Introduction| Welcome | Using the exercise files| 00:00 | If you are a Premium member of the
lynda.com Online Training Library, or if
| | 00:05 | you're watching this tutorial on a
DVD-ROM, then you have access to the exercise
| | 00:10 | files used throughout this title.
| | 00:13 | They're in one folder, and if you open
them up, you'll see that they're divided
| | 00:18 | by chapter, very clearly. And then
within each chapter, for every video, they're
| | 00:23 | in their own subfolder.
| | 00:24 | So in the video where I talk about
using scaling, then I have a couple of
| | 00:29 | InDesign files right there.
| | 00:31 | Many of the InDesign files have images
placed in them, and they are all linking
| | 00:36 | to this external Links folder right here.
| | 00:38 | So just keep the Links folder exactly
where it is in relationship with the
| | 00:43 | internal InDesign files and you
won't need to relink anything.
| | 00:46 | If for some reason you do need to relink,
this is the folder that you want to point to.
| | 00:50 | If you're a Monthly member or Annual
member of lynda.com, you don't have
| | 00:55 | access to these exercise files, but you can
follow along from scratch with your own files.
| | 01:00 | So let's get started!
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1. Quick StartExploring interface tweaks| 00:00 | Let's gently enter the world of
InDesign CS6 by a very interesting little video
| | 00:06 | that just shows some of the subtle
interface tweaks that the Adobe team has done
| | 00:10 | with our friend, InDesign.
| | 00:12 | If you're a longtime InDesign user, I
think that as soon as you open CS6, the
| | 00:16 | first thing you're going to notice is the
upper and lower case of the panels. Look at that!
| | 00:21 | Yay! It no longer says Pages, Layers,
in all uppercase, yelling at you.
| | 00:27 | So I'm really happy to see that.
| | 00:29 | Also notice a couple of other
interesting features about the panel dock.
| | 00:33 | If I click on the Pages tab to open it,
now I can actually come here to the
| | 00:38 | Pages tab again to close it.
| | 00:40 | This is something that we had a couple
versions ago, but then starting in CS5,
| | 00:44 | they turned that off, and the only way
that you could collapse a panel was by
| | 00:47 | clicking the double arrows.
| | 00:49 | So now, you can still do that, but it
was just a natural thing to click the tab
| | 00:53 | to close it as well.
| | 00:56 | You'll see also we have a little grab
bar at the top of each Panel group, so you
| | 01:00 | can drag the Panel group by
that drag bar. There you go!
| | 01:03 | And we can put it back.
| | 01:06 | And when we open up a panel, we see
another little grabber bar at the bottom of
| | 01:10 | the panel, making it easier to enlarge.
| | 01:13 | You don't have to come over here and
try and get your cursor right over this
| | 01:16 | grow bar here; you can
just get this guy right here.
| | 01:18 | What they forgot to do though was add
one on the side, so it's still kind of a
| | 01:22 | pain to get your cursor in the
right exact place here. Ahh! There you go!
| | 01:25 | I'll bring it out. But that's progress, right?
| | 01:30 | While we're over here on the right-
hand side, let me close this up and talk
| | 01:34 | about the Application bar.
| | 01:36 | The Application bar is the same as
before except that they removed CS Live,
| | 01:40 | which was a service that they
dropped, that they announced a while ago.
| | 01:43 | And in the workspaces, we still have
the same workspace switcher, but we are
| | 01:48 | missing the workspace
that was called Interactive.
| | 01:51 | We still have Interactive for PDF, but
the Interactive by itself workspace has
| | 01:56 | been renamed to Digital Publishing.
| | 01:59 | So Digital Publishing is the workspace
that you would use to create tablet apps,
| | 02:04 | like putting wired on the iPad or something.
| | 02:07 | If you switch to Digital Publishing,
you'll see that there are a whole bunch of
| | 02:11 | the interactive panels here, but also
the ones specifically having to do with
| | 02:16 | digital publishing, or DPS,
Digital Publishing Suite.
| | 02:19 | Now, you may not have both of these panels.
| | 02:21 | You actually have to install a
separate download called the DPS Update.
| | 02:26 | When you go to Digital Publishing,
you probably will only have Folio Builder and
| | 02:31 | then you'll have a little link that
says, "Please download the latest version,"
| | 02:34 | because they're still not
installing it by default with InDesign.
| | 02:38 | I've already gone ahead and installed
this, and I'll be talking about this a
| | 02:41 | little bit more in the next video when
I talk about new tools and new panels.
| | 02:44 | We are going to switch
back to Essentials for now.
| | 02:49 | Ooh, wait, let me show you
one more thing about workspaces.
| | 02:53 | Here under Essentials, if you choose
New in CS6, which is always a good way to
| | 02:57 | learn the new features, and you start
looking at the menus, you'll notice that
| | 03:01 | some are in blue and some are
in purple. What's that about?
| | 03:05 | Well, this is actually
something they started last version.
| | 03:07 | The items in blue all have something new in CS6.
| | 03:12 | The items in purple were
from the previous version, CS5.
| | 03:15 | So if you skipped an update,
| | 03:17 | if you went directly CS5 to CS6 and you
missed CS5.5, these things were modified
| | 03:22 | in the last version, in 5.5.
| | 03:24 | I thought that was nice
and helpful for them to do.
| | 03:28 | I'll go back to Essentials here.
| | 03:31 | Then let's go all the way over to
the left and look at the toolbar.
| | 03:35 | We have a couple of new tools that I'll
be talking about in the next video, but
| | 03:38 | the main reason I want to put your
attention here is that if you happen to have
| | 03:42 | an earlier version of InDesign
installed, you should start it up and look at
| | 03:46 | what they've done to the toolbar.
| | 03:47 | It's very subtle, but they have
redesigned it somewhat so that all of the tools,
| | 03:52 | they are in a line. They all point the same way.
| | 03:55 | They used to point different directions.
| | 03:57 | I think the Line tool used to go the
other way, which I thought was kind of funny.
| | 04:01 | They didn't tilt the
Scissors tool for some reason.
| | 04:04 | I am not sure about that one.
| | 04:05 | Also, you might notice, because you're
a graphic designer and you have an eye
| | 04:09 | for these things, that as you move
your cursor over the tools, we have lost
| | 04:14 | the color overlay that used to appear,
indicating which tool your cursor was on top of.
| | 04:19 | It used to be subtle but very elegant.
| | 04:22 | And I don't know why they dropped that.
Maybe the person quit who was in charge
| | 04:27 | of designing that; I am
not sure. But that's gone.
| | 04:30 | Another tiny, little tweak is that the X
in the title bar for closing the document
| | 04:36 | used to be larger, with a circle
around it, and apparently they had people
| | 04:39 | complain about it, because now they've
made it even harder to find, and it's a
| | 04:43 | tiny little X to close the document.
| | 04:46 | Now, in the document itself--and
here I've just opened up one from the
| | 04:48 | exercise files. You can open up any
document, but open up one that has a
| | 04:52 | placed image in it, because we also
have another little interface change, and
| | 04:57 | that is we have another icon or badge
or adornment or affordance or whatever
| | 05:03 | it is that you'd like to call the
little doohickey that is sitting on top of a
| | 05:08 | frame, we have a new one.
| | 05:09 | It's this little link icon.
| | 05:11 | It will appear on any
placed object in your layout.
| | 05:15 | So anything that has an entry in the
Links panel will have this little Link
| | 05:19 | icon. And you can see from the tooltip--
| | 05:21 | let me put the cursor over it again--
that if you hold down the Alt key on a
| | 05:26 | PC, or the Option key on a Mac, and click this,
it will open up its entry in the Links panel.
| | 05:32 | So I'll hold down the Option key and
click, and boom, there is the link.
| | 05:36 | So I thought that was kind of cool.
| | 05:37 | Now, if you don't like all these
little declarations on your frames, you can
| | 05:42 | come up here to the View menu, go down
to Extras, and choose Hide Link Badge, and
| | 05:47 | that will make them all go away, and
then they will just be normal. They're still placed.
| | 05:51 | They're still links of course,
but you don't have to look at the cute
| | 05:54 | little link icon anymore.
| | 05:56 | But I'm going to turn it back on
because I kind of like that.
| | 06:00 | One final subtle little change has to do
with the anchored object indicator that
| | 06:06 | you see on different frames.
| | 06:08 | Now, this was added in CS5.5.
| | 06:10 | It's a little square at the upper
right-hand side of most objects that lets you
| | 06:15 | drag and drop to anchor
this object in a text flow.
| | 06:18 | And in CS5.5, when it was added, this
was always blue; and in CS6, now it has
| | 06:25 | been updated so that it matches the
color of the frame. And the frame, as you
| | 06:29 | know, is an indicator of
which layer this object is on.
| | 06:33 | So if I look at the Layers panel, this
is on the callout layer, which is colored
| | 06:36 | orange, and that is why it's an orange
frame. And now our little anchored object
| | 06:40 | indicator is also orange.
| | 06:42 | These are just little, tiny tweaks that I
find interesting as a designer. What did
| | 06:46 | the designers do at Adobe?
| | 06:48 | So let's look at some of the other
little bit more significant new features in
| | 06:54 | InDesign in upcoming videos.
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| Examining the new tools and dialog boxes| 00:00 | I know whenever I upgrade an
important piece of software one of the first
| | 00:04 | things I do is do a quick scan of the
menus, toolbars, and panels to see what
| | 00:10 | new toys are there for me to play with.
| | 00:12 | And of course you can always go to your
workspace and choose New in CS6 and then
| | 00:17 | anything highlighted in
special colors you can explore.
| | 00:20 | But if the tiniest little tweak was made
to something here, then it gets colored,
| | 00:25 | and so it's a little difficult for me
to spend all day trying to figure out
| | 00:29 | what's new with each one of these.
| | 00:30 | So I like to include a movie that
just shows you, to me, what are the major new
| | 00:36 | tools and new panels in the program.
And of course I'll be talking about all of
| | 00:40 | these in detail in other movies in this title.
| | 00:43 | But for a quick tour, let's start
over here on the left, at the toolbar.
| | 00:48 | These first three tools, actually
first four tools, are still the same.
| | 00:51 | If you have skipped from an earlier
version of InDesign, you should know that we
| | 00:55 | have a Page tool that lets you change
the size of pages, and we have a Gap tool
| | 00:59 | that lets you manipulate
gaps in between objects.
| | 01:02 | But what is new in CS6 is this tool
right here called the Content Collector
| | 01:07 | tool, whose shortcut is B. And if I
click it once, I get this other thing
| | 01:12 | called the Conveyor. And I'll be
talking about the Conveyor toolset in a
| | 01:18 | chapter in this video.
| | 01:20 | That is actually the only new tool, is right
here, the Content Collector tool, in the toolbar.
| | 01:25 | Now, if you create a new document--I'll
go to File > New > Document--you'll see that
| | 01:31 | a subtle change right here, it's no
longer called Master Text Frame. It's called
| | 01:36 | Primary Text Frame.
And there is an important difference.
| | 01:39 | Your master pages will still act the
same as before from your current documents,
| | 01:43 | but when you create new documents with
the Primary Text Frame, they have special
| | 01:47 | new abilities, which I devote a movie to later.
| | 01:51 | And then we have in Intent. We still
have Print of course. Yay! And we have Web as
| | 01:56 | before, but we have a new
one called Digital Publishing,
| | 01:59 | and let me show you the difference.
| | 02:00 | If I say I'm going to create a new
document for the web, then the page sizes
| | 02:06 | appear in pixels, and if I clicked OK,
the swatches would be in RGB, and so on.
| | 02:13 | If I choose Intent > Digital Publishing,
everything is still in pixels, but look
| | 02:18 | at the Page Size, which I thought was
interesting. They have the size for
| | 02:22 | iPhones, iPads, Androids, and so on.
| | 02:27 | I don't know if that's the right path
to follow to design for certain pixel
| | 02:30 | sizes, but that's what they decided to do.
| | 02:33 | You may be wondering, well, why is Letter and
A4 in here? Actually, Letter and A4 is in
| | 02:38 | there for Web as well. Apparently that
has to be there. Something has to be in
| | 02:41 | those categories, according to
their underlying programming.
| | 02:45 | But let's go back to Print. I'll just
go ahead and create a new document.
| | 02:48 | Let's get off of the Content tool.
| | 02:51 | For the most part, you are not going to
find any huge differences in menu items,
| | 02:56 | but I will call your attention to the
Layout menu, because we have two new very
| | 03:00 | powerful new features called Alternate
Layouts and Liquid Layouts, and I'll be
| | 03:05 | talking about these two
features in depth in upcoming videos.
| | 03:10 | What is missing here is Layout
Adjustment, and you can get to Layout Adjustment
| | 03:14 | in a couple of different ways.
| | 03:16 | One of them is from the
Margins and Columns dialog box.
| | 03:19 | You can turn on Enable Layout Adjustment.
| | 03:21 | And when I talk about Alternate Layouts
and Liquid Layouts, I'll be showing you
| | 03:25 | another way that you could get to
it, along with the settings for Layout
| | 03:27 | Adjustment in the Pages panel.
| | 03:31 | Now, Liquid Layout also has
a panel devoted to itself.
| | 03:34 | So if you go to the Window menu and go
down to Interactive, you'll see Liquid
| | 03:40 | Layout, which is kind of interesting to
me, because you can use Liquid Layouts
| | 03:45 | for more than just interactive things.
| | 03:47 | Think of it like Layout Adjustment on
steroids. So if you're ever changing the
| | 03:52 | page size for any document, you might
want to use Liquid Layouts. And as I said,
| | 03:56 | we'll be talking about that in more
detail, but for now, just known that if you
| | 04:00 | can't find the panel, look under Interactive.
| | 04:03 | Under the Object menu, we have this
very interesting new command called Insert
| | 04:08 | HTML, and I have a video on it.
| | 04:10 | But if you select it, you'll see that
you can actually insert HTML and it will
| | 04:14 | render right here in the document.
| | 04:17 | I am going to cancel out of there.
| | 04:19 | In Object > Text Frame Options--let me
quickly drag out a text frame and go
| | 04:24 | to Text Frame Options. Now, this is not new.
Obviously this has been around forever.
| | 04:28 | But look over here.
| | 04:29 | Next to Baseline Options we have another
panel called Auto-Size, because now you
| | 04:33 | can set your text frames to
automatically change their size as you add or remove
| | 04:37 | text. That's very cool! And yes, I'll
be covering that in a video on new text
| | 04:41 | abilities later on in this title.
| | 04:44 | Let's take another trip back to
the Object menu. And down here in the
| | 04:48 | Interactive flyout menu--oh, look at these.
| | 04:51 | They are dim now because I don't have
the right tool selected. But you can
| | 04:54 | design your forms in InDesign,
including the fields themselves.
| | 04:58 | So you can create your check boxes, your
list boxes, your signature fields, text
| | 05:02 | fields. This is really cool.
| | 05:03 | And I have a chapter devoted to showing you
how to use these new tools as well, in InDesign.
| | 05:09 | So that's under Object > Interactive,
all of the forms-building buttons.
| | 05:14 | In the View menu, if you come down here
under Extras, you'll see the ability to
| | 05:19 | hide the Conveyor, and that was that
weird panel that opened up when you choose
| | 05:23 | any of the Content Collector tools.
| | 05:25 | This is called the Conveyor.
So you can actually close it, or you can always
| | 05:29 | have it hidden, and that's what that
command is for. And I'll be talking about
| | 05:32 | that, again, in an upcoming video.
| | 05:35 | One other new feature that I talked
about in a previous video, up here under
| | 05:38 | Extras, is called the Link Badge, and
that's the little tiny link that appears on
| | 05:42 | any placed image. And that's a shortcut
for you to jump to the Links panel entry
| | 05:48 | for that object. And you can choose to
hide the Link Badge, like I know a lot of
| | 05:52 | people choose to hide the Content
Grabber or hide the Live Corners, or all of
| | 05:56 | those other cool little
adornments that can adorn frame edges.
| | 06:00 | Finally, you'll see a couple of new
panels and new commands in the File menu if
| | 06:06 | you have installed the optional DPS,
or Digital Publishing Suite, tools.
| | 06:11 | If I go to the Window menu, you'll see
that I have Folio Builder and Folio Overlays.
| | 06:18 | And if I switch to the workspace
which everybody will have called Digital
| | 06:21 | Publishing, I can see my panels there as
well: Folio Overlays and Folio Builder.
| | 06:26 | When you just install InDesign out of the
box, you only get the Folio Builder panel.
| | 06:32 | When you first open up the Folio
Builder panel, there will be instructions on
| | 06:36 | how to download the latest version of
the DPS tools, which will install the
| | 06:40 | latest version of Folio Builder, Folio
Overlays, and it will also add a couple
| | 06:45 | of commands to your File menu called
Folio Preview and Folio Preview Settings.
| | 06:50 | Now, I'm not going to be teaching how to
use the DPS tools in this video, but as
| | 06:56 | I'm showing other new features, if you
happen to say, oh, how come she has Folio
| | 07:01 | Preview and I don't, I'm just
giving you a heads-up now: it's because I
| | 07:03 | installed those optional features.
| | 07:06 | InDesign, out of the box, is still
completely able to create all sorts of
| | 07:11 | great new documents.
| | 07:12 | You do not need to install
those if you don't want to,
| | 07:15 | but I just want to show you where
they appear when you do install them.
| | 07:18 | So that's it for our short tour of one
of the most significant new tools and
| | 07:23 | menu items and panels in InDesign CS6.
