that I did not double-click
on the character style to edit it.
| | 03:07 | A lot of InDesign users try that,
and they get themselves into trouble.
| | 03:12 | The reason is, whenever you double-click
on a character style, it applies it to
| | 03:16 | any text you currently have selected.
| | 03:17 | It's really a problem when
you have nothing selected.
| | 03:21 | If I press Command+Shift+A or Control+Shift+A
to deselect everything, and why don't
| | 03:25 | I pan over here, so I have some
space on the Pasteboard to work with,
| | 03:30 | if I double-click on this word
emphasis edit it, it opens up the Character
| | 03:34 | Styles dialog box, and then I could edit
it or not; you'll get the idea in a moment.
| | 03:39 | I'll click OK, and now what happened?
| | 03:42 | Well, it didn't look
like I changed anything,
| | 03:44 | but if I drag out a text frame, and
start typing, all that text is in
| | 03:49 | my character style.
| | 03:50 | Why? Because I double-clicked on that
when nothing was selected on my page, it
| | 03:55 | made that character style the new
default style for this document.
| | 03:59 | This is a trap that even advanced
InDesign users fall into all the time.
| | 04:03 | It's a real problem.
| | 04:04 | So let's go ahead and delete that.
| | 04:06 | You want to make sure the Character
Style panel is set to None, unless you're
| | 04:09 | applying a style to some
text inside of a text frame.
| | 04:13 | It's always tempting just to hit a
keyboard shortcut to make some text bold or
| | 04:16 | italic, but it's much
better to use character styles.
| | 04:19 | For example, I have italic and bold
character styles that I've created here,
| | 04:23 | so if I want to make something italic,
I select the text, and click on the
| | 04:27 | italic character style.
| | 04:29 | This is particularly important if you
know that you're going to be repurposing
| | 04:32 | your document for EPUB, or HTML, or
that you know that you're going to need to
| | 04:36 | reformat the whole thing
later for some other purpose.
| | 04:39 | Character styles make the process of
reformatting a document really a breeze, as
| | 04:43 | long as you remember to use them.
| | Collapse this transcript |
| Editing and redefining styles| 00:00 | We've already seen how easy it is to
edit styles in InDesign; just right-click
| | 00:05 | on the style in the Paragraph or Character
Styles panel, and choose Edit from the
| | 00:08 | context menu, but there's an
even easier way. Let me show you.
| | 00:12 | I'm going to jump to the previous
spread in this document by pressing
| | 00:16 | Option+Page Up or Alt+Page Up, and I'll
zoom in on the bottom part of this page.
| | 00:20 | I see that I'd like to redefine
the style for these course names,
| | 00:23 | so I'm going to double-clicking this,
and actually just select a word, and
| | 00:27 | change the formatting.
| | 00:29 | Maybe I'll make this Bold Condensed
instead, make it a little bit larger, and
| | 00:34 | then change the color.
| | 00:37 | Once I have it looking the way I
want to on the page, I can redefine the
| | 00:41 | style based on that.
| | 00:43 | To do that, I place my cursor inside
the text that I have formatted, go to the
| | 00:47 | Paragraph Styles panel, and inside
the Paragraph Styles panel, I choose to
| | 00:51 | flyout menu,
and then choose Redefine Style.
| | 00:55 | This command takes the formatting
from wherever the cursor is right now, and
| | 00:58 | redefines the style based on it.
| | 01:01 | So with one click, I can redefine the
paragraph style based on the example I made.
| | 01:06 | I love that redefine style feature.
| | 01:08 | I use it all the time, whether it's
paragraph styles, or character styles.
| | 01:12 | But every now and again, I find
that I have some text that has some
| | 01:14 | formatting that I do not want to
change, even if the paragraph style
| | 01:18 | definition gets changed.
| | 01:19 | For example, let's say, for whatever
reason, I don't want the formatting on this
| | 01:24 | paragraph to change, no matter what.
| | 01:27 | To deal with that, I select the paragraph,
go to the Paragraph Styles flyout menu,
| | 01:31 | and choose Break Link to Style.
| | 01:34 | That literally takes that
paragraph style off that paragraph.
| | 01:37 | We can even see in the upper left corner
of the Paragraph Style panel it says No
| | 01:42 | Styles are applied to this paragraph.
| | 01:44 | I'll deselect here, so you can see it
looks exactly the same, but it doesn't
| | 01:48 | have a style applied to it anymore.
| | 01:51 | So that means if I go and change this
style again -- for example, I'll change the
| | 01:55 | color, I'll come in here and
change the font style again;
| | 01:58 | that looks pretty good -- and now I
redefine the style based on that,
| | 02:03 | that change is propagated through the
entire document, but it did not touch that
| | 02:07 | paragraph where I broke the style.
| | 02:09 | While I usually insist that people
use styles for everything, the truth is
| | 02:14 | that sometimes you have to break the
rules, or in this case, at least break
| | 02:18 | the styles.