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2. Content ConveyerWorking with the Conveyer tool| 00:00 | A common task for many InDesign users is
to create a new document by repurposing
| | 00:06 | some assets or content from old documents.
| | 00:09 | Like, for example, I have here the course
catalog for the Roux Academy of Art and
| | 00:14 | Design open, a few spreads in the
latest catalog. I also have a page from their
| | 00:18 | brochure. What I want to do is create a poster.
| | 00:21 | So I have a new document that has this
in the background on the master, and I
| | 00:26 | want to take some of those images and
text from those other documents and put
| | 00:30 | them here and then start arranging them.
| | 00:31 | Now, I could just come over here and
copy and paste and put them all like in
| | 00:36 | the pasteboard, but because I'm using CS6,
I can use this cool new Content Collector tool.
| | 00:42 | That's this tool that is new in CS6.
The keyboard shortcut is B. So I am just
| | 00:47 | going to click this, or I could press
the letter B, and you'll see that what
| | 00:50 | opens up is called the Conveyor.
| | 00:52 | I'm now in a new mode of InDesign,
where if I move my cursor over an object, it
| | 00:59 | becomes highlighted in a color of the
layer that that object is sitting on.
| | 01:03 | And if I want to copy this, I don't
need to actually press Command+C or Ctrl+C;
| | 01:08 | I could just click it and it
gets added to the conveyor.
| | 01:11 | So it's kind of like just browsing a
store and adding things to your shopping cart.
| | 01:16 | I can just go through this document page
by page and select different items to add.
| | 01:22 | I am going to move this over and add
this here, and maybe I'll add this here.
| | 01:28 | Let's go to the brochure, so you
can move from document to document and
| | 01:32 | the stuff stays here.
| | 01:33 | It stays here until we
actually close these documents.
| | 01:37 | Even if I switch to a different tool
and then did something, and then when I
| | 01:41 | come back to the Content Collector
tools, it's remembering what was here.
| | 01:46 | I'll grab this and maybe this guy as
well, and now let's go to our poster.
| | 01:53 | So, how do we get the items
from here onto the poster?
| | 01:56 | You don't drag and drop;
| | 01:57 | you actually just switch tools to the next one.
| | 02:00 | So if I press B again, you'll see that it's
a toggle between collecting and distributing.
| | 02:06 | So this one is called the Content Placer
tool. Watch the arrow above the icon in
| | 02:11 | the toolbar. That's called the Content
Collector tool when it's pointing down
| | 02:15 | into the little bucket, and the
other one is the Content Placer tool.
| | 02:19 | You see that they also switch
at the bottom of the conveyor.
| | 02:23 | So when you want to place the stuff
that's in your conveyor, switch to the
| | 02:26 | Content Placer tool, and when you put
your cursor on the screen, you'll see that
| | 02:30 | the place gun is loaded with a
thumbnail of what you're about to place.
| | 02:33 | So this is exactly the same as
though you'd gone to File > Place and then
| | 02:38 | Shift+Clicked a number of items to
place it once, the multi-file place that's
| | 02:43 | been around for a couple of versions.
| | 02:45 | So to place it then I simply just click
as I'd normally would, or I can also
| | 02:50 | press and drag. And you'll see that as I
place things, they get removed from the
| | 02:55 | conveyor and they get placed on
here, just like a regular place gun.
| | 02:58 | Now, if I want to switch to a different
item, I can just use my left and right
| | 03:02 | arrow keys and you'll see the
preview thumbnail appear by my cursor.
| | 03:06 | Let me move over here so it's easy to see.
And also it becomes highlighted in the conveyor.
| | 03:11 | Now, to get out of the Content Collection mode,
just press any key or choose any other tool.
| | 03:18 | I usually end up pressing the V key,
the shortcut for the Selection tool, which
| | 03:21 | brings me back there.
| | 03:22 | If I press the B key again, the Content
tool, it remembers where I was and what
| | 03:27 | was loaded in my cursor.
| | 03:29 | You may be tempted to press the Escape key
to get out of this mode, but Escape just
| | 03:34 | actually deletes the item that's
about to be placed from the conveyor.
| | 03:38 | So instead, press any other key as a way to get
out of there, or just select a different tool.
| | 03:44 | So I just showed you how you
can click on things one at a time.
| | 03:47 | You can also click on multiple items at once.
| | 03:49 | So I'm going to come back here to the
catalog, and let's come back here to the
| | 03:53 | spread. And now I want to press the B
key to wake up the Content Conveyor again.
| | 04:00 | And this time I'm going to just
drag with my cursor, but notice that my
| | 04:04 | cursor is the wrong one. Right now, I'm still
in Content Placer mode. It's remembering that.
| | 04:09 | So I'm just going to press the B key
again to switch back to the Content
| | 04:12 | Collector tool and now I'm
going to drag over these items.
| | 04:16 | When you drag over multiple
items, it's called creating a set.
| | 04:20 | And it has created a set right here, and
you can see it puts a little number here
| | 04:23 | saying that there are four items in this set.
| | 04:26 | Now, let's go back to the
poster and see how that works.
| | 04:30 | Right now, I still have the man with
the camera loaded, and I'm going to press
| | 04:33 | the B key to switch from the
Content Collector to Content Placer.
| | 04:38 | And I want to go to that set that I just did,
so I'm going to press the right arrow key.
| | 04:43 | And now it shows me that I have five
items loaded here, and if I just click once
| | 04:49 | and drag, you'll see it's going to
place what I had dragged over without having
| | 04:54 | to group it first, which I think is pretty cool.
| | 04:57 | So if you drag over a selection of
items with the Content Collector tool, it's
| | 05:02 | going to remember their arrangement when
you use the Content Placer tool, put it
| | 05:07 | back on another page in that same
document or a completely different document.
| | 05:11 | I'd like to try this again,
| | 05:13 | so if I press Command+Z or Ctrl+Z--and
I'll switch back, just by using the right
| | 05:19 | arrow key to get that group, that set loaded--
| | 05:23 | this time instead of just dragging to
maintain the same relationship between the
| | 05:27 | multiple objects, I'm going to invoke
Gridify, just like you can invoke Gridify
| | 05:32 | when you have multiple place
items loaded in your place gun.
| | 05:36 | And with Gridify, as you start dragging,
you press the up or down or right or
| | 05:41 | left arrow keys and you can see that here I
can actually arrange these items in a grid.
| | 05:46 | So I am adding multiple rows, multiple
columns just by pressing the up arrow key
| | 05:52 | and the right arrow key.
| | 05:54 | This is from CS5, so that's nothing new,
but it's kind of cool that the Content
| | 05:58 | Conveyor toolset also
works just like multiple place.
| | 06:03 | So, for example, if you know how to do
things like Live Distribute, you can
| | 06:06 | do that here as well.
| | 06:07 | I am going to undo again to get that set
back, and let me show you something else
| | 06:11 | that you can do with the set.
| | 06:13 | So right now I don't have the set loaded.
I'm going to press the left arrow key
| | 06:16 | to load that in my tool.
| | 06:19 | And now let's say that I just want
to place a single item from that set.
| | 06:22 | I can press the down arrow key,
and now I am actually looking at the
| | 06:27 | multiple items in my set.
| | 06:28 | Now, watch again. Watch the conveyor.
I'll press the up arrow key and there is
| | 06:33 | the set and the four individual items.
| | 06:35 | The set is currently highlighted.
I press the down arrow key, and it's sort of
| | 06:39 | like I'm going down into
this subfolder in this set.
| | 06:43 | And now, let's say that I just want the
guy sitting at his desk, so I am going
| | 06:47 | to press the right arrow key and place
that guy. And now I'm going to press the
| | 06:53 | up arrow key to get back out of the
set and there are my individual items.
| | 06:57 | You don't have to have the conveyor
open, by the way, when you're using these
| | 07:01 | tools. You can click the X to close it
and you can also go to the View menu,
| | 07:05 | go to Extras, and choose Hide Conveyor, or
press Option+B or Alt+B and that will hide it.
| | 07:11 | So if you happen to remember what
you have loaded, you can still use it.
| | 07:15 | I am using the right and left arrow keys to
move back and forth between what I have loaded.
| | 07:19 | Or I can press the B key to switch
back to Content Collection mode and grab
| | 07:25 | something else, like maybe this, and
this down here, and this over here. So now
| | 07:32 | there are eight items in my conveyor.
| | 07:34 | And if I want to show the conveyor, I just
press Alt+B or Option+B again to make it live.
| | 07:40 | Now, let me show you just a few more things
in this conveyor belt, I guess you'd call it.
| | 07:45 | When you place items--let me switch to
this tool--you can choose whether or not
| | 07:49 | to link those objects, and you can
choose if it's text. You can choose whether
| | 07:53 | you want to map styles
| | 07:55 | so that if you had collected a text
frame that had a style called headline and
| | 08:00 | when you placed it in the new document,
you want headline to map to article
| | 08:04 | title style, you could set that up here.
| | 08:06 | I am going to have a different video
that talks about mapping styles and
| | 08:10 | about linking objects.
| | 08:12 | Then these three items are different
ways of using the conveyor. This one is the
| | 08:16 | normal way that we've been using it,
which is after you place it, it gets
| | 08:19 | removed from the Conveyor
and the next item is loaded.
| | 08:22 | So that's the way that we're all familiar with.
| | 08:24 | But you can also use it in this mode,
simply by clicking on this mode, which
| | 08:27 | means that the item stays in your
place gun. And you can place the same item
| | 08:32 | multiple times, like say a logo or a
picture or a dingbat, multiple places in
| | 08:37 | your document without actually deleting it.
| | 08:39 | And then the last one is Place. Keep in
the conveyor, but don't keep it loaded,
| | 08:45 | just go on to the next item.
| | 08:47 | I'm not quite sure when you'd use
these different modes, but I'm sure that
| | 08:50 | you're going to find a reason to.
A couple of other things that you can use
these arrow tools to move from previous
| | 08:55 | to next, if you're not a fan of the
arrow tools on your keyboard. This is a
| | 08:58 | series of threaded frames.
| | 09:00 | If I just want one frame, I would
click here, but if I wanted all threaded
| | 09:04 | frames, I turn this on first and
then I click again and then it collects
| | 09:08 | actually all the stories.
| | 09:10 | Then the last item is to load the conveyor.
| | 09:13 | So you can use a dialog box
rather than clicking, if you'd like.
| | 09:16 | So if you choose that button, you'll
see the Load Conveyor dialog box that
| | 09:22 | lets you load the selection, if you had had a
selection when you opened up the Conveyor tools.
| | 09:26 | It lets you automatically load
everything from certain pages or all the pages,
| | 09:30 | or you could say All Pages
Including the Pasteboard Objects.
| | 09:34 | Now, they would all load as individual
items unless you wanted them as a single set.
| | 09:38 | So this would be an interesting way to,
for example, to collect everything on a
| | 09:42 | certain page as a set.
| | 09:43 | So the Content Collector tools and the
Content Conveyor is a big new feature in
| | 09:49 | CS6, and like all the other new features,
it is designed to save you from the
| | 09:55 | tedium of multiple clicks and
arranging and copying and pasting onto
| | 10:00 | pasteboards and so on.
| | 10:01 | It's the way to streamline your work
and reusing content from other documents
| | 10:05 | into a new document.
| | Collapse this transcript |
| Linking objects| 00:00 | InDesign CS6 is all about easily
repurposing your content for different output
| | 00:05 | devices and for different
sizes of pages and screens.
| | 00:09 | So I showed in a previous video how
easy it is, using the new Content Collector
| | 00:15 | tools, to copy and paste, basically,
objects from one layout to another.
| | 00:21 | I want to take this a step further and
talk about linking those objects as we
| | 00:25 | are copying and pasting.
| | 00:26 | Now you may be familiar with a
feature that was introduced in CS5.5 called
| | 00:33 | linked content, and that still exists in CS6.
| | 00:37 | Essentially, how that works is you use
your Type tool and you click inside of
| | 00:41 | a text frame, and then instead of
selecting all and copying and pasting into a
| | 00:44 | new text frame in a different
document, you could go to the Edit menu and
| | 00:49 | choose Place and Link.
| | 00:50 | And when you choose Place and
Link, in CS6 the Content Conveyor
| | 00:55 | automatically opens.
| | 00:56 | And this actually bothers me, so I'm
going to choose Hide Content Conveyer,
| | 01:01 | because I don't really need it for this purpose.
| | 01:03 | So I will go to the View menu >
Extras, and choose Hide Conveyor.
| | 01:08 | So we have a loaded cursor with a
little link icon in as well, indicating that
| | 01:12 | we're going to place and link.
| | 01:13 | And we could place elsewhere in this
same document, or in this example I am going
| | 01:18 | to say we have here a landscape
brochure and we are going to do a vertical, or a
| | 01:22 | portrait, version of the same brochure.
| | 01:24 | So if I just then drag out of frame,
you see that this frame is now linked.
| | 01:31 | And if we look at the Links panel,
we can see that this story here is linked to
| | 01:36 | the actual brochure. Do you see at the
very bottom of that the tooltip where it
| | 01:40 | says brochure-1page? It's linked to that text.
| | 01:44 | That means that if we go to the parent
text frame, this guy here--and let's zoom
| | 01:49 | in a bit so we can see what we are doing--
| | 01:51 | and if we change At Roux to At Roux
Academy--and I don't need to save; I just
| | 01:57 | go right to the next document--and you
can see that the link is out of date.
| | 02:01 | It's out of date here in the Links
panel, and also we have an out of date icon
| | 02:06 | right here on the frame.
| | 02:08 | We can update the link simply by
double-clicking right on that icon.
| | 02:12 | And now if I zoom in, you can
see that it's updated the content.
| | 02:16 | So that still exists, and that
was actually introduced in CS5.5.
| | 02:20 | But we've gone light years beyond that
in CS6, because we can link not just the
| | 02:25 | content of text frames, but we can
link the content of text frames and image
| | 02:29 | frames and the objects themselves.
| | 02:32 | So let's see how that works.
| | 02:34 | I am going to go back to the brochure.
| | 02:37 | Now this time I'm going to select it
with the Selection tool and go to the Edit
| | 02:41 | menu and I'll choose the
same command, Place and Link.
| | 02:46 | But notice that I now have like a frame
rather than text, like a little preview
| | 02:50 | the text of the actual words.
| | 02:52 | That's what's loaded in my place gun.
| | 02:54 | I am going to go back here,
and I'll click right next to it.
| | 02:58 | And there's the same text.
| | 02:59 | If I come back to the brochure and I
change--I delete the word Academy this
| | 03:04 | time and I go back here, both
of these things are out of date.
| | 03:10 | If I select this guy though--and look
up here at the Links panel. There are two
| | 03:14 | items that are selected, even though
I only have one object selected in the
| | 03:18 | layout. That's because there are
actually two things that are linked here:
| | 03:21 | the contents--that's this little T icon
here--and the object itself with a frame itself.
| | 03:28 | So it's telling me that the
contents are modified. The frame is fine.
| | 03:32 | I just need to double-click to update it,
| | 03:34 | and I will double-click
this one to update it as well.
| | 03:38 | You can also just select it here
and click the Update icon. All right!
| | 03:42 | So everything is all up to date. We are all happy.
| | 03:44 | Let's come back here, and let's do
something different to this frame.
| | 03:48 | I'm going to make it
larger. Let's zoom out a bit.
| | 03:56 | And we will make it two columns, like that.
| | 04:01 | We will go back here.
| | 04:05 | This frame on the left is perfectly happy.
Why? Because we did not change any of the content.
| | 04:09 | So it's still up to date.
| | 04:11 | The content is fine.
| | 04:12 | But over here you can see at this
frame, though the content is up to date, the
| | 04:16 | frame, the attributes of
the object, are out of date.
| | 04:20 | So if I click here and then click once--
I actually just need to click once
| | 04:24 | and I kind of double-clicked--you can
see that it's updated, so it is actually
| | 04:28 | linked to the object as well as the content.
| | 04:32 | Once you choose Place and Link and
you've placed an item, you can go to the
| | 04:36 | Links panel--and you can have that
object selected--go to the Links panel menu,
| | 04:41 | and choose Link Options.
| | 04:43 | And Link Options is probably, I think, to
me, one of the most exciting new features
| | 04:48 | of InDesign CS6, in that you have a
lot of fine-grain control over what is
| | 04:53 | actually linked and what will not be
lost if you edit it in this local copy,
| | 04:58 | also known as the child version of the frame.
| | 05:02 | So we placed and linked from the parent
version of the frame. This is called Child.
| | 05:07 | So you can see that by default
InDesign will warn you if when you update a
| | 05:13 | link on a linked object, you are going to
lose any edits that you made locally to this.
| | 05:19 | So if I had, you know, edited some of the
text, here in this copy in the vertical
| | 05:23 | brochure, and then I went to the parent
brochure and edited the text there, when
| | 05:30 | I went to update this text, I
would have lost those local edits.
| | 05:33 | And you will always get a
warning that that's going to happen.
| | 05:35 | If you want to retain some aspect of
the local edits but only link other
| | 05:40 | aspects, then you use these checkboxes.
| | 05:43 | And these checkboxes could probably be
a video for each one, because you can see
| | 05:48 | that each item has multiple
attributes associated with it.
| | 05:52 | It's beyond the scope really of this
video to go through every one of these, but
| | 05:55 | let me show you an example of
when you might want to use this.
| | 05:58 | I am going to click Cancel.
| | 05:59 | This time let's do it with
placing and linking an image object.
| | 06:03 | So I am going to come back here, and
this time we will pick up this interesting-
| | 06:09 | looking graphic right here and if I
just selected this and copied it, I came over
| | 06:15 | here and pasted it, you know it's not
linked to the parent item at all, but
| | 06:22 | however, the image inside the frame
is linked to the original artwork.
| | 06:26 | So you can see here in the Links panel,
it is linked to the original roux spirals.ai.
| | 06:33 | But what we want to do is link the
instance of this placed graphic in multiple files.
| | 06:39 | You can do this again in multiple pages
at the same document if you wanted to,
| | 06:44 | but we are going to grab this and this
time we are going to go to Edit, choose
| | 06:47 | Place and Link, and there is our
loaded graphic with a little link icon.
| | 06:53 | I am going to come over here and then
click to place it and now we have two
| | 06:58 | entries in the Links panel.
| | 07:00 | It's still linked to the
original artwork in the Links folder,
| | 07:04 | but then the other one is that
it's linked to the parent item in the brochure-1page.
| | 07:10 | So let's--let me
reposition this we will zoom in a bit.
| | 07:14 | Let's have some fun with this.
| | 07:16 | We are going to go back to the parent,
and let's say you know what, I think this
| | 07:19 | would look better if, wherever
we placed it, it was rotated.
| | 07:22 | So I am going to go ahead and rotate
the parent just by dragging with my cursor
| | 07:27 | when it looks like that curvy
little arrowhead, and it's rotated.
| | 07:33 | Now I go to vertical brochure, and
you can see that it is out of date.
| | 07:37 | So all I need to do is click once.
| | 07:39 | That's all you've got to do is click once on this
out of date icon to update it, and there it is. It's rotated.
| | 07:44 | Let's say, you know what, while I am
looking at this document, I think it would
| | 07:47 | look better if it was smaller.
| | 07:49 | So I am going to move it and I'm going
to scale it by holding on Command+Shift,
| | 07:54 | or Ctrl+Shift on a PC.
| | 07:56 | Yeah, that looks better, okay.
| | 08:00 | Now we are going to go back to the
brochure and say, okay, let's do one more
| | 08:05 | change to this graphic.
| | 08:07 | Let's change how it looks.
| | 08:08 | I am going to go to Effects, and let's
change the blend mode to say Exclusion.
| | 08:16 | That's kind of interesting. I like that.
| | 08:18 | It gives it the opposite color. I will go back
to the child instance, and it's out of date.
| | 08:24 | So if I click the icon to update it,
this time I get a little warning that says,
| | 08:30 | you've made edits to this item and
you're going to lose it if you update it.
| | 08:34 | And the edit was that I scaled it.
| | 08:36 | So in other words, it's going to make
it large again. It's going to make it
| | 08:39 | exactly match what's in the parent.
| | 08:41 | I don't want to lose my edit, so I am
going to say no, don't update, and instead,
| | 08:45 | I will make a little trip to the Links
panel and with that item selected, I am
| | 08:50 | going to go to Link Options. And I
want to preserve some local edits, and the
| | 08:55 | local edits that I want to preserve are
the size and shape. I want to maintain
| | 09:00 | the scaling and if you hover over here
you will see, yes, Scaling is one of them.
| | 09:04 | But I also want to maintain the
scaling of the content inside here,
| | 09:10 | so I need to turn on Frame Content as well.
| | 09:12 | So this time I will click OK
and now let's update it. Here we go.
| | 09:18 | So we maintained the scaling, but we did
match the same effects as in the first brochure.
| | 09:23 | Now I know you are probably full of
questions about this. Let me answer a couple of them.
| | 09:28 | Let's save this brochure. Let me do a
Save As, actually, because I don't want to
| | 09:33 | mess with the original one.
| | 09:34 | I am just going to save this out to the
desktop as vertical brochure-2, and we will close it.
| | 09:43 | You'll see that you had created a bunch of
child versions, child-linked objects in
| | 09:48 | other documents, then you opened up the
parent object. And again, you cannot tell
| | 09:52 | if any of these objects are parents,
but you might go ahead and make a change,
| | 09:57 | like say, for example, I'm working on
this brochure, and I am going to change to a
| | 10:02 | different blend mode, let's say.
| | 10:04 | So maybe I'll try Difference.
| | 10:06 | Well, that didn't do much. Let's try
Saturation. Well, out of black. I know, Hard
| | 10:15 | Light. There you go. That's kind of interesting.
| | 10:17 | What happens if we open up the
other InDesign document that had a child
| | 10:22 | linked to this object?
| | 10:23 | Let's go ahead and do that.
| | 10:26 | I'll open up the file on my Desktop,
and it says that there is a modified link.
| | 10:33 | Let's not update the link.
Let's actually take a look at what it found. So it
| | 10:38 | found that this is out of date.
| | 10:40 | So it does maintain that link, even if
the document is closed. You don't have
| | 10:43 | to have these open.
| | 10:44 | And I will go ahead and update, and
there is the new blend mode reflected.
| | 10:50 | Here is something else that you
probably have a question about.
| | 10:52 | What happens if I accidentally,
or on purpose, delete this object?
| | 10:57 | Well, the child items will show that
it's missing, just like any missing link.
| | 11:04 | And unfortunately, even if you could
locate that original object in a different
| | 11:09 | brochure, or maybe you did a Save As and
it can't find the original one, I found
| | 11:13 | in my experience that
relinking really doesn't do much.
| | 11:17 | The whole metaphor falls apart there.
| | 11:19 | All you can really do is just unlink
it. So at least you know it's not like
| | 11:23 | you're actually going to lose a link to
the original artwork; you still have it here.
| | 11:27 | You just lose the link to the parent object.
| | 11:30 | So I want to unlink the actual frame.
| | 11:34 | So I will just click under the gray
area to deselect everything. Then I am just
| | 11:37 | going to click that one
entry for the missing frame.
| | 11:41 | And then I'm going to go to the
Links panel menu and choose Unlink.
| | 11:45 | So now it's no longer a child of
anybody. It's completely emancipated, and
| | 11:50 | it's just a normal link.
| | 11:52 | Having this much control over being able
to link the content of image frames and
| | 11:57 | text frames is incredible.
| | 11:59 | The ability to place and link objects in
InDesign CS6 is a powerful new feature,
| | 12:05 | and it's one of the new features that I
can see myself using right away in lots
| | 12:09 | of different projects.
| | Collapse this transcript |
| Mapping styles | 00:00 | Not only does InDesign CS6 let you
link objects from one document to another,
| | 00:05 | but it also, in the case of linked
text objects, lets you map the styles.
| | 00:12 | Now, you're already familiar with style
mapping, or you probably have seen it at least.
| | 00:16 | For example, here I have a document
open from my exercise files, and let's say
| | 00:20 | that I wanted to import
some text from a Word file.
| | 00:24 | So if I went to File > Place and then
I selected a Word file, like this one,
| | 00:32 | Catalog copy, I'm going to
turn on Show Import Options,
| | 00:36 | and down here at the bottom, if you
turn on Preserve Styles and Formatting, you
| | 00:40 | can customize the style
import via style mapping.
| | 00:45 | And all that means is that, hey,
if I used body in the Microsoft Word
| | 00:50 | document, when you place it, please
swap that paragraph style for, I don't
| | 00:55 | know, intro or body sans.
| | 00:59 | You can leave Dept Animation as is;
just add it to make a new paragraph style.
| | 01:04 | You can leave Course name as a
New Paragraph Style and so on.
| | 01:07 | But specific paragraph styles, you can
map to another specific paragraph style,
| | 01:13 | just save you some work.
| | 01:14 | After you place it, you
don't have to do it yourself;
| | 01:15 | InDesign will take care of
it for you as you place it.
| | 01:18 | It'll go ahead and apply the different
paragraph style to the incoming text.
| | 01:23 | Well, with CS6, you can now do that
with linked text frames, from one InDesign
| | 01:28 | document to another.
| | 01:30 | If you think about it,
InDesign has always had that ability.
| | 01:33 | If I grab the text frame from here,
like let's say this one, which uses--let's
| | 01:38 | check it out--the paragraph style
called pull quote, if I have another
| | 01:42 | paragraph style here called pull quote
that perhaps was green and comic sans,
| | 01:48 | when I brought it in, it would
automatically use the pull quote definition of
| | 01:52 | the receiving document.
| | 01:54 | But what we're able to do now is switch that up.
| | 01:58 | So, for example, I could select this
object and then go to the Edit menu and
| | 02:03 | choose Place and Link, and as usual,
the Content Conveyor automatically opens.
| | 02:10 | And here you see I have it
selected and I've turned on Map Styles.
| | 02:13 | Now that's not on by default, but I was
playing with this before I started recording.
| | 02:18 | The key to using the mapping styles in
InDesign CS6 is to remember to click this
| | 02:24 | button, which is Edit Custom Style Mapping.
| | 02:28 | But you don't want to actually get
into that dialog box until you get to
| | 02:32 | the target document.
| | 02:34 | So don't do it while you're
still here, pulling stuff in.
| | 02:36 | But when you're over here and you're
about to place it, then turn on Map Styles
| | 02:41 | and click Edit Custom Style Mapping.
| | 02:43 | Now if you forget or you mess up, you
can always do it after the fact, even after
| | 02:47 | you put it in here, okay. And I'll
show you how to do that in a minute.
| | 02:50 | But it's nice to do it while you're
working. So I'm going to click this button.
| | 02:54 | And the reason I say wait until you get
to the target document is because this
| | 02:57 | is a somewhat confusing dialog box and
you'll be missing some features if you
| | 03:03 | try doing this while you're
still in the source document.
| | 03:06 | So here, under Custom Style Mapping, it
wants to know what is the style that you
| | 03:11 | are pulling from, and what do you
want it mapped to, on the right side?
| | 03:15 | The first thing you have to remember
is to turn on New Style Mapping.
| | 03:18 | This is sort of like creating a
nested style. So, New Style Mapping.
| | 03:22 | So what we're pulling from, that
style was pull quote, remember?
| | 03:26 | So in the Source Document
called roux_catalog--there we go;
| | 03:32 | so the Source Document dropdown will
list all of the open documents here--
| | 03:37 | we want to map the Paragraph style.
And notice all these different styles that
| | 03:41 | you can map, kind of interesting.
Unfortunately, not object style, not yet.
| | 03:46 | We want to find pull quote, so
here we have to find pull quote.
| | 03:51 | And then when we get over here to poster
in production--switch to poster-inprod,
| | 03:57 | click over here--we want to map pull
quote to testimonial, in this case, because
| | 04:02 | we wanted--I have a testimonial style
that's much larger than the pull quote
| | 04:06 | to be seen on this poster. 1 mapping defined,
| | 04:09 | 1 Paragraph style, click OK, and now
I will go ahead and place this.
| | 04:15 | I'm going to hide this guy because this is
bugging me, and then we'll go ahead and place
| | 04:19 | this right in here. Ahh! That's pretty nice.
| | 04:23 | Let me resize that a bit.
| | 04:25 | So here is the testimonial, using
the testimonial style right here.
| | 04:32 | And then this was mapped to the pull
quote style. So let's zoom in and we'll
| | 04:38 | go ahead and test it.
| | 04:39 | So, "In my past two years at Roux Academy,"
let's just delete the word "Academy," at Roux.
| | 04:44 | It can sound more casual that way.
| | 04:46 | And then we come over here to our poster.
| | 04:49 | Remember, these text frames are linked
so that any edits that we make to the
| | 04:54 | parent text frame automatically gets
communicated to the children of that text
| | 04:58 | frame, like here. So we can update it
either in Links panel or right here, right
| | 05:03 | on the object, which I love.
Just click once to update it. And so the word
| | 05:07 | Academy is removed, so the text contents
is exactly synchronized, but we're using
| | 05:11 | a different paragraph style,
because we mapped the paragraph styles.
| | 05:15 | Now let me show you how you
might do it after the fact.
| | 05:18 | Let's put this down here like this,
because she is saying this little blurb.
| | 05:27 | I'm going to go back to our catalog.
Let's say that we want to bring over some
| | 05:31 | pictures and captions.
| | 05:34 | So I'm going to select a few of these,
and I can just go right to Edit > Place and
| | 05:46 | Link, or I can use our friend, the
Content Collector tool; either way would work.
| | 05:51 | If I use the Content Collector tool,
which I covered in the previous video, and
| | 05:54 | I want to grab my selection, I would just
click this little guy right here, say Selection.
| | 06:00 | So it's grabbed them all as one group,
which is fine with me. And now we're
| | 06:04 | going to go over to our poster.
| | 06:08 | And before I start placing these--
let me change to the Content Placer tool--
| | 06:13 | I want to make sure that I turn on Create Link.
| | 06:15 | Now, if you grab stuff and you use the
Place and Link command from the Edit menu,
| | 06:20 | that's going to be turned on by default.
| | 06:22 | I'm pointing out, because this has
happened to be over and over again, that I use
| | 06:24 | the Content Collector and I forget to
turn on Create Link, so that is an option.
| | 06:30 | If Map Styles is turned on, turn it off,
because we are using the example here
| | 06:34 | where we forgot to turn on Map Styles or we
decided later we want to turn on Map Styles.
| | 06:38 | So right now, we're just creating links.
| | 06:40 | So I'm going to use my down arrow key
to go further down into the set that I
| | 06:45 | grabbed in the previous step. And I'll
make a caption and then place the image
| | 06:52 | next to it, and then I'll make another
caption and place the image next to that one.
| | 06:58 | That's good. And I'll just press the Escape key,
which actually will close the conveyor if
| | 07:03 | there's nothing in there.
| | 07:04 | Now I'm just going to
switch to the Selection tool.
| | 07:08 | So these are linked,
| | 07:09 | as you can see in the Links panel.
If I have a text frame linked, both the
| | 07:13 | content and the frame itself, that's
perfectly fine. I probably only needed
| | 07:17 | the content, but let's just do
this for fun. And there is a graphic.
| | 07:22 | Now obviously, these captions are way
too small for this big poster. And I have a
| | 07:28 | different style that I'd rather use
than caption, and the style is here in the
| | 07:35 | Paragraph Styles panel. It brought over a
caption, but I want to use a style that I
| | 07:40 | know that I have here--
| | 07:41 | here it is--called Image description.
| | 07:43 | So just to see it real quick, let's
look inside this frame, zoom in a bit,
| | 07:50 | and then say Image description. So it's larger
and white and it will move the frame around.
| | 07:55 | So let me undo because what we want is for
InDesign to take care of the work for us.
| | 08:00 | So I'm going to select both of these
and then in the Links panel menu, I'm
| | 08:09 | going to go down to Link Options.