| | Collapse this transcript |
| Using object styles| 00:00 | Now that you're familiar with character
styles and paragraph styles, it's time to
| | 00:04 | talk about object styles.
| | 00:06 | Yes, that's right; you can define an
object style that, with a single click,
| | 00:09 | will apply all sorts of object
formatting, such as fill, and stroke,
| | 00:13 | transparency effects, and more.
| | 00:15 | Let's make an object style in this
document from the exercise files folder.
| | 00:19 | I'll select one of the images, and I'll
apply some formatting to it as an example.
| | 00:23 | For instance, I'll apply a stroke;
let's just do a nice little thin half-point
| | 00:27 | stroke around this. Let's
also apply a drop shadow.
| | 00:32 | It's always fun to have a drop shadow,
though I don't need one quite that big. Let's
| | 00:35 | say 3 points instead.
Add a little noise;
| | 00:38 | love adding noise. Click OK,
and now we've got a drop shadow.
| | 00:42 | And finally, why don't we give this
a little rounded corner on the edge?
| | 00:46 | I'll click that little yellow box, and
then I'll Shift+Click on the upper right
| | 00:50 | corner diamond, and drag
that in, and you can see that
| | 00:53 | now I've got a rounded corner
just on that edge.
| | 00:57 | Let's zoom in here, so we can see, and I'll
press the W key to go into Preview mode.
| | 01:01 | Yeah, that looks pretty good; I like it.
| | 01:03 | Let's make an object style based on that.
| | 01:06 | I'll select it; open my Object Styles
panel. Of course, if you don't have your
| | 01:10 | Object Styles panel, make sure
you're in Advanced workspace.
| | 01:13 | Now I'm going to create a new object
style by going to the Object Styles panel
| | 01:17 | flyout menu, and choose New Object Style.
| | 01:21 | I'll give it a name.
| | 01:24 | Now, it's hard to tell at first, but all
the formatting that I applied to that
| | 01:27 | object is pulled up here into this dialog
box, because I had it selected on the page.
| | 01:31 | For example, the Stroke; there is my
half-point black stroke, and my Stroke &
| | 01:37 | Corner Options show that the
upper right corner is rounded.
| | 01:41 | It even shows the Drop shadow down here.
| | 01:44 | So I'll click OK, and then click on the object
style to make sure it's applied to that object.
| | 01:50 | Next time I want to apply that object
style, I simply select the frame, come over
| | 01:54 | here, and click on cool images.
| | 01:57 | All that formatting is now applied there.
| | 01:59 | Let's zoom back with a Command+Opt+0 or
Control+Alt+0, and select some more images.
| | 02:04 | I'll grab all these images on this
page; with one click, the formatting is
| | 02:09 | applied to all of them.
| | 02:10 | Of course, just like paragraph and character
Styles, it's really easy to edit these styles.
| | 02:16 | To do that, I right+click, or Control+Click
with a one-button mouse, right on the name.
| | 02:19 | I choose Edit, and then I change
the Object Style Options dialog box.
| | 02:23 | For example, let's change the Stroke.
Why don't we make it some other color,
| | 02:28 | like orange, make it thicker, and then I'll
change the Type to something crazy, like Wavy.
| | 02:34 | When I click OK, I can see that change
reflected in all the frames that have
| | 02:38 | that object style applied to them.
| | 02:40 | If you care about consistency and
efficiency, you're really going to love
| | 02:43 | using object styles.
| | 02:44 | It makes laying out your documents a breeze.
| | Collapse this transcript |
| Applying styles with Quick Apply| 00:00 | I love keeping my hands on the
keyboard as much as I can when I work.
| | 00:04 | As I've said before,
it's all about efficiency.
| | 00:07 | So you can just imagine the neurons
firing in my brain's pleasure center when I
| | 00:11 | saw a feature that means I hardly ever
have to use the mouse to go click in the
| | 00:15 | Paragraph, Character or
Object Styles panels again.
| | 00:18 | That feature is called Quick
Apply, and it is simply life-changing.
| | 00:22 | Let me show you how it works.
| | 00:23 | I'll zoom in on the bottom part of this
page, and I can see that I have a bunch
| | 00:27 | of text that I want to
apply paragraph styles to.
| | 00:30 | I'll double-click in the first one, and now
I want to bring up the Quick Apply window.
| | 00:34 | To do that, I press Command+Return
on the Mac, or Control+Enter on Windows.
| | 00:39 | When I do that, the Quick Apply window
appears suddenly, right in the middle of the page.
| | 00:43 | Now, I can drag that around on my
screen, and it'll remember where I put it, and
| | 00:46 | always show up in that same place.
| | 00:49 | Once the Quick Apply window is open, you'll
see a little cursor flashing inside this field.
| | 00:53 | So I can keep my hands on the keyboard, and
type the name of the style that I want to apply.
| | 00:58 | In this case, I know it has
something to do with the word fashion,
| | 01:01 | so I'm going to type fa. What I see is
a list of all the features that Quick
| | 01:06 | Apply knows about that has an fa in it.