And here you see that we can turn on Define
| | 08:13 | Custom Style Mapping.
| | 08:14 | So we're going to do that for the selection.
| | 08:16 | Now both of these are the same
paragraph style, so we're not going to
| | 08:18 | be getting confused.
| | 08:19 | Of course, if you have different
paragraph styles, you'd have to do this one
| | 08:22 | by one for each one.
| | 08:23 | I turn that on, go to Settings. We have
to do the same thing as we did before.
| | 08:30 | So we have to create a new style map,
and the source document is the catalog, and
| | 08:36 | it's a paragraph style, and the
style was caption. So we find caption.
| | 08:41 | Now in our target document, which is
poster-inprod, it's not even listed here
| | 08:47 | from the dropdown menu, which I
think is a bug. But there's probably some
| | 08:51 | underlying logic because
we're doing it after the fact.
| | 08:54 | The good news is that here in the
Mapped Style or Group, the one on the
| | 08:57 | right-hand side, it does list all of the
styles in our target document, so that's good.
| | 09:02 | We want to map caption to Image description.
| | 09:06 | And that's it, so we click OK and then OK again.
| | 09:09 | Now, they don't automatically update.
| | 09:11 | Unfortunately, there is no
way to force it to update;
| | 09:13 | we actually have to go back here and
cause a change to these two frames.
| | 09:19 | So I'm going to come here, and I'll just
make a space and then delete the space,
| | 09:23 | and I'll make a space here and delete
the space, go back over here, and now they
| | 09:28 | are out of date, at least this one is.
| | 09:31 | Maybe I didn't get the right one over here.
Let's click this guy. There we go.
| | 09:36 | And this one, I did not get. Or there
it is, over there. Let's update that guy.
| | 09:41 | We just can't see the little adornment.
| | 09:47 | So you can do style mapping while
you're doing the placing and linking or even
| | 09:52 | after the fact, as long as it's linked.
| | 09:55 | You can't do a link after the fact.
| | 09:57 | We couldn't have gotten these from the
Content Conveyor and then realize, oh, I
| | 10:00 | forgot to turn on make a link.
| | 10:01 | You actually have to make sure that
they're linked first and then you can map styles.
| | 10:06 | It seems like a lot of work, but
imagine if you are doing this over and over
| | 10:10 | again for lots of different documents.
| | 10:12 | With just a morning's worth of
planning, after figuring out which styles need
| | 10:17 | to map to which styles, you could
really streamline your production of
| | 10:21 | hundreds of documents.
| | Collapse this transcript |
|
|
3. Flexible LayoutsUnderstanding flexible layouts| 00:01 | A major thrust or goal of InDesign CS6
is making our life easier, by making it
| | 00:06 | easier to be flexible with the
different layout projects that we're working on.
| | 00:11 | If you're doing any kind of publications,
you must be flexible and nimble in this market.
| | 00:16 | So if you're doing a catalog for print,
for example, like here we have a student
| | 00:20 | catalog that's going to be printed, we
might also want this to be available on
| | 00:24 | the iPad for people to download, we
might want to put it on a Kindle, we might
| | 00:28 | want to make an interactive PDF, and
up until now, to do that kind of work,
| | 00:33 | you'd have to create multiple InDesign
documents and copy and paste, and if you
| | 00:37 | updated text in one, you have to
update it in all the other ones, and so on.
| | 00:41 | Now, you saw in a previous video how
you can now link content between different
| | 00:45 | documents or between pages in the same document.
| | 00:48 | So that is one way that we're moving
toward a more flexible kind of workflow.
| | 00:53 | That kind of concept of linked
objects actually is just part of the whole
| | 00:58 | environment that InDesign CS6 is in,
when it comes to flexible layouts.
| | 01:03 | In addition to linked objects and
linked content, we also have alternate
| | 01:07 | layouts. We have something called
liquid layouts and liquid layout rules.
| | 01:11 | We have auto resizing text frames.
| | 01:13 | So the idea is that you would create a
starting layout by spending a few minutes
| | 01:19 | with the objects here. You can then
easily create different versions of that
| | 01:23 | layout or renditions for
different output devices.
| | 01:27 | So I know there are a lot of
different concepts that are combined and that
| | 01:31 | work together in this whole goal of
creating what we call flexible layouts,
| | 01:36 | and in this chapter, I want to talk
about a couple of the major new features in
| | 01:41 | InDesign CS6 that contribute to this:
| | 01:43 | alternate layouts and liquid layout rules.
| | 01:47 | In this first video, I'm just going
to give you the overall concept so you
| | 01:50 | understand what I am talking about, and
then we'll dive in to each one of these
| | 01:53 | in specific detail in
different videos in this chapter.
| | 01:56 | So what is an alternate layout?
| | 01:58 | An alternate layout is simply an
alternate of a single page, or any subset of
| | 02:03 | pages, or all the pages in this
document, that are saved in the same document.
| | 02:07 | If I wanted to do a second version of
the cover, for example, I wouldn't have to
| | 02:11 | do a Save As and create a whole new
document of just the cover; I could actually
| | 02:16 | embed it right here in this document.
| | 02:18 | So to create an alternate layout,
I can go to the Layout menu and choose
| | 02:22 | Create Alternate Layout, or I can come
right here in the Pages panel and choose
| | 02:27 | Create Alternate Layout.
| | 02:29 | When I create an alternate layout,
I can give it a name. I can give it the size.
| | 02:33 | Let's say that I just want to have the
same exact size, I just want a different
| | 02:37 | look to it. So I will just call this
Cover1, and we're going to use this, the
| | 02:42 | original layout, as a source page.
And I still want it to be Landscape.
| | 02:47 | It is a tabloid page.
| | 02:49 | By the way, I've changed some of the
settings in this dialog box, and I will be
| | 02:53 | talking about the settings in later
videos, but if you're following along with
| | 02:56 | your own files, just
change your settings to match.
| | 02:59 | I am going to leave all of
this as is and just click OK.
| | 03:04 | But first, I am going to say I only
want page 1, so I just put a colon
| | 03:07 | and then the number of the page.
| | 03:08 | Otherwise, it will create an alternate
layout of the entire document, which is
| | 03:12 | often what you want if you're doing an article
for a magazine that's going to be on a tablet.
| | 03:17 | So if we resize this a bit,
you can see there is Cover1.
| | 03:21 | So here is the original and Cover1.
| | 03:23 | And so in Cover1, we can say oh, you
know what, we don't want--let's look at
| | 03:28 | it in normal view, and
we'll get rid of some artwork.
| | 03:31 | Let's see. I think I will just do
something like this, get rid of that,
| | 03:39 | and that. There you go!
| | 03:42 | So now we have two versions of the cover.
| | 03:45 | So I will size it, and then you can
see there's Cover1. There's original.
| | 03:48 | And you can move these alternate layout
names around. You can make as many alternate
| | 03:52 | layouts as you want.
| | 03:53 | We could create another
one that is maybe smaller.
| | 03:56 | So I could say I want another one
that's actually letter size, but I still want
| | 04:01 | it to be landscape. And we'll call this Cover3.
| | 04:10 | And now because I didn't specify a page,
it just made an alternate layout of the
| | 04:14 | entire document, and there is
my letter-size page at the top.
| | 04:18 | And so I'd come to this page and then I
could manipulate the items on this page,
| | 04:21 | just as though while
working in a separate document.
| | 04:24 | But notice that the text frames are
linked, because that was one of the settings
| | 04:27 | when I created an alternate layout.
| | 04:30 | So if I edit any of the text in the
parent frame here, that's going to
| | 04:34 | automatically cause the other ones to
be out of date, and I can update them.
| | 04:39 | Now, when I created that alternate
layout, the last one that's a letter-size--
| | 04:42 | let's take another look at that--
obviously it's not fitting.
| | 04:47 | If you look at this in
Preview, a lot of it was cut off.
| | 04:51 | But one thing that I could have done
that I didn't when I created that was I
| | 04:54 | could have applied what's
called a liquid layout rule.
| | 04:57 | And that means telling InDesign what to
do with the elements on this page when I
| | 05:02 | tell it to create another
page that's a different size.
| | 05:05 | You maybe familiar with Layout
Adjustment which still exists in CS6, but
| | 05:10 | liquid layout rules are like the big brother,
and I have a better example of what I mean.
| | 05:15 | Here we have a brochure from the
graphic design department at Roux Academy, and
| | 05:20 | it is laid out as a horizontal brochure.
| | 05:22 | Let's zoom in a little bit.
| | 05:23 | So it's one page with some
color blocking, graphics, and so on.
| | 05:28 | And let's say that we want it to
look like this, a vertical one.
| | 05:32 | So this is what we have in mind.
| | 05:34 | I just did this so you could picture it,
but we want to do a letter-size
| | 05:38 | brochure that looks like this.
| | 05:39 | Now, to change the orientation, we can
go to the File menu and choose Document
| | 05:45 | Size, or we can just use the Page tool.
| | 05:47 | The Page tool was
introduced in CS5, you may remember.
| | 05:51 | So if I select the Page tool and
now I just change the orientation from
| | 05:57 | landscape to portrait, it doesn't do much good;
| | 06:02 | it sort of looks like what a
layout adjustment might look like.
| | 06:05 | The elements are still here and
I still have a lot of work to do.
| | 06:07 | But here's another example of the
brochure that is in horizontal, and here I've
| | 06:13 | done a little bit of work to it
with some liquid layout rules.
| | 06:16 | So let's take a look at that.
| | 06:17 | If I go to the Page tool, here you see
Liquid Page Rules. And I am going to be
| | 06:22 | going over all of these in the upcoming videos.
| | 06:25 | But this one is Object-based and now
with this one, if I go ahead and switch it
| | 06:31 | to portrait, the objects look
much closer than the other one did.
| | 06:36 | So we're trying to get to this.
| | 06:39 | So if I ended up with this, then all I'd
need to do is--let me switch to Normal
| | 06:42 | mode--we could move this over, and get
this out over here, move this text frame
| | 06:50 | over here, and maybe widen it a
little bit, like that, and here it was, what
| | 06:55 | we're trying to get to.
| | 06:56 | Now, let's go back to the original
version of my landscape brochure that was
| | 07:01 | prepped, so I am going to choose Revert.
| | 07:03 | And this is what it looks
like in Preview, just one page.
| | 07:09 | Now, these two things, these
two concepts can be combined:
| | 07:13 | alternate layouts and liquid layout rules.
| | 07:15 | This time, instead of doing a version
that's called vertical, I am just going to
| | 07:19 | make an alternate layout in
this document that is vertical.
| | 07:23 | So I will say Create Alternate Layout.
| | 07:25 | So I will just accept letter
V. I want it to be vertical.
| | 07:28 | But look at here, look at Page Rule.
| | 07:30 | I could combine these two new features--
| | 07:33 | alternate layouts and liquid layout
rules--so that when I create an alternate
| | 07:39 | layout that is a different size of
the page, InDesign will help me along by
| | 07:45 | manipulating the objects there
according to the liquid layout rules that I
| | 07:48 | have set. And again, I am going to go over
these in detail in other videos in this chapter.
| | 07:52 | Let's just click OK, and there it is.
| | 07:55 | So now I can see one right next to the
other, and I can edit both of them in the
| | 07:59 | same document and the
stories are linked as well.
| | 08:02 | Now that you've seen an overview of
where Adobe is going with liquid layout
| | 08:07 | rules and alternate layouts and
combining them, let's take a look at each one of
| | 08:12 | these aspects in detail in
other videos in this chapter.
| | Collapse this transcript |
| Working with Alternate Layout| 00:00 | Let's explore this idea of an alternate layout.
| | 00:04 | I mentioned it in my overview of
flexible layouts in the first video in this
| | 00:08 | chapter, and now let's look
specifically at what is an alternate layout and
| | 00:12 | when you might want to use it, and
what are some settings that you should
| | 00:15 | probably know about.
| | 00:16 | You want to create an alternate layout
whenever you want to show a variation of
| | 00:20 | an existing layout. And it is
something that you would do instead of doing a
| | 00:23 | Save As with a different name and a
different size, because what's more
| | 00:28 | convenient is to have all the alternate
layouts in one single InDesign document.
| | 00:32 | Let's say, for example, that you need to do
a bunch of display ads at different sizes.
| | 00:38 | Instead of having a folder that had
the same ad at different sizes for
| | 00:42 | different publications, you could
just create one single document. And the
| | 00:46 | beauty of it is that in the alternate
layouts in this document, the text is
| | 00:50 | linked from layout to layout,
| | 00:52 | so it's a lot easier to make sure that
all the text is up to date and accurate.
| | 00:57 | Here we have a half-letter-size
page ad, let's say for the bottom of a
| | 01:01 | newsletter page or a magazine,
and now we want to create a few
| | 01:04 | different variations. How do we do that?
| | 01:06 | In the Pages panel--this is probably
where I would go first, is I would just go
| | 01:11 | ahead and click the downward-pointing
arrow here right next to the name of this
| | 01:15 | layout, which InDesign assigns
automatically, and choose Create Alternate Layout.
| | 01:21 | I could also come up over here to the
Layout menu, which makes sense, and choose
| | 01:25 | Create Alternate Layout.
| | 01:27 | Now you need to pay attention here
because InDesign automatically assumes that
| | 01:31 | hey, you must be doing something for
the iPad or the Kindle, and so you want to
| | 01:35 | do a vertical and a horizontal version
of the same document, which is obviously
| | 01:39 | a natural use for this feature and
I'll talk about that in a second.
| | 01:42 | But do you see how it automatically
switched the orientation, and it renamed it
| | 01:45 | with a V because we already
have that horizontal version?
| | 01:48 | So make sure that you click this
so that you are using the same
| | 01:52 | orientation, assuming you want to
use the same orientation. And then you
| | 01:55 | want to give it a different name.
| | 01:56 | So I am just going to swipe over here
and I will say this is a quarter page.
| | 02:01 | And then put in the page size that you
want, so instead of 51 picas, this might be
| | 02:07 | 26 picas, or let's say 24 picas.
And click OK and we'll come back and look at
| | 02:13 | these options in a bit.
| | 02:14 | By the way, these are the
default settings for this dialog box.
| | 02:17 | If you're following along with your own
files and your settings look different,
| | 02:21 | just update them to match.
| | 02:25 | So there is the Quarter page layout, and
let's say that we want to do another one.
| | 02:29 | You could create it from here or from here;
| | 02:31 | it makes no difference.
| | 02:32 | If I click here, and I say Create
Alternate Layout, From Source Pages is going
| | 02:38 | to create it from here or I
could say from the Letter - Half.
| | 02:41 | So you have your choice.
| | 02:43 | All the existing layouts
appear here under From Source Pages.
| | 02:46 | So now let's say a skyscraper ad.
And this one, the width is going to be, let's
| | 02:54 | say 20 picas, and the
height is going to be 66 picas.
| | 03:02 | Let's bring this out wider.
| | 03:04 | You can see that you can
do a whole series of ads.
| | 03:06 | Now obviously, we're going to have to
come in here and modify some of this
| | 03:10 | layout, and that's where the liquid
layout rules will help us as well, that I will
| | 03:14 | be getting to in later videos.
| | 03:16 | But for right now, let's
take a look at the linked text.
| | 03:18 | You can see that the text in all of
these alternate layouts is linked and if
| | 03:23 | I select it and look at the Links
panel and resize this, it's actually linked
| | 03:29 | to the same document. And if I click here,
it'll jump to where it is in the layout.
| | 03:34 | So that's what this link is, and then
if I right-click and choose Go to Source,
| | 03:38 | it goes to the one in the first layout.
| | 03:41 | So that's the source of this link.
| | 03:43 | Let's say that we change it to The Academy.
| | 03:47 | As soon as we change it, then in the
Links panel, those become out of date, and
| | 03:51 | this is what I covered in the Linked
Objects video in a previous chapter.
| | 03:55 | What's happening here is that when you
create an alternate layout, you have the
| | 04:00 | option--let's look at that
dialog box again--to link the stories.
| | 04:05 | It's actually turned on by default.
| | 04:07 | Now, it's only linking the content
text frames. It's not linking any objects.
| | 04:11 | That is not possible to do
automatically when you're creating an alternate
| | 04:15 | layout, but you can link the content of stories.
| | 04:19 | So I will just click Cancel here,
because I really don't want to do that, and
| | 04:21 | we'll come over here to this one and
see that's out of date. I will click it to
| | 04:25 | update it, and now it says The Academy.
| | 04:28 | You can see how useful that would be.
| | 04:30 | Let's look at something else that it did.
| | 04:31 | I am going to choose Create
Alternate Layout to recall this dialog box.
| | 04:36 | It also is copying the text styles
to a new style group. And the tool-tip
| | 04:41 | hopefully explains what exactly is happening.
| | 04:44 | You can turn that off if you want, and
it would just use the same exact styles.
| | 04:48 | But the idea is that what you call
Address here in Quarter page, you might want
| | 04:53 | to call Address Small or Address
Quarter or in the skyscraper, Address Sideways
| | 04:58 | or something like that.
| | 04:59 | So it is helpfully duplicating
styles and putting them into style groups.
| | 05:03 | If we come here and we open up
Paragraph Styles, and we just detach this here,
| | 05:08 | you can see that we have three groups,
and that they are all the same styles, so
| | 05:12 | that I can easily edit the styles
used in the Quarter page layout without
| | 05:17 | affecting the styles used
in the other two layouts.
| | 05:20 | Now, that's optional.
| | 05:21 | If you want all the styles to be the same,
then you want to turn off Copy to Style Groups.
| | 05:26 | Let's take another example.
| | 05:28 | Let me hit Reset, my panels
here, and we'll look at this document.
| | 05:33 | Yeah, he is a nice smiling guy.