| | 01:10 | The first item at the top of
the list is actually a menu item.
| | 01:13 | That's right; Quick Apply can actually
trigger menu items, which is a great way to
| | 01:17 | use it if you don't know where a
particular feature is in a menu. But in this
| | 01:20 | case, I'm looking for a paragraph style,
| | 01:23 | so I'm going to type fas, and as soon
as I add that S, it guesses oh, you want
| | 01:28 | department fashion.
| | 01:30 | To actually apply that style,
I simply press Return or Enter.
| | 01:34 | Now I'll press the down arrow key to
jump to the next paragraph, and bring
| | 01:37 | up Quick Apply again.
| | 01:39 | Command+Return or Control+Enter, up it comes, and
notice that it remembered what I last typed.
| | 01:45 | This makes it really helpful to
apply the same style over and over again.
| | 01:49 | In this case, I want to apply a different
style called Course; cou. That's all I need to type.
| | 01:56 | It guessed course name; hit Enter.
| | 01:59 | Now, if I want to apply that same one
over and over again, I simply click in
| | 02:02 | a different paragraph style, press Command+
Return or Control+Enter, and then enter again.
| | 02:07 | I don't have to type anything else,
because it has remembered what I typed in there.
| | 02:11 | Let's apply some other formatting.
| | 02:13 | Let's grab the date, dat; this one is
body, bo; this one is going to be bo.
| | 02:20 | You can see that very quickly I'm simply
opening this and closing it over and over again.
| | 02:25 | These are going to be prerequisites, pr;
there we go. I like it. Same thing,
| | 02:32 | over and over again.
| | 02:34 | I've applied all that styling
in just a few seconds. Oops!
| | 02:37 | I missed a date.
| | 02:38 | Grab that, go back and type da; Enter.
| | 02:43 | Now, sometimes when using Quick Apply,
you'll find that it's difficult to find
| | 02:46 | just the style you want; maybe you
don't remember exactly what it's called.
| | 02:50 | So bring up Quick Apply, and filter the list.
| | 02:53 | For example, if I only want to show
paragraph styles, I can click in this
| | 02:57 | little pop-down menu, and turn off all
these checkboxes, except for Paragraph
| | 03:02 | Styles. But there is actually a much
faster way, and the clue is this little
| | 03:06 | code at the end of the line, p, colon.
If I type p:
| | 03:12 | into this Quick Apply window, it automatically
filters, so I only see paragraph styles.
| | 03:19 | Now I can use the arrow keys on my
keyboard to move up and down that list.
| | 03:23 | I'm pressing the down arrow key to
move down; up arrow key to move up.
| | 03:26 | In this case, I want the date,
| | 03:28 | so I'll move down, and hit Return.
| | 03:31 | Quick Apply makes applying styles so
fast, and so easy, but like so many things
| | 03:35 | in life, it takes a little
work to change your habits.
| | 03:38 | So force yourself to use Quick Apply
three or four times, and believe me, you're
| | 03:42 | going to find yourself
hooked on this feature.
| | Collapse this transcript |
|
|
15. TablesCreating a table| 00:00 | One of the most difficult design challenges
is representing a lot of data clearly.
| | 00:04 | It's easy to throw a bunch of numbers
and dates on a page, but to make them
| | 00:08 | readable, you typically need
to format it all as a table.
| | 00:11 | InDesign offers a number of features
that make table making, well, not fun, but
| | 00:15 | at least pretty tolerable,
and sometimes even interesting.
| | 00:19 | My friend, Diane Burns, has done a
whole title on making cool looking tables
| | 00:22 | here in the lynda.com
Online Training Library.
| | 00:25 | You should definitely check that out.
| | 00:26 | But in the meantime, I am
going to show you the essentials;
| | 00:29 | what you need to get up and
running with tables quickly.
| | 00:32 | The first thing you need to know about
tables in InDesign is that they're always
| | 00:36 | anchored inside of a text frame, and
they flow along with the text in the story.
| | 00:40 | I have my catalog document open here,
and I'm going to zoom down on the bottom
| | 00:43 | part of this page. And all these
guides are a little bit distracting to me,
| | 00:47 | so I'll go to the View menu, and choose
Grids and Guides, and turn off my Guides.
| | 00:51 | Now I am going to make a text frame.
| | 00:54 | I'll simply grab the Text
tool, and drag out of frame.
| | 00:58 | To create my table, I'll go to the
Table menu, and choose Insert Table.
| | 01:03 | The Insert Table dialog box lets me
choose the number of Rows, and Columns, and
| | 01:07 | also specify Header, and Footer Rows.
| | 01:09 | I'll talk about those in just a little bit.
| | 01:10 | I'll click OK, and you can
see that now I have a table.
| | 01:14 | It's a very basic table, but it
does let me type data into it.
| | 01:18 | So I can just type some words, and I hit
Tab to jump to the next field, and jump
| | 01:23 | to the next field, and so on.
| | 01:25 | When I get to the end of the row, I
hit Tab, and it starts over at the line.
| | 01:30 | In general, you're not going to be
creating your own tables from scratch;
| | 01:33 | it's just too cumbersome.
| | 01:34 | The table data will probably come from
somewhere else, like Word, or Excel, or Database.
| | 01:39 | So let's get rid of this
table, and start with a new one.
| | 01:42 | You can delete a table just
like you would delete text.
| | 01:45 | In fact, a table is anchored in the text.
| | 01:47 | So if I click down here at the bottom
of the text frame, you'll see that the
| | 01:50 | text cursor is placed
immediately after the table.
| | 01:54 | In fact, I can start typing some gibberish here,
and you'll see it's just text in a text frame.
| | 01:58 | To delete that table, I
simply drag over it, and hit Delete.
| | 02:03 | Again, it's just like a
character in your text story.
| | 02:06 | Now let's bring in some data.
| | 02:08 | I'll go to the File menu, choose Place,
and from my exercise folder, I am going
| | 02:11 | to grab this roux_catalog_data.txt file.
| | 02:14 | I'll click Open, and in comes
all the data from this text file.
| | 02:19 | That's definitely not pretty,
| | 02:20 | so let's turn it into a table.
| | 02:21 | I am going to select all the text by
pressing Command+A or Control+A, go into the
| | 02:25 | Table menu, and choosing
Convert Text to Table.
| | 02:29 | InDesign is going to ask me,
what's in between each row and column?
| | 02:32 | In this case, the columns are broken
down by tabs, and the rows by paragraphs.
| | 02:37 | So I'll go ahead and leave this at
its default settings, and click OK.
| | 02:41 | As you can see,
we have a table really quickly.
| | 02:43 | Now, I remember seeing just a
moment ago, there's a lot more data than I
| | 02:47 | can see in this table.
| | 02:49 | If I look in the lower right corner of this
text frame, I can see the text frame is overset.
| | 02:53 | The table is too long to fit in here.
| | 02:55 | I'm going to zoom back to 100%, with a
Command+1, or Control+1 on Windows, scroll
| | 03:01 | over here, and with my Selection
tool, I can make my text frame longer.
| | 03:05 | When I do that, you can see you get
more data, but it's still overset.
| | 03:10 | So I'll click on that little overset
marker; that loads my place cursor, and now
| | 03:14 | I'm going to come over to the
next page, and click, and drag.
| | 03:18 | As you can see, tables can
thread from one frame to another.
| | 03:22 | If you have a really long table like
this one, it could go on for pages.
| | 03:26 | The one thing InDesign cannot do,
however, is break a cell in half.
| | 03:31 | So, for example, this cell up
here always has to stay together.
| | 03:34 | I can't put the first line on
page 1, and the second line on page 2;
| | 03:38 | it always gives your cell whole on a page.
| | 03:41 | The other thing I am noticing that's
kind of interesting here is that this table
| | 03:44 | is wider than the frame itself.
| | 03:46 | This is one of the few instances in
InDesign where things can actually hang
| | 03:50 | outside of a text frame.
| | 03:51 | I am going to talk about how to change
the size of a table by adjusting its rows
| | 03:55 | and columns later on in this chapter,
| | 03:58 | but for right now, I want to point
out that each of these cells is like its
| | 04:02 | own little text frame.
| | 04:03 | If I double-click on it, it switches
to the Type tool, and you can see, I
| | 04:07 | can select all the text in there,
and if I drag too far, it actually
| | 04:10 | selects the whole cell itself.
| | 04:13 | Drag over more than one cell, and you
can see, I am actually multiple cells.
| | 04:18 | Now, I know this table isn't exactly pretty,
but it least we have a table to work with.
| | 04:22 | In the next few movies, I am going to
explain how to adjust the rows and columns,
| | 04:25 | and then start formatting these cells.
| | Collapse this transcript |
| Adjusting rows and columns| 00:00 | Tables don't just
spring to life by themselves;
| | 00:03 | you need to feed them, care for them,
adjust their rows, and columns, but how do
| | 00:07 | you adjust the rows and columns in a table?
| | 00:10 | If I choose the Selection tool, and
then try and drag one of these column
| | 00:13 | dividers, I don't move the column divider;
| | 00:15 | I move the whole text frame.
| | 00:17 | Let's undo that, and see how
you're really supposed to do it.
| | 00:20 | Remember that tables are inside text frames,
and therefore, you have to use the Type tool.
| | 00:26 | I'll press the T on my keyboard to jump
to the Type tool quickly, and then I can
| | 00:30 | actually click inside here, and drag.
| | 00:33 | I'll make this column a little wider, this
column a little narrower; you get the idea.
| | 00:39 | You can just move these around.
| | 00:41 | Notice that as I drag one of these
column dividers, it changes all of the
| | 00:45 | columns in the table.
| | 00:47 | If I want to move a column divider
without moving the other dividers, I hold
| | 00:51 | down the Shift key. Shift+drag will
only change that one column divider, and it
| | 00:56 | won't change the width of the table.