Apparently, his name is Arnie Palmer, and he is an
| | 05:38 | artist at the Roux Institute.
| | 05:40 | This is an example of a document that's
been laid out to go onto an iPad. All right!
| | 05:46 | So we have a vertical layout for the
iPad, and if we go to the File > Document
| | 05:52 | Setup, you can see it's
been set to iPad vertical.
| | 05:57 | Now, I'm not sure why it doesn't say
iPad V here at the top of the Pages panel.
| | 06:03 | I found that sometimes it puts it there
automatically and sometimes you have to
| | 06:06 | actually create an alternate
layout before it adds a name.
| | 06:09 | So let's go ahead and right-click on
this page and choose Create Alternate
| | 06:13 | Layout, and so you see it knows that
this is called iPad V. And we want another
| | 06:19 | one called iPad H.
This is going to be horizontal.
| | 06:22 | So if you are doing any kind of work
for creating publications for tablets
| | 06:27 | using the Digital Publishing Suite,
then you're going to see this is fantastic,
| | 06:31 | because before, you had to create two
separate InDesign files and constantly
| | 06:36 | check back and forth.
| | 06:37 | You could use the Folio Builder
panel to link to them all, but they were
| | 06:41 | definitely two separate InDesign files.
| | 06:43 | Let's go ahead and create an alternate layout,
but let's look at something else down here.
| | 06:48 | You can apply a liquid page rule,
which means that when you change the
| | 06:52 | orientation or you change the page
size or the dimensions in pixels, InDesign
| | 06:59 | will try to manipulate the objects on
each page to better fit the new page size.
| | 07:06 | And I'll be talking about
those in detail in coming videos.
| | 07:09 | But right now, it's just set to
preserve whatever existing liquid page rules
| | 07:13 | have been applied to the pages.
| | 07:15 | So if you choose something else
here, this would override whatever is
| | 07:19 | enabled for all the pages.
| | 07:21 | Another new thing that you should
notice is that it says the Smart Text
| | 07:24 | Reflow has been turned on,
| | 07:26 | so that if we made this in too
much smaller document, then it would
| | 07:30 | automatically add additional pages so
that we wouldn't have any overset text.
| | 07:35 | And I guess that would
take a little bit of planning.
| | 07:37 | You'd have to really set up a master
page and the document to make sure that
| | 07:41 | yes, you do want to have Smart Text Reflow.
| | 07:43 | So if you were taking, say, a long book
that was set up for 8x10 and now you
| | 07:49 | want to reformat it to 6x9, you
would probably want to turn on Smart Text
| | 07:53 | Reflow before you made your alternate
layout so that additional pages would
| | 07:57 | automatically be added to the document to
accommodate the text at the smaller live area.
| | 08:03 | Let me go ahead and click OK. And there,
now look up: iPad V and iPad H. So if we
| | 08:09 | look here, it hasn't done much of
anything to it. Let me actually delete this
| | 08:14 | one, and let's try something else.
| | 08:16 | I am going to choose Delete Alternate Layout.
| | 08:18 | This is how you delete them. And here,
I'm going to say Create Alternate Layout,
| | 08:23 | but this time I'm going to choose
Scale. That's automatically going to scale
| | 08:26 | everything to fit, and let's see how it does.
| | 08:28 | That's a little better.
| | 08:33 | So they're kind of centered. We have
the spillers happening on either side, but
| | 08:36 | at least all the content fits and
then we can go through and resize.
| | 08:41 | I could continue and say
let's create another one.
| | 08:44 | Instead of for the iPad, let's do
something for the Android, which has a
| | 08:48 | different width and height.
| | 08:50 | And we will do a horizontal
version for the Android. There we go!
| | 08:57 | So until we come up with the
Valhalla of just being able to create one
| | 09:02 | document that automatically reflows
into all these different devices, this is, I
| | 09:07 | think, a really good compromise.
| | 09:08 | We don't have to create different
documents; we could actually just keep it all
| | 09:12 | together in one document,
with alternate layouts.
| | 09:16 | So a couple of more tips that I want to
give you about working with alternate layouts.
| | 09:20 | You don't have to create an alternate
of the entire document; you can create an
| | 09:25 | alternate of specific pages.
| | 09:27 | I showed that in the
previous video with this document.
| | 09:29 | This is a mixed-page-size single
document that is the catalog, and the idea is,
| | 09:35 | what if you want to create
alternate layouts for the cover?
| | 09:38 | You could come here and
say Create Alternate Layout.
| | 09:41 | Now, it makes no difference if the
cover is highlighted, by the way.
| | 09:44 | What is important is that up here,
you say From the Source Page and you put
| | 09:48 | in the page number.
| | 09:49 | You have to put in the name of the
layout and then separate it with a colon,
| | 09:52 | no space, and then put the page number in.
| | 09:55 | And remember, we have to do this thing
with the orientation to make sure it
| | 10:00 | stays at the same orientation.
And I could say Cover2. And we will go ahead and
| | 10:04 | click OK, and so now it just makes an
alternate of that one page rather than
| | 10:10 | the entire document.
| | 10:11 | Now, those of you who are accustomed
to working with long documents might
| | 10:15 | recognize that notation, because that's
actually how you specify a section page,
| | 10:21 | and that is actually, behind the
scenes, what alternate layouts are.
| | 10:25 | If we zoom out in this document--let's
go ahead and zoom out--you can see that
| | 10:31 | that alternate layout is part of this document.
| | 10:34 | It's just a section start.
| | 10:36 | If you look at the top of every new
alternate layout, there's that little
| | 10:40 | telltale triangle indicating that it's a
section start. And if I double-click on
| | 10:43 | it, you can see that it's start section.
| | 10:46 | So actually, the names of these
layouts are something like section prefixes.
| | 10:52 | And if I wanted to, for example,
print just this alternate layout, or export
| | 10:58 | just this alternate cover to PDF, in
the Export Dialog box, I would also have
| | 11:03 | to type in "Cover2:1" for page 1, because you
have to specify the actual section start number.
| | 11:10 | Let's look back at our iPad layouts.
| | 11:14 | Another useful thing that you can
do is you can see these two layouts
| | 11:18 | side by side, not three, just two at a time.
| | 11:20 | There is a new icon in lower-right
called Split Window, and if I click it, this
| | 11:26 | is from the iPad V and then you can
come over here and click iPad H, and so you
| | 11:32 | can view them side by side, and you can drag
and drop items back and forth if you need to.
| | 11:38 | So that's really nice to be able
to tweak your different layouts as
| | 11:41 | you're editing them.
| | 11:44 | In the panel itself, you can
rearrange the order of these.
| | 11:47 | If I wanted the Android alternate
layout to be second, I could just drag right
| | 11:52 | from this little grab bar
and drop it right there.
| | 11:56 | And if I wanted to, I could rename these,
so if I don't want to call it Android
| | 11:59 | 10 inch, I could just click in here
and type in any name that I wanted.
| | 12:03 | You can't export an
alternate layout to a new document.
| | 12:07 | That I would love, and
it's a great feature request.
| | 12:09 | All you could do would be to delete
other layouts and then do a Save As and call
| | 12:14 | it, this is the iPad horizontal version.
| | 12:16 | But you can easily delete individual
pages if for some reason you wanted to.
| | 12:21 | If I wanted to Shift+Click both of these
pages and delete them, I could do that
| | 12:25 | without affecting the other two layouts.
| | 12:28 | It might be really hard to make sense--
let me turn off split window--of what's
| | 12:32 | happening in this document, when I zoom
out and start scrolling, because they're
| | 12:40 | not really labeled here.
| | 12:43 | So that's why I really love this
new interface in the Pages panel.
| | 12:47 | It makes it a lot easier to work
with and to manage alternate layouts.
| | Collapse this transcript |
| Understanding Liquid Layout rules| 00:00 | Liquid Layout, I just love the name.
| | 00:02 | Liquid Layout is a series of different
rules that you can apply to objects on
| | 00:10 | the page that don't go into
effect until you change the page's size.
| | 00:15 | We been able to change the page's size
since the beginning of time, by going
| | 00:19 | to the File menu and choosing Document Setup.
So here you could change the page's size.
| | 00:24 | But more commonly, especially in more
recent versions of InDesign, people use
| | 00:30 | either the Page tool here on the left,
which is Shift+P, a keyboard shortcut I
| | 00:35 | will be using a lot in the rest of the
videos in this chapter, and you can use
| | 00:39 | this to change the page size or you
can also--let me go back to the Selection
| | 00:43 | tool--in the Pages panel--let's move you up
a bit--you can use this dropdown menu to
| | 00:49 | change the page size of
the selected page right here.
| | 00:52 | So we have been able to change page
sizes and mix page sizes for a while, but
| | 00:58 | whenever you do so, just
the page sizes change, right?
| | 01:01 | The items on that page don't change.
And then you need to move them over
| | 01:04 | and make them align to the new
margins and resize them and scale them and
| | 01:09 | so on; it's a lot of work.
| | 01:11 | You maybe familiar with a timesaving
feature called Layout Adjustment that a
| | 01:15 | lot of people have used, and
Layout Adjustment is still here.
| | 01:18 | It's no longer an item under the
Layout menu. But if you go up to the Margins
| | 01:23 | and Columns dialog box, you will
see Enable Layout Adjustment here.
| | 01:27 | It's also available in the Liquid
Layout panel, and there is a Liquid Layout
| | 01:31 | panel, not always required,
but let's go ahead and open it.
| | 01:34 | It's under the Window menu,
go down to Interactive.
| | 01:37 | I don't know why it's in Interactive,
because liquid layout rules can be applied
| | 01:41 | to many print projects as well, not
just interactive, but this is where it is.
| | 01:45 | So choose it here. I know you are
never going to find this on your own.
| | 01:49 | If you go to Liquid Layout menu,
this is where the actual dialog box is
| | 01:53 | for layout adjustment.
| | 01:54 | I don't know why they didn't put a
button leading you to this dialog box in
| | 01:58 | Margins and Columns,
but this is where they stash it.
| | 02:01 | I actually think they forgot about it
and they added it at the last minute.
| | 02:04 | So Layout Adjustment is still here,
but I believe the writing is on the wall,
| | 02:08 | and this is going to be going away
at some point, because Liquid Layout
| | 02:12 | replaces Layout Adjustment.
| | 02:14 | You can't use both, and
there's really no reason to.
| | 02:17 | It is the replacement for Layout
Adjustment, but it is still here.
| | 02:21 | If you're a big fan of Layout Adjustment,
it works just like how it did before.
| | 02:24 | I am going to click Cancel here for now.
And let me stash this down here and close you.
| | 02:30 | We will come back to you later.
| | 02:33 | So where does Liquid Layout--where
do you start applying Liquid Layout?
| | 02:37 | Whenever you need to change the page size.
| | 02:39 | It is not available under the File menu,
under here at Document Setup, so don't
| | 02:44 | even bother coming here.
| | 02:45 | It would be nice, but they don't have it here.
| | 02:47 | Instead, it's usually in one of two places.
| | 02:49 | One, when you're using the
Page tool to change the page size.
| | 02:53 | So if I select the Page tool, then
you can see there is a Liquid Page Rule
| | 02:57 | dropdown right up here in the
Control panel. And two, when you create an
| | 03:02 | alternate layout, which I have
covered in the previous video,
| | 03:05 | but if I come here and I right-click and
I say Create Alternate Layout, there is
| | 03:09 | the Liquid Page Rule dropdown menu as well.
| | 03:12 | I am going to click Cancel out of here.
| | 03:15 | See what happens when you change the
page size with Liquid Page Rule off.
| | 03:20 | In other words, like how it always used
to work whenever you change the page size.
| | 03:24 | By the way, there is a handy-dandy new
feature with the Page tool in CS6, and
| | 03:28 | that is you don't have to actually
click on the page or on the page's thumbnail
| | 03:32 | in the Pages panel. As soon as you
select the Page tool or press Shift+P, you
| | 03:37 | get resize handles around the active
page and the Control panel automatically
| | 03:42 | switches to the Page tool
Control panel. So I love that.
| | 03:45 | As you resize--I am just going to
drag any one of these handles, so I
| | 03:49 | am resizing the page--
| | 03:51 | you can see, that nothing is
happening with the objects.
| | 03:54 | They are staying where they are.
| | 03:55 | And by the way, when you resize the
page this way--this is completely new to be
| | 03:59 | able to do this right on
the page--it does not stick.
| | 04:03 | So if I release it, it just jumps back
to where it was, which is a good thing.
| | 04:06 | If for some reason you are actually
trying to resize pages by eye, you can hold
| | 04:10 | down the Option or Alt key
and then it will stay there.
| | 04:13 | So let's say that I want to make it--
I am looking up at the Width and Height
| | 04:17 | fields in the Control panel--I want to
make it about 7x8.5. So I am holding down
| | 04:22 | the Option key on my Mac and I release
and now that's a new size and a bunch of
| | 04:27 | junk is over here out in the pasteboard.
| | 04:29 | I am going to undo.
| | 04:30 | Or instead of dragging the handles, we
could just use a different page size from
| | 04:34 | here, so let's make this into a business card.
| | 04:36 | I am going to undo there. And of course
it's going according to what this little
| | 04:42 | proxy is, so if I say center and
let's make this into a business card,
| | 04:46 | there is the business card. It's right there, in the
middle. That's what I wanted. Let's undo.
| | 04:50 | Now, this time instead of Liquid Page
Rule being off, let's change it to Scale.
| | 04:56 | So I am going to go over each one of
these in upcoming videos, but I just want
| | 05:00 | to give you an idea of what
the liquid page rule does.
| | 05:03 | Now as I resize the page, it automatically
scales all the contents, which is pretty neat.
| | 05:11 | The text and the objects and any pictures
and any placed movies, it would scale them.
| | 05:17 | There are a couple other interesting ones.
| | 05:19 | Re-center is very straightforward.
| | 05:21 | Basically, it just keeps
everything centered on the page.
| | 05:24 | So if you go smaller, it doesn't make
much sense, but if you go larger, you can
| | 05:27 | see it's just re-centering everything.
| | 05:29 | So the objects are moving, but they are
not resizing, and they are not scaling.
| | 05:32 | They are just changing position,
but they are staying exactly the same distance
| | 05:37 | apart from each other that
they were in the beginning.
| | 05:39 | Let's fit that in the window,
maybe zoom out a little bit.
| | 05:43 | We have a couple other interesting
ones, a little bit more complicated call
| | 05:46 | Object-based and Guide-based.