| | 00:57 | Now, the Shift key does something
different if you use it on the outside edge.
| | 01:03 | The outside edge of the table by itself
will only move that one cell, but if you
| | 01:08 | hold down the Shift key,
it does just the opposite.
| | 01:11 | Shift+drag moves all of them
proportionally.
| | 01:15 | So if you want to make the whole table
wider or narrower proportionally, make
| | 01:19 | sure you Shift+drag on the
outside edge of the table.
| | 01:23 | In this case, I want the table
to fit inside the text frame.
| | 01:26 | So I'm simply going to drag, without
the Shift key, all the way back until I
| | 01:30 | go inside that frame.
| | 01:32 | Now in this case, I want the
table to fit inside my text frame,
| | 01:35 | so I'm simply going to drag it without the
Shift key until it snaps inside the frame edge.
| | 01:41 | I'm going to make a few more changes
here with the Shift key held down, just to
| | 01:45 | fit these in a little bit better, and
now I'm having trouble, because I want
| | 01:49 | these three columns to all be the same
width. It's hard to do that by eye, but
| | 01:53 | it's easy to do it if I use to
distribute columns evenly feature.
| | 01:57 | I can find that by dragging over all
three columns -- I don't have to select the
| | 02:01 | entire columns; just any cells within
those columns -- and I'll go back to the
| | 02:05 | Table menu, and choose
Distribute Columns Evenly.
| | 02:09 | That forces InDesign to make
the widths exactly the same.
| | 02:12 | Notice that when I choose one or
more cells, the control panel changes to
| | 02:17 | indicate what's going on inside
that cell, and let me format it.
| | 02:20 | I'll be talking about some of these features
later, but the one I want to point out
| | 02:23 | right now is way over here on the
right side, where it actually shows the
| | 02:27 | width of those columns.
| | 02:29 | Right now it is 72.667 points, but I
can select that, and change it to an exact
| | 02:35 | amount, perhaps 70 points, and now it
changes all three of those columns to
| | 02:39 | exactly 70 points wide.
| | 02:41 | So you have a lot of control
over the widths of your columns.
| | 02:44 | And what about rows?
| | 02:46 | Same thing; I can use my Type tool to
click and drag on a row to make it larger
| | 02:50 | or smaller,
or I can do it in the control panel.
| | 02:54 | I'll select this row, and I'll go up to
the control panel, and I'll see that the
| | 02:58 | height of this row is currently 48.452
points. And notice that there's a pop-up
| | 03:04 | menu to the left of that,
and it says At Least.
| | 03:07 | It's going to be at least 48 points.
| | 03:09 | That means that it could be
larger than 48 points, but not smaller.
| | 03:14 | If I want to specify an exact height
for that row, I would change this from At
| | 03:17 | Least to Exactly, and now I
can type in anything I want.
| | 03:21 | Let's go ahead and make it 60 points.
| | 03:24 | As you can see, managing
these rows and columns is easy;
| | 03:27 | sometimes managing the data inside the
rows and columns is harder, but there is a
| | 03:31 | cool trick there that I want to point
out before we move on. That is, I can go to
| | 03:35 | the Edit menu, and choose Edit in Story
Editor, and in the Story Editor window, I
| | 03:39 | can see all the data from my table,
all laid out in rows, and columns.
| | 03:43 | It's a little bit hard to see.
| | 03:45 | Let me make this wider, and I'll scroll
up a bit to the top of my table, and you
| | 03:51 | can see that this table is anchored in
my story, and it starts with Row 1, and
| | 03:55 | here's each of the columns in Row 1.
| | 03:57 | Then it goes to Row 2, and those are
the columns, and then Row 3, and those are
| | 04:01 | the columns, and so on.
| | 04:02 | If you'd rather see this arranged
by columns instead of rows, you can
| | 04:06 | right-click on this little icon up here,
or Control+click with one-button mouse,
| | 04:10 | and then scroll all the way to the
bottom of the context menu, and down here,
| | 04:14 | you can see that we can
arrange it by columns.
| | 04:17 | Now it's the same data, but
arranged in a different way.
| | 04:20 | It all depends on how you want to edit it.
| | 04:22 | Obviously, managing all these rows and
columns isn't all that difficult, but you
| | 04:26 | do have to pay attention if
you want a high quality result.
| | 04:29 | Now, in the next movie, we'll look at
how to add or remove rows and columns, or
| | 04:33 | even merge some of these cells together.
| | Collapse this transcript |
| Adding and deleting rows and columns| 00:00 | Is your table not big enough for you?
| | 00:02 | Maybe it's too big.
| | 00:03 | You can change the number of rows and
columns in your table in several ways.
| | 00:08 | Let's go ahead and add a column at the end.
| | 00:10 | I'll place my cursor inside that last
cell in the table by double-clicking on it,
| | 00:16 | and now I can just press Tab.
| | 00:18 | As soon as I press Tab, it
doesn't have anywhere to go,
| | 00:20 | so it makes a new row,
and lets me type in it.
| | 00:24 | Another way to add some rows or columns
is to click inside one of your cells, or
| | 00:28 | select the cell itself, go to
the Table menu, and choose Insert.
| | 00:33 | Now I can choose to insert a
row or column.
| | 00:35 | Let's go ahead and insert a row. In
fact, why don't we add two; 2 rows above
| | 00:41 | wherever the text cursor currently is.
| | 00:43 | I'll click OK,
and you can see it added the rows.
| | 00:46 | Of course, deleting rows is just the same;
| | 00:49 | select the row or column;
| | 00:52 | I'm actually going to select two rows here.
| | 00:54 | Once again, you don't
have to select the whole row;
| | 00:56 | just select some of the cells in that row, and
then go to the Table menu, and choose Delete.
| | 01:00 | Here, I'll delete those rows.
| | 01:02 | Here, let's go ahead,
and delete another row.
| | 01:04 | I'll place my cursor in the last row
here, that I just created, and right-click, or
| | 01:08 | Control+click with a one-button mouse, and
now I can delete it from the context menu.
| | 01:12 | I find that a little bit more
easy than going to the Table menu.
| | 01:16 | Obviously, the same thing
works with columns.
| | 01:18 | If I want to add a new column, simply
place my cursor in a column that I want to
| | 01:22 | add it next to, and I'll do
the same thing; Insert Column.
| | 01:26 | There we go; I'll add
one to the left. Terrific!
| | 01:29 | Now let's go ahead and delete it.
| | 01:31 | Place my cursor inside the
cell, and Table > Delete > Column.
| | 01:34 | I am going to place my cursor inside
this heading row, and I'm going to zoom into
| | 01:38 | 200% here with Command+2,
or Control+2 on Windows.
| | 01:42 | And I can see that this heading is
constrained inside of its own cell.
| | 01:47 | I want it to stretch past that cell;
| | 01:48 | I want it to go all the way
over as far as it needs to.
| | 01:52 | So I'm going to select all of these cells,
just by dragging over them, or, let me
| | 01:55 | click quick over here; show you one
other way you can select all the cells, and
| | 01:59 | that is click to the left of the row.
| | 02:02 | You see how the cursor
changes into a black arrow?
| | 02:04 | That means it's going to
select the entire row.
| | 02:07 | I'll select that entire row, and I am
going to merge those cells together.
| | 02:11 | To do that, I'll go to the
Table menu, and choose Merge Cells.
| | 02:16 | This acts as a single cell in my table;
| | 02:18 | I can make this text as long as I want, and
it will stretch all the way across the table.
| | 02:22 | We can also split individual cells into two.
| | 02:25 | For example, I'll select this cell here --
| | 02:27 | I don't have to select the cell,
| | 02:29 | I could just place my cursor in there -- go to
Table menu, and choose a Split Cell Horizontally.
| | 02:34 | In other words, put a line inside the cell,
so that I get two; one on top of the other.
| | 02:39 | I want to go nuts, I could split
this cell down here, vertically.
| | 02:43 | You'll get the idea; you can
split cells and merge them.
| | 02:48 | Now, once you have your basic table
structure down, it's time to start paying
| | 02:52 | attention to formatting it;
making it more attractive.
| | 02:54 | At least, I hope you want to
make it more attractive than this.
| | 02:57 | That's what I am going to
cover in the next movie.
| | Collapse this transcript |
| Formatting a table| 00:00 | Let's make this table
look a tad bit better.
| | 00:03 | A basic tool for formatting a table is
the Table Options dialog box, and you can
| | 00:08 | get there by placing your text
cursor anywhere inside your table.
| | 00:11 | I'll just double-click on that, then I'll go
to the Table menu, and choose Table Options.
| | 00:17 | Here I'll choose Table Setup, and
up comes a Table Options dialog box.
| | 00:22 | There are a lot of controls in this
dialog box, but we are just going to take a
| | 00:25 | look at the most important ones.
| | 00:27 | You can change your Table Dimensions up
at the top if you want; in other words,
| | 00:30 | add or remove columns or rows, but I'm
going to focus on the Table Border. That
| | 00:35 | is, what does the border look like
around the outside edges of my table?
| | 00:39 | Right now, I have a 1 point black stroke
around the outside edges of this table,
| | 00:44 | and I am going to change it
to have no stroke.
| | 00:46 | I don't want to have a stroke around
the edge of my table here; it looks clunky.
| | 00:49 | To do that, I change the Color to None.
| | 00:52 | The Table Spacing value lets me control
the spacing before or after the table.
| | 00:57 | Remember, tables are always anchored
in a text flow, so the Space Before and
| | 01:01 | After is just like spacing
before and after of a paragraph.
| | 01:04 | Now in this case, I don't have any text
before or after the table, but I'm still
| | 01:08 | going to change this, just in
case I happen to add some later.
| | 01:12 | Let's go look at some of the other
tabs along the top of this dialog box.