But essentially like with Object-based, I could
| | 05:51 | click on an object and say, I want you
to stay the same distance from the top
| | 05:57 | and the same distance from the
right when I resize the page.
| | 06:00 | And you too. You stay the same
distance from the bottom, the same distance
| | 06:04 | from the right. Now I am going to resize the
page, and those guys stay the same distance.
| | 06:10 | Everything else, they float around kind
of loosey-goosey, even though I did not
| | 06:14 | apply any object-based settings
to them, and that's by design.
| | 06:18 | And with Guide-based, you actually
drag out a new thing called a liquid guide
| | 06:24 | that determines which objects will be resized.
| | 06:28 | Anything that hits that object
will be resized in that dimension.
| | 06:31 | So when I drag a vertical guide,
these items will be resized horizontally.
| | 06:39 | Do you see how the frames
are changing horizontally?
| | 06:42 | But if I drag up, they don't change vertically.
| | 06:45 | So it's a little backwards, but that's
how InDesign likes to do things, or maybe
| | 06:50 | it's just my brain that's backwards.
| | 06:52 | But we are going to look at all those in detail.
| | 06:54 | I just want to make sure that you
understand that the general point of liquid
| | 06:59 | page rules or liquid layout rules is
that you can create one base layout and
| | 07:05 | then from that, spawn alternate layouts
or different-sized layouts for different
| | 07:10 | kinds of output, for websites,
for tablets, for Nooks, and so on.
| | 07:15 | And with the help of liquid page rules,
as you're working to create different
| | 07:19 | variations of the same layout, InDesign
is helping you to do some of that heavy
| | 07:23 | lifting of moving, sizing, and scaling
the objects on the page to better fit
| | 07:28 | the new layout.
| | Collapse this transcript |
| Using the basic Liquid Page Rule options: Scale, Re-center, and Based on Master| 00:00 | So let's jump in to exploring these
liquid layout rules. We are going to start
| | 00:05 | by knocking out two fairly basic ones
and understanding one underlying concept.
| | 00:11 | We are looking at a document
right now that is just six pages long.
| | 00:14 | It's set up as though we were going
to be print it to a iPad in vertical
| | 00:19 | orientation right now.
| | 00:20 | And we are probably going to want to
create a horizontal version in Alternate
| | 00:25 | Layout of this, which I
talked about in previous video.
| | 00:28 | We would like InDesign to automatically
move and scale and resize some items as
| | 00:34 | much as it can, in its little
intelligence computer brain, so that we don't have
| | 00:39 | to do so much work doing that manually
to every single horizontal version of
| | 00:43 | these pages as possible.
| | 00:45 | So we use liquid layout rules.
| | 00:48 | To see the liquid layout rules and to
interact with them, you need to go to
| | 00:54 | the Page tool and select it, or just
press Shift+P. Even if you open up the
| | 01:00 | Liquid Layout panel from under the
Window menu--remember Liquid Layout panel
| | 01:04 | is hiding in Interactive.
| | 01:06 | I am going to go ahead and open it right now.
| | 01:08 | And if you do this a lot, you probably
want to create a custom workspace for
| | 01:11 | yourself with Liquid Layout as part of it.
| | 01:13 | See, it's all grayed out.
| | 01:15 | You can't do anything until you come over here
and select the Page tool, and now it wakes up.
| | 01:20 | Let's understand the basic
concept of the default liquid page rule.
| | 01:25 | It's called Controlled by Master.
| | 01:28 | So every document page has a rule
already applied to it, and the rule is
| | 01:35 | whatever has been applied to its master.
| | 01:37 | If I open up the Pages panel, I can
see that all these pages are based on
| | 01:41 | A-Master on the master page with a prefix
A. I don't have A with the Master Page B.
| | 01:49 | So if we go to the Master Page A, double-
click it--remember, we are still in Page mode--
| | 01:56 | now it says the liquid page rule is off.
| | 02:00 | All of the liquid page rules for the
documents are off because they're based on Master.
| | 02:05 | Let's try that out. Let's go to Page 2, and I'm going to do
our fun little manipulation of the page
| | 02:13 | size just by dragging on a
corner, and you can see that it's off.
| | 02:17 | There is nothing happening when I
resize the page. InDesign is completely
| | 02:21 | ignoring the page items. It's not
scaling, moving, resizing them, nothing.
| | 02:26 | Now let's go back to the master and
we will change the liquid page rule to
| | 02:30 | Scale, which simply acts like it's
grouping everything on each page and then
| | 02:35 | scaling them en masse.
| | 02:37 | So let's go back to this page and
now we will once again drag the handle.
| | 02:43 | You can see that it is scaling
because this page is controlled by master.
| | 02:50 | You might have different
rules for different pages.
| | 02:52 | So if I wanted, for example, this page
not to be affected by any page rules at
| | 02:58 | all, I could say this one should be off.
| | 03:02 | And the other pages will
still be controlled by master.
| | 03:06 | Now when I drag, then nothing happens
here, but if I come to this page and I
| | 03:12 | drag, it scaled, because
it's still controlled by master.
| | 03:16 | Right now we are just manipulating
one page at a time, but you can see how
| | 03:20 | useful this could be if we were
perhaps creating an alternate layout.
| | 03:25 | If I come here and I say create an
alternate layout that is iPad Horizontal,
| | 03:32 | please use the liquid page rule,
Preserve Existing, which means that if I made
| | 03:38 | overrides on these pages, as I
just did, then those would be honored.
| | 03:43 | If the page depends on its
master, then that would be honored.
| | 03:47 | When you create an alternate layout,
you could also just override everything and
| | 03:51 | say, you know what, use Scale for everything.
| | 03:54 | Let's take another look at Scale.
| | 03:56 | Let me cancel out of there and go to a
simpler document that I have created here.
| | 04:01 | It's just a few items.
| | 04:04 | Move you out of the way. And this
was left as Guide-based, so I am going to switch it to Scale.
| | 04:12 | When you have the liquid page rule
called Scale governing a page, when you
| | 04:18 | change its page size, via creating an
alternate layout spawn from it or from up
| | 04:23 | here or from the File > Document Setup
or with the Page tool--we will just stay
| | 04:28 | with the Page tool for now--then
InDesign essentially creates a temporary group
| | 04:32 | of everything on the page and scales them.
| | 04:35 | So I am going to go ahead and do that.
And I'm actually going to hold down the
| | 04:38 | Option or Alt key when I'm done, so
that it actually stays in place when I
| | 04:43 | release the mouse key.
| | 04:44 | So now this is the new page size.
| | 04:46 | Let's get out of the Page
Size mode and take a look.
| | 04:48 | I am going to choose Fit in Window.
| | 04:50 | If I click on this text--take a look up here--
| | 04:54 | it says 10.5, but it is now 7.36,
because this is scaled type.
| | 05:01 | The paragraph styles remain whatever
they were set at, and if you want to get
| | 05:05 | rid of those parentheses, you could
select the frame with the Selection tool and
| | 05:09 | then go to the Control panel menu and
choose Redefine Scaling as 100%, which is
| | 05:14 | the usual fix when you have
accidentally scaled something.
| | 05:17 | So now when I click inside here, the type
is its actual size and so is the leading.
| | 05:23 | This is what scaling does.
It's probably not something you're going to want
| | 05:26 | to do at the beginning of a project.
It's great like for the end of a
| | 05:30 | project, if you just really quickly
need to get the items on a page to fit
| | 05:34 | within the new page size.
| | 05:36 | It might be perfectly fine for certain display
ads and things like that as well. So, it's handy.
| | 05:42 | Now I am going to revert this so get
back to the original, and let's look at that
| | 05:47 | other fairly straightforward liquid page rule.
| | 05:51 | Let's select the Page tool and choose Re-center.
| | 05:53 | Re-center just does what it says:
it keeps everything centered.
| | 05:59 | Remember, if you have it set to off,
nothing happens when you resize.
| | 06:04 | It helps to play with that for a bit
to remind you of what should normally
| | 06:07 | happen. And then if you choose Re-center, it
moves everything so they try to stay centered.
| | 06:13 | It sort of breaks down if you make the
page smaller--well, I guess it's trying.
| | 06:17 | But it's more useful when you make
things bigger, that it keep that centered.
| | 06:20 | Re-centering is often a good solution
if you need to create an alternate layout
| | 06:26 | for a slightly different-sized tablet.
If it's the same orientation, like it's
| | 06:31 | portrait and you are starting with it
portrait, but it's a somewhat different
| | 06:34 | size, you just want to
re-center everything in there.
| | 06:37 | So we have covered scaling and
re-centering, which are, I think, pretty
| | 06:40 | understandable, and I hope you
understand the importance and significance of
| | 06:44 | Controlled by Master. And now let's
look at the other two liquid layout rules
| | 06:49 | in upcoming videos.
| | Collapse this transcript |
| Applying guide-based Liquid Layout rules| 00:00 | When you want to have finer control
over what InDesign does to the objects on
| | 00:05 | your pages, when you change page sizes
or create an alternate layout that has a
| | 00:10 | different page size, then you want to
look at a layout rule called Guide-based
| | 00:16 | or Object-based, and in this
video we're going to use Guide-based.
| | 00:20 | So let's see how you do that.
| | 00:22 | First to get into the liquid layout
mode, you need to switch to the Page tool.
| | 00:27 | And just let me quickly review that by
default, all pages are controlled by their master.
| | 00:33 | Yes we know that, but also the
liquid Page rule is controlled by master.
| | 00:37 | So if you're wondering what page rule
is currently in effect for here, you
| | 00:41 | probably need to go your Pages panel,
get the master active, and see, oh, it's
| | 00:46 | nothing. Nothing is happening.
| | 00:47 | So if we go back to the document page
and I resize the page, by dragging on any
| | 00:52 | of these handles, you can
see nothing is happening.
| | 00:54 | Now let's see what happens
when you choose Guide-based.
| | 00:59 | Switch to Guide-based and then I drag
the corner and nothing happens, right,
| | 01:04 | because you actually have
to have a guide. All right!
| | 01:06 | I just want to make it we're clear on
that, that just because you switched to
| | 01:09 | Guide-based doesn't mean
that you've done anything.
| | 01:11 | You need to add what's called a liquid
guide and when you are working in Page
| | 01:17 | mode, as we are now, when you
drag a guide out from the vertical or
| | 01:21 | horizontal ruler and drop it on the
page, it looks different, because it is
| | 01:26 | now a liquid guide.
| | 01:28 | They are dashed this way, and even if
we got out of Page mode and we went to
| | 01:32 | normal Editing mode, this
is still a liquid Guide.
| | 01:37 | Now the snap-to still works.
If I drag something over, it will still snap to
| | 01:41 | it, but it's a liquid guide.
| | 01:43 | Now if I hover my cursor over the guide,
you'll see little icon appear at the top,
| | 01:47 | indicating that it is a liquid guide.
| | 01:50 | And I could click it to turn it into a
normal guide. That's what that icon means.
| | 01:55 | This is a ruler guide.
Click to make a liquid guide.
| | 01:58 | So I click again and now it's a liquid guide.
| | 02:00 | Only liquid guides affect liquid
page rules, not regular guides.
| | 02:05 | So you can still keep all your
normal ruler guides on your page.
| | 02:09 | When you switch to Page mode, by
pressing Shift+P or selecting the Page tool,
| | 02:13 | only the liquid guides will actually
affect pages. So, let's just see, what does it do?
| | 02:17 | Well, any page object that touches
a liquid guide will be affected.
| | 02:23 | In this case, I have dragged a vertical
rule and it's touching this picture at the top.
| | 02:28 | Now when I resize the page, all the
objects move as I drag the page around, but
| | 02:35 | the object that the guide
touches is also resizing.
| | 02:39 | Now, it's not scaling. Notice that
just the frame is resizing, and it's
| | 02:44 | only resizing one way.
| | 02:46 | The frame is getting wider and narrower.
| | 02:49 | If I drag the page up, nothing happens.
| | 02:52 | So a vertical liquid guide makes the
objects that touch it able to be resized
| | 02:58 | horizontally. And I think that that's
probably one the most backward things I've
| | 03:02 | ever encountered, but this makes a lot
of sense apparently, to some people who
| | 03:07 | are accustomed to working with
something called 9-slice scaling in Illustrator
| | 03:11 | and Flash, I believe.
| | 03:13 | In my mind, the only way that I've been
able to keep it straight is either A, it
| | 03:18 | works backwards, right, or B, imagine
that this guide is cutting through this
| | 03:24 | object. And so where it cuts the lines
on either side of the cut, they fall down
| | 03:30 | the well or they come back out of the well.
| | 03:32 | That's how I think of it. Watch. They go
down, they come out. They go down, they come out.
| | 03:36 | Now, the contents of the frames are
completely unaffected by the liquid guide; it's
| | 03:41 | just the frames themselves.
| | 03:43 | If I want the image to scale in response
to my manipulations with the Page tool,
| | 03:49 | then I need to turn on Auto-Fit for that image.
| | 03:52 | So I'll switch to the Selection tool,
select the image, and I can turn on
| | 03:57 | Auto-Fit here in the Control panel.
It makes the content resize as the frame resizes.
| | 04:03 | This was something that was
introduced a couple of versions ago.
| | 04:05 | Also, if I open up the liquid layout
panel, which is available under the Window
| | 04:09 | menu--go to Interactive and choose
Liquid Layout--you'll see that there is an
| | 04:13 | Auto-Fit checkbox there as well,
because this is something that you do quite a
| | 04:17 | bit as you are experimenting and seeing
what would be the best settings for your
| | 04:21 | document with liquid layout rules.
You might want to turn Auto-Fit on and off.
| | 04:25 | So now I have Auto-Fit turned on, and I
am going to add a horizontal rule so that
| | 04:31 | this item scales both horizontally
and vertically. And by the way, you are
| | 04:35 | probably thinking, Oh, what is that big
blue thing around it? Does that mean that
| | 04:38 | Auto-Fit is turned on?
| | 04:39 | No, it just means that it
was selected. All right!
| | 04:41 | So if I click here and deselect and
go back to the Page tool, then we don't
| | 04:46 | see that big blue outline.
| | 04:47 | I thought that was interesting. All right!
| | 04:48 | So now we have Auto-Fit turned on, and
we have two guides affecting that object,
| | 04:55 | and now we drag, and there it goes.
| | 04:57 | And it is scaling as we change the
dimensions of the page because the
| | 05:04 | frame itself is resizing.
| | 05:06 | Well, I still don't like that empty area,
so I'm going to come back here and then
| | 05:11 | right-click on this guy with my
normal selection tool, go to Fitting > Frame
| | 05:16 | Fitting options, and now I am going to
make sure that Fill Frame Proportionally
| | 05:19 | is turned. I like that one better.
| | 05:21 | Fit Content Proportionally is the
default now, so if you want it to automatically
| | 05:26 | fill as you are resizing,
you need to turn on Fill Frame.
| | 05:28 | Okay, let's try it one more time.
| | 05:31 | There we go. Now it's
doing what I expect it to do.
| | 05:34 | Now it makes no
difference where you put the guide.
| | 05:38 | It does not make a difference if I put
this guide in the middle of the object,
| | 05:41 | on the side of the object,
touching a little corner of the object.
| | 05:44 | If it touches the object at all,
it's going to be affected in that dimension.
| | 05:49 | If I want this text frame to be
resized horizontally but not vertically, this
| | 05:55 | would be the wrong guide, right.
| | 05:56 | I just wanted to make sure that you're
paying attention, because if we want it to
| | 05:59 | be resized horizontally--let me
select this and delete it--we need to add a
| | 06:04 | vertical guide, which cuts the frame in
half and allows it to resize left and
| | 06:09 | right, just like how we start out here.
| | 06:11 | Now notice I am not in Page mode
and yet I'm adding a liquid guide.
| | 06:15 | How am I doing that? Well, I am going to click
right up here and turn it into a liquid guide.
| | 06:18 | So you don't have to only go into Page
mode to add liquid guides; you can add
| | 06:22 | them whenever you want.
| | 06:23 | Let's go back to Page
mode and I'll drag a handle.
| | 06:26 | And now you can see that the text frame is
resizing horizontally but not vertically.
| | 06:32 | I can drag it down. I can make the page much
shorter, but the frame stays the same height.
| | 06:38 | But if I change the page's
width, the frame resizes.
| | 06:42 | So you are not going to all this
trouble with placing guides and turning on
| | 06:46 | Auto-Fit and all that just for fun,
just to see the cool little show, when you
| | 06:49 | start dragging the page boundaries.
| | 06:51 | Remember, you're doing this because
you're setting up a document to be able
| | 06:56 | to be easily repurposed into alternate
layouts or different size for different
| | 07:01 | purposes, to turn into a tablet
publication, to create both a horizontal and
| | 07:06 | vertical version of a magazine, for
example. InDesign Magazine, if you
| | 07:10 | subscribe to it, always comes as a PDF
as both portrait and landscape, so that
| | 07:17 | you can read it onscreen in landscape,
but if you want to make a printout, the
| | 07:21 | portrait one is easier.