| | 01:15 | I am going to jump over here to Fills,
because that's most fun, and I am going to
| | 01:20 | change the Alternating panel of
this table to Every Other Row.
| | 01:24 | When I do that, you can see
immediately, every other row in the table
| | 01:28 | gets changed to a gray.
| | 01:30 | Gray is not very interesting.
| | 01:31 | Let's go ahead and change that to color,
and I'll choose kind of an orange color.
| | 01:38 | I want the first row to be a little bit
lighter, let's say 15%, and then I want
| | 01:43 | the second row, or every other row,
to be the same color, but a darker
| | 01:49 | percentage; let's say 30%.
| | 01:52 | Next, let's tackle the strokes; the strokes
that go in between every row, and every column.
| | 01:58 | The problem is that when I look at this table
right now, all I'm seeing is these blue lines.
| | 02:03 | Those are the frame edges that
show where the columns and rows are.
| | 02:06 | I can't see the actual strokes themselves.
| | 02:09 | So, I am going to click OK, and why
don't me zoom in on this, so we can see it
| | 02:12 | better, with a Command+2,
or Control+2 on Windows.
| | 02:15 | You see all those blue lines there? Not
helpful when you're formatting a table.
| | 02:19 | So I am going to go up to the View menu,
and choose Extras, and turn off the frame
| | 02:24 | edges; Hide Frame Edges.
| | 02:27 | Now I can't see these blue lines;
I just see the strokes themselves.
| | 02:31 | Back to Table > Table Options > Table
Setup, let's move this out of the way a
| | 02:36 | little bit, and I am going
to go to my Row Strokes.
| | 02:40 | What do I want to have
between every row in my table?
| | 02:43 | Right now, I just have a thick 1 point
black line, but in fact, I don't actually
| | 02:47 | want to have any strokes there.
| | 02:49 | Now, you'd think that InDesign would make
that easy to just turn those off, but
| | 02:53 | it's a little bit tweaky.
| | 02:54 | We have to turn on an Alternating
Pattern, and then set the Alternating
| | 02:58 | Pattern to be None.
| | 03:00 | In other words, I'll set the first row
to be None, and then I'll set the second
| | 03:04 | row to be None, and now they all go away.
| | 03:06 | I don't need strokes, because
I'm using the Alternating Fill.
| | 03:10 | Now let's do columns.
| | 03:11 | In this case, I want to have the same
stroke in between each one of them, but I
| | 03:15 | want to make them white instead of black.
| | 03:17 | Once again, I can't do it to every
stroke; I have to make it alternating.
| | 03:21 | So the first one is going to be a 1
point Paper stroke, and then the Alternating
| | 03:27 | ones, the every other one, is also
going to be 1 point, and Paper white.
| | 03:34 | I'll click OK, and go back to fit
the spread in the window with a
| | 03:37 | Command+Option+0, or Control+Alt+0. And I
can see that this is looking pretty
| | 03:41 | good, except this header.
| | 03:43 | This header only shows up on the left
page, and I'd also like to see it on the
| | 03:47 | right page, right there
at the top. Can I do that?
| | 03:50 | Absolutely!
| | 03:51 | I need to turn it into a header row,
and to do that, I select it by clicking
| | 03:55 | to the left with the Type tool, go to the
Table menu, and choose Convert Rows > To Header.
| | 04:02 | As soon as I do that, you see the
header shows up on the right page as well.
| | 04:06 | I'll click out here in some other
cell, and you'll see that those exact same
| | 04:10 | cells on the header show up on both pages now.
| | 04:14 | This could be a 50 page long table, and I'd
still have the header on every single page.
| | 04:19 | Now this table is definitely looking a lot
better already, but there's more work to be done.
| | 04:24 | The next step is to format the data in
the cells, and then look at how to apply
| | 04:28 | custom formatting to individual cells.
| | Collapse this transcript |
| Formatting cells| 00:01 | In the last movie, we
explored formatting a whole table.
| | 00:04 | In this movie, we'll take it a step
farther, and look at formatting both the data
| | 00:07 | inside the cells,
and then the cells themselves.
| | 00:11 | I will press Command+2, or Control+2, and I'd
like to format the cells in this header.
| | 00:17 | To do that, I need the Type tool.
| | 00:19 | So I will double-click inside the
table; that switches to the Type tool
| | 00:22 | automatically, and now I can select all
of those cells in that row by clicking to
| | 00:26 | the left of the row, where I
have that little black arrow.
| | 00:29 | The first thing I am going
to do is change the font.
| | 00:31 | I can do that in the control panel.
| | 00:32 | I will change the font here to
Myriad Pro, and let's change this to Bold.
| | 00:38 | Notice that because I made a change with
a number of cells selected, that change
| | 00:42 | is made in all the cells.
| | 00:45 | We should probably make this a little
bit smaller; that looks pretty good.
| | 00:49 | Let's go ahead and center it.
| | 00:51 | Now let's make the cells a
different fill color.
| | 00:54 | Right now, if I click off here,
you can see that it's just white.
| | 00:57 | So I am going to select all those
cells again, and fill them, here in the
| | 01:00 | control panel, with a color.
| | 01:02 | Let's choose this orange color;
looks good.
| | 01:06 | We can't see the orange color right
now, because the cells are selected, so
| | 01:09 | we actually see the inverse of the orange
color, but I know that it really is orange.
| | 01:14 | Now I want to change the
text color to white.
| | 01:16 | I can't change the text
color inside the control panel.
| | 01:20 | For that, I need the Swatches panel over
here, because I need that little T icon:
| | 01:24 | the formatting affects text,
not the cells.
| | 01:27 | I will click on that, then click on
Paper, and we can see that, again, it's
| | 01:32 | inverted, but it is white on orange.
| | 01:35 | In fact, why don't I click out here, and you
can see, yes, it really is white on orange.
| | 01:39 | We have formatted the text inside the
cells, and we have given it a different
| | 01:42 | fill color; now I want to
turn my attention to the strokes.
| | 01:46 | I see those white strokes in the
columns, and I don't like those.
| | 01:49 | I don't like that black
line underneath it either.
| | 01:52 | How do we get rid of those?
| | 01:53 | Once again, I am going to set the
entire row, and then I am going to pay
| | 01:56 | attention to this weird
looking icon in the control panel.
| | 02:00 | When it comes to formatting tables,
it's really important that you understand
| | 02:03 | what this icon represents.
| | 02:05 | Each of these blue lines represents one of
the strokes inside the current selection.
| | 02:10 | The bottom and top lines represent the
bottom and top lines, or strokes, in the
| | 02:14 | current selection; not the
table, just the selection.
| | 02:17 | Same thing with left and right; those
represent the strokes on the far left side
| | 02:21 | of the selection, and the far
right side of the selection.
| | 02:24 | This line in the middle indicates that there are
center column strokes: 1, 2, 3, 4 of them here.
| | 02:31 | So if I want to change the strokes of
those columns, then I need to turn off all
| | 02:35 | these blue lines, except
for that one in the middle.
| | 02:38 | There is a little shortcut you
should know about, and that's triple-click.
| | 02:42 | If I triple-click on the outside
stroke, it turns off all of them.
| | 02:47 | Now I can just click
on the one in the middle.
| | 02:50 | Right now, I can see that
this stroke is set to white,
| | 02:52 | so I am going to change that to None.
| | 02:57 | The column stroke went away.
| | 02:58 | Now I will turn that blue line off,
and turn the one on at the bottom.
| | 03:02 | That represents the bottom stroke,
remember?
| | 03:04 | I will set that to None as well.
| | 03:06 | This time I will do it in Swatches panel.
| | 03:08 | I will click the tab on the Swatches
panel to make that go away, then click out
| | 03:12 | here, and we can see that the
strokes disappeared. I like it.
| | 03:16 | Now I am going to format this cell at the
very bottom; this Drawing & Applied Arts.
| | 03:21 | It's a merged cell, it goes all the
way across the whole table, but I want to
| | 03:25 | make it a little bit more attractive,
because this is a section opener.
| | 03:28 | I am going to do some of
the same things I did before.
| | 03:31 | I'll change the color; this time I
want this to be kind of a dark blue. I'll
| | 03:36 | change the text inside of it to white,
because I like that reversed out effect.
| | 03:40 | I am going to change that
font to Myriad Pro Bold again.
| | 03:44 | Let's make it a little bit bigger, and I
will click out here, and see how it looks.
| | 03:50 | I didn't get quite the solid blue I expected.
| | 03:54 | I'll select that one more time, and I can
see that in the Swatches panel, the Tint
| | 03:58 | field at that top was set to 15%.
| | 04:00 | I'm not sure why that happened,
but we can fix it; set it to a 100%.
| | 04:04 | Let's close the Swatches panel,
and click out.
| | 04:07 | Because it's a section start, I want it to
be even bigger; taller than it currently is.
| | 04:12 | So I will select that cell, and up at
the right side of the control panel, I am
| | 04:17 | going to change the height of this to be
Exactly, something bigger, let's say 30 points.
| | 04:24 | The problem is that text is all bunched
up here at the top. I want it centered.
| | 04:28 | I can fix that in the control panel as well.
I can click on the Align center button.
| | 04:33 | That Align center is just like the
Align center inside the Text Frame Options,
| | 04:37 | but in this case,
it applies only to the cell.
| | 04:40 | There are a couple of things you can do to
cells that you can't change in the control panel.
| | 04:44 | So instead, I am going to go to the
Table menu, and choose Cell Options.
| | 04:48 | Then I will choose Text, and inside the Cell
Options dialog box, you have a lot more control.
| | 04:54 | For example, you can change your text
insets. That's just like text insets in
| | 04:58 | the Text Frame Options dialog box.
| | 05:00 | It lets you control how far
from the edge the tex |
|
|