| | 07:22 | The Guide-based liquid page rule
definitely takes more work, and I think maybe
| | 07:27 | it's best for certain kinds of projects.
| | 07:30 | Like, for example, if you have a layout
that just about everything that happens,
| | 07:35 | happens because of what's on the master--
| | 07:37 | now here that's not true; the master is empty.
| | 07:40 | But if you have, say, a master with a logo
at the top and some text down here on the
| | 07:44 | side, and so on, you might want to just
change the master to liquid page rule
| | 07:51 | Guide-based and then drag
your liquid guides there.
| | 07:55 | Now remember, all your individual
document pages are by default based on the
| | 07:58 | master, so that might be the fastest
way, depending on your document, to have
| | 08:03 | InDesign automatically manipulate the
objects as you create alternate layouts
| | 08:08 | or resize pages.
| | Collapse this transcript |
| Applying object-based Liquid Layout rules| 00:00 | Now let's take a look at the liquid
layout rule that gives you the most control
| | 00:05 | over individual objects.
| | 00:06 | And of course, it takes a little bit
more time but may be just the ticket
| | 00:09 | for getting you 80% of the way there
in manipulating all your page items
| | 00:14 | when you switch page sizes.
| | 00:16 | So we have here a very simple document,
just the picture of Mona Lisa right on
| | 00:21 | the page. And it is already
set to be auto-sized, by the way.
| | 00:25 | Now remember, when you want to start
manipulating the liquid layout rules, you
| | 00:29 | need to get into Page mode, which you
can do by pressing Shift+P or clicking on
| | 00:33 | the Page tool, and the liquid
page rules appear above here.
| | 00:38 | Right now it's controlled by master, which is
the default, and the master page is set to be off.
| | 00:43 | Well, let's just leave it as is so we
can remind ourselves what happens when
| | 00:46 | there's no liquid page rules in effect.
| | 00:49 | And I resize the page, items just
sit there. They don't do anything.
| | 00:52 | I could switch to landscape and
portrait and they just basically sit there.
| | 00:57 | And if they happen to land inside, woohoo, but often
they don't. So let's change this to Object-based.
| | 01:05 | Now, Object-based actually requires a bit of
manipulation for the objects on your page.
| | 01:10 | And this is when the Liquid
Layout panel may come in very handy.
| | 01:14 | So we're going to open it. From the
Window menu, go down to Interactive and
| | 01:18 | choose Liquid Layout.
| | 01:21 | This whole section down here, the
bottom half of the Liquid Layout panel has
| | 01:25 | to do with object-based liquid layout rules.
| | 01:29 | What you need to do is select the
object that you want to affect on the page,
| | 01:34 | so just click it while you're in Page mode,
which puts a big heavy outline around it.
| | 01:38 | And you'll see the default settings
for every object on the page, which is
| | 01:42 | nothing. Down here nothing is checked.
| | 01:45 | If you want--let's say, for example,
that you want this object to stay the same
| | 01:49 | distance from the top edge of the page
and the right edge of the page, you do
| | 01:53 | something called pinning.
| | 01:55 | You want to pin it to the top.
| | 01:56 | So you can use the checkboxes here,
so I pin to top and pin to the right.
| | 02:01 | You can also just click on the little
guys here to unpin them and repin them.
| | 02:07 | You don't have to use the panel, but
sometimes, especially, I would think, for
| | 02:11 | complicated layouts, you
might want to do that also.
| | 02:14 | You could drag a marquee selection
around a bunch of stuff and pin them all to
| | 02:18 | the right, for example.
| | 02:19 | But let's see what that did.
| | 02:20 | I am going to resize my page and you'll
see it stays the same distance from the
| | 02:25 | right edge and the top.
| | 02:27 | If I change to landscape, it stays the
same distance from the right and the top.
| | 02:32 | I'll go back to portrait.
| | 02:35 | You can only pin objects
to the edge of the page.
| | 02:39 | They can't be pinned in relation to
something else, like you can't have two
| | 02:42 | things that automatically stay the same
distance from each other; that won't work.
| | 02:47 | So right now it's only to the edge
of the page, but you do have some
| | 02:50 | control over resizing.
| | 02:53 | Remember, we were resizing with the guides,
with the liquid guides, in a previous video.
| | 02:58 | You don't use the guides here. It just
completely ignores any guides you may
| | 03:02 | have, liquid or otherwise.
| | 03:04 | To allow InDesign to resize this
object when the page size is changed or when
| | 03:10 | you create an alternate layout with a
different page size, you select the object
| | 03:14 | again and then you choose this,
Resize with Page: Height or Width.
| | 03:18 | So let's say, for example, that we
want to make this Letter - Half size.
| | 03:22 | Well, it stays the same distance from
the right and the top, but it's too big,
| | 03:27 | so we want it to resize.
| | 03:28 | Let's go back to regular Letter and
this time choose Height and Width.
| | 03:34 | What's happening here, those little locks
are changing to little squigglies. All right!
| | 03:38 | So you could also click right on the
little lock, kind of hard to see--
| | 03:42 | there you go--and turn it into these little
springs, or what they're supposed to be,
| | 03:48 | meaning that it's going to actually resize
the frame both horizontally and vertically.
| | 03:53 | Now remember, I did already turned on
Auto-Fit and I already turned on Fill Frame
| | 03:57 | Proportionally, so as we change from
Letter to Letter - Half, making the page
| | 04:02 | size smaller, it will scale. Isn't that lovely?
| | 04:07 | So, probably not exactly what we wanted,
but that's lot of scaling right there.
| | 04:11 | Again, this is why it pays to practice
in this Page mode before you actually
| | 04:16 | go ahead and create an alternate
layout of your monstrously large magazine
| | 04:20 | using these settings.
| | 04:21 | Let's undo. I'll just go
back to regular Letter.
| | 04:25 | And you can use these to play with--
that's why I left them here on the
| | 04:28 | pasteboard if you want to bring them in.
| | 04:30 | Again, your settings are, you can pin by
pinning to top, bottom, left, and right,
| | 04:34 | and you can also resize as the page is resized.
| | 04:37 | Maybe if I just drag this, you can see
there is a little better, what it's
| | 04:42 | doing. There you go.
| | 04:43 | Okay, so it's resizing.
| | 04:44 | Do you remember, in the very beginning
of this chapter, I showed you a brochure
| | 04:50 | that was designed in landscape, and I
said that I want to try and get as close to
| | 04:55 | this vertical version of
the brochure as possible?
| | 04:59 | And I showed one that, you know, did a
horrible job and one that, you know, got pretty close.
| | 05:03 | And what I had done was I spent about
15 minutes using Object-based settings.
| | 05:09 | So here, if I click on something, you can
see, like this big graphic is pinned to
| | 05:14 | the right and pinned to the top.
It's not allowed to scale at all.
| | 05:19 | This graphic is pinned to the top
and pinned to the right edge and so on.
| | 05:23 | So various objects are pinned
differently, and not just the pictures and text
| | 05:28 | frames, but also background frames.
| | 05:30 | So like this guy is pinned to
the bottom and to the right.
| | 05:33 | Now it's really hard to get
something that's bleeding off the edge to pin
| | 05:37 | to manipulate it here. That's why
sometimes you'll want to open up the
| | 05:40 | Liquid Layout panel.
| | 05:41 | If for some reason you want to clear
out everything, unfortunately, there is
| | 05:45 | no clear all command.
| | 05:47 | So if you want to clear all, you're
going to have to select the individual items
| | 05:51 | and uncheck them. And sometimes you
can make a marquee selection and select
| | 05:55 | multiple items and then
just set these all to Empty.
| | 05:58 | Right now that's the best they can do.
| | 06:00 | So there you have it: that's how you
do Object-based liquid layout rules.
| | 06:05 | And it definitely takes more time, but it
takes less time than after you create
| | 06:09 | four or five iterations of this layout for
various devices or for various PDFs and so on.
| | 06:14 | That takes a lot of time to redesign everything.
| | 06:17 | So spending a little bit of time here,
setting up some Object-based liquid
| | 06:21 | layout rules for your most important
elements, will save you ton of time in
| | 06:24 | the long run.
| | Collapse this transcript |
|
|
4. New Text AbilitiesWorking with flexible columns| 00:00 | In InDesign CS6, we have more
flexibility when it comes to working with text frames.
| | 00:07 | So, for example, here we have a
spread from a magazine, and we a have
| | 00:11 | normal threaded story running through two
text frames. Each text frame has four columns.
| | 00:17 | So if I select one of these and then I
go to the Object menu and choose Text
| | 00:22 | Frame Options, you can see
that the columns are four, right?
| | 00:26 | What is new here is, first of all, we now
have a name for this kind of text frame;
| | 00:30 | it's called a Fixed Number column.
| | 00:32 | So there are always going to be four columns,
no matter what size we make the text frame.
| | 00:37 | So if I make it smaller, there are still
four columns; if I make it wider, there
| | 00:42 | are still four columns.
| | 00:43 | I am going to press Command+B
or Ctrl+B again to get back here.
| | 00:46 | The other option that we've
always had is Fixed Width.
| | 00:50 | So Fixed Width--we've had this for
few versions--means that we can say the
| | 00:54 | columns should always be whatever they
are now or you can enter your own measure.
| | 00:58 | Right now it's 10 picas 6 points, so
that if I then make this text frame
| | 01:03 | smaller, like I drag it over
here, it automatically snaps up.
| | 01:07 | But if I cross the boundary, then it
says okay, we'll only have three columns.
| | 01:11 | So this is like really ideal for, say,
a newspaper layout, where every page is
| | 01:16 | heavily grided into eight columns and
you can just resize text frames and they
| | 01:21 | will always exactly match the column widths.
| | 01:25 | So in those two existing ways of
changing the number of columns in a text
| | 01:30 | frame, we have either it can be
completely loosey-goosey, where the text columns
| | 01:35 | can be any width as long as they are the exact
same number of columns, or it can be a
| | 01:39 | little bit more regimented, where the
number of columns changes and the width
| | 01:44 | of the column cannot change.
| | 01:46 | But we have another
method available to us in CS6.
| | 01:49 | I am going to go back to Text Frame Options.
| | 01:51 | We have Flexible Width.
| | 01:54 | So with Flexible Width, you can change the size
of the overall text frame to a certain degree.
| | 02:00 | The number of columns will remain the same.
| | 02:02 | The size of the column will change
somewhat, until you hit the maximum, and then
| | 02:07 | it will automatically add more columns.
| | 02:10 | So let's say the maximum width that we
want for this text would be, let's say 16
| | 02:16 | picas wide of the column.
Okay, so I am going to click OK.
| | 02:20 | And now as I resize this smaller,
you can see that it actually changed the
| | 02:26 | number of columns, because we
went below the existing width.
| | 02:30 | And as I make it larger, now it says
okay, well I will do three columns.
| | 02:34 | And as I keep growing, 3 columns, 3
columns, and now it adds a fourth column
| | 02:41 | because I went past the maximum.
| | 02:43 | Let's look again at those settings.
| | 02:45 | I press Command+B or Ctrl+B. So the
maximum was 16 picas, and the current width
| | 02:50 | right now is 12 picas.
| | 02:52 | You can do Flexible Width measures
right here in Text Frame Options, but notice
| | 02:57 | that you can also do them as an object style.
| | 03:00 | So If I went to object style--I am going to
Option+Click or Alt+Click here to create
| | 03:04 | a new style--and went down to Text
Frame General Options, you see that we can
| | 03:09 | actually turn on Flexible Width right here.
| | 03:11 | So you can set a maximum width for each column.
| | 03:15 | That makes it even more powerful to be
able to set up your text frames that are
| | 03:20 | going to be used for different kinds
of documents so that they always look
| | 03:23 | great, no matter how wide or
narrow you make the text frame.
| | Collapse this transcript |
| Auto-sizing text frames| 00:00 | Here's another cool thing that
text frames can do in InDesign CS6.
| | 00:05 | Check out this sidebar here
that's on that darker gray background.
| | 00:08 | I am going to zoom in a bit.
| | 00:09 | Well, let's say that we wanted to add
some text to this. I am just going to
| | 00:13 | select a sentence and copy it
and then maybe paste it right here.
| | 00:20 | It's overset, right?
| | 00:21 | We all know what overset is.
| | 00:23 | Now, though, I'm going to leave it overset
but change a setting for the frame itself.
| | 00:29 | So I will select the frame with the
Selection tool, Object > Text Frame Options,
| | 00:34 | look here, Auto-Size.
| | 00:37 | Text frames can be set to automatically
resize on their own, without you having
| | 00:41 | to drag them all the time.
| | 00:42 | So by default, they are off for all
text frames, but I'm going to say that I
| | 00:46 | would like this sidebar to change its height.
| | 00:50 | So I have the Preview checkbox turned on,
and I turned on Height Only and look at
| | 00:54 | what happened; it automatically
resized itself to fit the new text.
| | 00:58 | The height can be set--just like this
is kind of like the little canvas-size
| | 01:02 | interface in Photoshop, if
you have seen that before.
| | 01:05 | What this is saying is that I would like
the top part of the frame to stay where
| | 01:10 | it is and it can grow downward.
| | 01:12 | If you wanted to grow the
opposite way, you'd select this one.
| | 01:15 | So if I selected that one,
then it would go the other way.
| | 01:18 | If you said you want it to stay centered,
vertically, you would choose that one,
| | 01:22 | which could come in very handy if you
have things like, you know, pull quotes
| | 01:25 | right in the middle of the page or something.
| | 01:27 | You'd want it to grow both up and
down to stay centered in the page.
| | 01:31 | But in this case I want the
top to stay hammered there.
| | 01:34 | Now you can set a Minimum Height, if you'd
like, but you cannot set a Maximum Height.
| | 01:40 | Apparently, it got too complicated,
because they would have to take into account
| | 01:44 | what about if there is
another object there and so on.
| | 01:46 | In fact, if I went ahead and selected
some text and pasted, it just grows right
| | 01:54 | on top of the object below here,
only because, you know, it's on a stacking
| | 01:57 | order above this picture.
| | 02:00 | Right now, in the shipping version
it will just stop at the pasteboard.
| | 02:04 | So you can't set a maximum height or a
maximum width; it'll just keep growing to
| | 02:09 | the end of the pasteboard.
| | 02:10 | So it's just something to keep in mind.
| | 02:12 | It's not something that you would set
for every single text frame, but for
| | 02:15 | things like sidebars, oh, it's perfect!
| | 02:18 | I mean, take a look at this.
| | 02:19 | Let's get rid of that last bit that
we added and maybe the one before that.
| | 02:23 | So here is a normal resizing.
| | 02:25 | What if I said that I wanted this
text frame to be, you know, two columns?
| | 02:30 | It automatically resizes itself appropriately.
| | 02:33 | What if I said--you know, let's get rid of
some of this more, there we go, like that.
| | 02:39 | How often have you ever been working on
a page and you thought, you know what, I'd
| | 02:44 | like to change the inset here.
| | 02:46 | I am going to press Command+B or
Ctrl+B to get the Text Frame Options and
| | 02:50 | increase the size of my inset.
| | 02:52 | I have the Preview box checked on.
| | 02:54 | So as I tap the up arrow, I am
increasing the size of the inset, but the text
| | 02:59 | frame is growing. Isn't it great?
I love this feature.
| | 03:02 | I am going to be using
this feature all the time.
| | 03:04 | Let's take another look at it.
| | 03:05 | So you can set Auto-Sizing for Height
Only, Width Only, both Height and Width, or
| | 03:11 | Height and Width and it'll keep
proportions, so that if you have a very tall,
| | 03:16 | narrow thing, it'll go ahead and grow
both height and width in proportion, but
| | 03:20 | still be looking kind of tall and narrow.
| | 03:22 | Now this No Line Breaks is
interesting, but it only applies to Width.
| | 03:27 | So, I have another example.
| | 03:30 | Further down on this page
here, we have a photo credit.
| | 03:33 | Let's zoom in here. A photo by Joseph Schmoe.
| | 03:37 | And the text frame completely hugs the text.
| | 03:40 | But if I wanted to increase this, and I
said Joseph Allen Schmoe, well, we have
| | 03:45 | that happening. And then how
difficult is it to resize this tiny, little
| | 03:50 | frame without changing the depth?
| | 03:52 | You know, how often does that happen?
| | 03:54 | So, instead, a perfect example of
where to apply our friend Auto-Resize is
| | 03:59 | this, our Auto-Size.
| | 04:01 | So we go to Auto-Size, and we
want this to go Width Only, and it
| | 04:06 | automatically increases in size.
| | 04:08 | Now if we said No Line Breaks then
that means that even if text originally
| | 04:13 | wrapped, that it wouldn't wrap.
| | 04:15 | So let's say that I did something like this.
| | 04:18 | Photo by Joseph Allen Schmoe, like that,
but then I came back up here and I said,
| | 04:29 | under Auto-Size, No Line Breaks, so it
refuses to break any lines, and it will
| | 04:35 | just keep everything on one line.
| | 04:36 | I suppose that would be useful for a photo credit.
| | 04:39 | Now I don't want it growing to the left
as well, so I am going to change that to
| | 04:43 | this. No Line Breaks, and that all looks good.
| | 04:48 | So we'll put it right here, and then I
will double-click this to squeeze it in.
| | 04:51 | So let's say he had another
middle name, Octavio. It's great
| | 04:57 | for small bits of text, for things
like pull quotes and sidebars and photo
| | 05:01 | credits. Just turn on Auto-Size.
And like the flexible-width columns, you can
| | 05:07 | include Auto-Size in an object style,
so that would make perfect sense for
| | 05:12 | something like a photo credit, text
frame, that under Text Frame Auto Size
| | 05:20 | options, we keep it at Width Only,
growing from the left, no line breaks.
| | 05:24 | There you have it, one of my
favorite new features in InDesign CS6.
| | Collapse this transcript |
| Exploring the primary text frame| 00:00 | Hello Mona Lisa!
We will get right back with you in a minute.
| | 00:03 | But first, I want to tell you about
another new feature for text in InDesign CS6.
| | 00:09 | It's called the primary text frame.
| | 00:11 | And you'll see it, first of all, if you
go to File > New and create a new document.
| | 00:17 | Notice that instead of saying
Master Frame, it says Primary Text Frame.
| | 00:20 | It's a special kind of master page
text frame with two big new features.
| | 00:25 | But before we get into showing you the
features, I want to mention that if you
| | 00:29 | change the Intent to Web or Digital
Publishing, it's turned on by default,
| | 00:34 | because a primary text frame is very
flexible, and usually when you're creating
| | 00:38 | digital publishing, you know, tablet
apps or web apps, you are often creating
| | 00:43 | multiple versions of that layout for
different screen sizes and dimensions.
| | 00:47 | So the primary text frame lends itself to that.
| | 00:50 | Now I am going to go back and show
you that it's just as useful for print.
| | 00:55 | Interestingly, this might be a bug that it
stays turned on when I go back to print.
| | 00:59 | But whatever. If you are following
along, choose Print, turn on Primary Text
| | 01:03 | Frame, and click OK.
| | 01:04 | So I am going to open up the Pages
panel, and nothing looks any different except--watch this.
| | 01:10 | I'm going to select the Type tool, and
look at this miracle of miracles.
| | 01:15 | I'm typing right into the page without
having to override the text frame.
| | 01:20 | That is one of the features of a primary text
frame is that you don't need to override it.
| | 01:25 | When you highlight it on the document
page, you can see it's already overridden,
| | 01:28 | if you want to call it that.
| | 01:30 | And it has a special icon
identifying it as the primary text frame.
| | 01:35 | So if I hold my cursor over the icon,
the tooltip tells me that the story is
| | 01:40 | from the master's primary text flow.
| | 01:42 | Now if create a couple more pages,
you can see I can just click, click, and there
| | 01:47 | is the primary text flow.
| | 01:49 | Let's take a look at it on the master page.
| | 01:51 | I will switch over there.
| | 01:52 | And there we see the same icon.
| | 01:55 | Now if we change the size or the
dimensions of the primary text frame and then
| | 02:02 | we go to the document page,
it automatically updates.
| | 02:06 | Because we didn't need to override
anything, we don't have to worry about a
| | 02:09 | second text frame being in back of here.
| | 02:12 | Whatever is happening on our
document pages is not getting updated by the
| | 02:16 | changes we are making to the masters,
which was a big stumbling block with the
| | 02:19 | old-fashioned kind of master page text frames.
| | 02:22 | I guess I shouldn't say old fashioned
because you can still create normal, I
| | 02:26 | guess you call them standard,
traditional master page text frames.
| | 02:29 | Let's go back here. I'm going to drag
out a text frame, and I can even thread
| | 02:35 | it to text frame on the right so that we have
something that will autoflow in the normal way.
| | 02:42 | But notice the icon here. So this icon
is just a regular master page text frame.
| | 02:48 | This icon with the arrow coming out of it
indicates that it is a primary text frame.
| | 02:52 | You can only have one
primary text flow per master page.
| | 02:57 | If I wanted this one to be the primary,
if I clicked here--all I need to do is
| | 03:01 | click on the icon and that changes it--
then this one would become a regular
| | 03:05 | master page text frame.
| | 03:07 | In other words, it would have to
be overridden in the document page.
| | 03:11 | Another way to convert a master page
text frame into a primary text frame to
| | 03:16 | hold the primary text flow is to simply
right-click anywhere on the frame on the
| | 03:20 | master page and choose Primary Text Frame.
| | 03:23 | Once you choose Primary Text Frame,
then the other ones become normal
| | 03:26 | master page frames.
| | 03:28 | One more thing is that you can't have a
primary text frame that has any text in it.
| | 03:32 | If you start typing in here, it's going to
turn it into a regular master page text frame.
| | 03:36 | All right! So I think we have some of the
basics of a primary text frame.
| | 03:41 | Now what good is it really, other
than not having to Ctrl+Shift+Click
| | 03:44 | Command+Shift+Click to
override on the document page?
| | 03:46 | Well, let's go back to
Mona Lisa and let me show you.
| | 03:50 | I have two examples of the same book,
a very short book, just about 15 pages
| | 03:55 | long, and the only difference between
these two books are in the types of text
| | 04:00 | frames on their master page.
| | 04:02 | The A-Master has normal primary text
flow on its A-Master, as you can see from
| | 04:07 | these little arrows here.
| | 04:08 | But on the B-Master, which is supposed
to be for chapter openers of this book,
| | 04:13 | they are regular old-fashioned kind of
master page text frames. They don't have
| | 04:18 | a little arrow coming out;
they are not primary text frames.
| | 04:21 | And then on the arthistory one, the
normal one, master is the same. They are
| | 04:26 | primary text frames. But the B-Master, the
chapter opener, is also a primary text frame.
| | 04:31 | All right! Let's take a look.
| | 04:33 | Here we have our arthistory non-primary
book, and I go to a chapter opener, like here.
| | 04:41 | I want to apply the chapter opener master page.
| | 04:44 | So I am just going to drag the chapter
opener master and drop it right on top of
| | 04:49 | the page. And this is what happens in
the real world before CS6, before primary
| | 04:54 | text frames, is that now we have a text
frame here from when we first created it
| | 04:59 | and then if I squeeze over a
little bit and I hold down Ctrl+Shift or
| | 05:03 | Command+Shift and click--let's move
this over here--there's another text frame
| | 05:09 | underneath it, right here.
| | 05:10 | So the one underneath is from my
non-primary text frame, from the regular
| | 05:15 | master page text frame.
| | 05:16 | And it is not replacing this at all.
| | 05:19 | Instead, if you just use primary text
frames to hold your primary text flow,
| | 05:23 | you can't go wrong.
| | 05:24 | So here we are, at the arthistory file,
and I am going to go to the chapter opener.
| | 05:29 | And this time I'll drag the chapter
opener that uses the primary text flow and
| | 05:34 | drop it right on top.
| | 05:35 | Wasn't that simple? Nice and easy.
| | 05:37 | I could have multiple masters.
| | 05:40 | As long as they use a primary text
frame, then when I apply them to existing
| | 05:46 | document pages, whatever was in the
primary text frame from that master flows
| | 05:50 | into the new primary text frame of the
new master, which can save people a lot of time.
| | Collapse this transcript |
|
|
5. Text EnhancementsAccessing recently used fonts| 00:00 | Here is a nice little feature in
InDesign CS6 that makes working with type a
| | 00:05 | little bit easier, and that is
it now has a recent fonts list.
| | 00:08 | You can see the recent fonts in the Type
menu, go to the Font menu, and these are
| | 00:13 | the fonts that I used recently, a la
Microsoft Word. How about that?
| | 00:17 | You can also see them, if I select
the Type tool, at the top of this list.
| | 00:22 | So if, let's say that I am editing
this type and I'd think I like the change
| | 00:26 | the first line to, let's say Bank Gothic > Medium--
oh, yes, that looks very classy. I like that.
| | 00:35 | Then we go to the Type menu and we see
Bank Gothic and Myriad Pro. Apparently,
| | 00:41 | I am using both here.
| | 00:43 | Now your list of recent fonts stays
active, even after you quit the program, and as
| | 00:50 | you test new fonts, like in a new
document--I'll put a new document up here just
| | 00:54 | for fun, drag out a frame and
then let's try Apple Casual, baby.
| | 01:00 | This is casual. And then we go to the Type
menu > Fonts, you see Apple Casual has been added.
| | 01:06 | You might wonder about what order
they're in. They're not really chronological,
| | 01:11 | because I know when I was testing this,
I used Myriad Pro and then later I used
| | 01:14 | Calibri and just now used Apple Casual.
| | 01:18 | But if you do want to have some sort
of power over the order of your recent
| | 01:22 | fonts list, you can go to Preferences,
which on my Mac is under the InDesign
| | 01:26 | menu and on a PC, under the
Edit menu. Go to Preferences.
| | 01:30 | Let's just start out in General,
under Type Options, down here next to Font
| | 01:35 | Preview Size, which has been here for ever,
| | 01:37 | in this field you can choose the
number of recent fonts to display, up to 50
| | 01:42 | different fonts. And it is the main
typeface; it doesn't include all the
| | 01:45 | styles. So, Myriad Pro is one and
then all the different styles for Myriad
| | 01:49 | Pro still come as one.
| | 01:51 | And you can choose to sort the recent fonts
list alphabetically. Let's go ahead and do that.
| | 01:55 | So they are now sorted
alphabetically, and let's try it again.
| | 01:58 | Up to Type menu > Fonts.
Ah! Some order, that's what I like.
| | 02:03 | So the recent fonts list, a nice
interesting little feature in InDesign CS6.
| | Collapse this transcript |
| Applying Keep settings to spans and tables| 00:00 | If you are a fan of InDesign's span
columns and tables then you will be really
| | 00:06 | happy to know that in CS6 you can
now apply keeps settings to them.
| | 00:10 | Well, you could always apply keeps
settings to them in previous versions, but you
| | 00:14 | couldn't be assured that
they would actually work;
| | 00:16 | in fact, they were usually ignored.
| | 00:18 | Turns out into very complicated
process to figure out how to make sure that
| | 00:24 | spans and tables understand what keeps
are, but they set an engineering team to
| | 00:29 | the task and now we can.
| | 00:30 | So here we have an example of a two-
page document, and this text frame is three
| | 00:36 | columns, and that threads to this text
frame, which is two columns, and we have a
| | 00:41 | span paragraph here.
| | 00:42 | Let's zoom in a bit. So you can see the
problem is that we have a span paragraph
| | 00:47 | called callout span--let me close that for now--
| | 00:50 | that looks kind of dumb because
we have this one line right here.
| | 00:54 | What we would we like to do is make
sure that wherever we have the span
| | 00:58 | paragraph, that all of the lines of the
paragraph stay together, and that's the job for keeps.
| | 01:02 | So what we can do is just click
anywhere in the paragraph, go to the Control
| | 01:07 | panel menu, go down to Keep Options,
make sure Preview is turned on, and say that
| | 01:13 | we want all of the lines together.
| | 01:15 | There you go. Isn't that nice?
| | 01:17 | Click OK and we can test it out if you want.
| | 01:19 | So if I bring this down lower then
it's able to have room. It stays up here.
| | 01:24 | But when there's not enough room for
all of the lines in the paragraph to stay
| | 01:27 | together then it goes and jumps to the next
frame in the thread, which is what we prefer. Yay!
| | 01:33 | It also works for tables.
| | 01:35 | So here's a table. Now, if I drag the
bottom of this frame up and release it in
| | 01:42 | the middle of the table, then we end up
with between the four rows here and three
| | 01:45 | rows here, which looks pretty dumb.
| | 01:47 | And it would look really dumb
especially if this was on another page or spread.
| | 01:52 | This looks dumb, actually,
as is, in another column.
| | 01:54 | So you want to apply
keeps settings to everything.
| | 01:56 | Now some designers discovered that
you could treat every row as a separate
| | 02:01 | paragraph and then try selecting
every single row and applying keeps and
| | 02:06 | sometimes that works, but now it's a lot simpler.
| | 02:08 | Let's say I bring it down a bit.
| | 02:09 | The paragraph that the table sits in--
let's zoom in a bit so we can see it better.
| | 02:14 | Remember, a table is kind of like an
in-line object that sits in its own paragraph.
| | 02:19 | You just select that paragraph return,
or you can select the entire table if you
| | 02:22 | want, and then for that paragraph turn
on, keep everything together. So Keep
| | 02:27 | Options > Keep Lines Together, and
now let's drag this up. Here we go.
| | 02:33 | So even though there is plenty of room
for few more rows, we want the table to
| | 02:37 | stay together so it jumps to the
next column in the thread. There you go.
| | 02:40 | Two nice fixes. Keeps now
works with spans and tables.
| | Collapse this transcript |
| Fitting frames to different types of text content| 00:00 | Can there be any topic more
exciting than text frame fitting?
| | 00:04 | I think not, especially if
you are a neat freak like me.
| | 00:08 | For example, do you see
the problem with this page?
| | 00:12 | I see. It's screaming at me. Look at
this frame. Look at all this empty space.
| | 00:16 | Well, the ability to fit the frame to
the text content has been around for a
| | 00:21 | number of versions of InDesign, but
until CS6, the only way that it worked was
| | 00:25 | on these plain-Jane frames like this
one, rectangular frames with just text,
| | 00:31 | nothing overlapping and
nothing crazy going on inside.
| | 00:33 | So if you had one like this, instead
of having to go to all the trouble of
| | 00:38 | dragging this guy up, you could go to
the Object menu or right-click, go to
| | 00:42 | Fitting and choose Fit Frame to
Content, or you've probably memorized this
| | 00:47 | keyboard shortcut, which is Command+
Option+C on a Mac or Ctrl+Alt+C on Windows,
| | 00:52 | which will automatically do the
same thing as what I like to do is just
| | 00:56 | double-clicking the frame handle to roll it
right up like a Venetian blind, nice and neat.
| | 01:01 | That, combined with InDesign's new
ability to automatically auto-size frames,
| | 01:07 | means that I am in heaven, but
that I covered in a different video.
| | 01:11 | Let's go and talk about some of
the new frame-fitting features.
| | 01:14 | Well, actually, what they have done is they
have expanded where that command will work.
| | 01:18 | So we are not just limited to the
plain-vanilla kind of frames. Like look
| | 01:21 | at this monster here.
| | 01:22 | Here we have a three-column single
frame with a span and if I just double-click
| | 01:27 | on the bottom handle, boom!
| | 01:31 | It basically balances the
columns as best as it can.
| | 01:34 | There is probably some keep settings
that are preventing it from getting really
| | 01:37 | close, but that is incredible
that they were able to do that.
| | 01:40 | I am going to undo.
| | 01:41 | This time let's throw a text wrap at it.
| | 01:44 | All right, now I have a big fat
text wrap. That's a little too much.
| | 01:47 | I want to fit some text here. There we go!
| | 01:48 | Let's try that one more time.
| | 01:50 | Select this. This time I will press
the keyboard shortcut, Command+Option+C
| | 01:54 | or Ctrl+Alt+C. Boom! Not a problem.
| | 01:58 | That's amazing.
| | 01:59 | You'll get so
spoiled by this, immediately.
| | 02:02 | I have a couple of other examples for you.
| | 02:04 | Here we have three threaded frames.
| | 02:06 | I turned on Show Text Threads, so you
can see three single-column frames that
| | 02:10 | are threaded together.
| | 02:11 | Now in previous versions, all you were
able to do would be to fit the final frame
| | 02:16 | to the contents, but now you can fit
any frame in the middle to contents.
| | 02:21 | Like let's say this guy, see I put
a little--I am going to click right
| | 02:24 | before the word textile and I am going
to press the Enter key on my keyboard,
| | 02:28 | which is the keyboard shortcut to jump
to the next frame, and now this is bugging
| | 02:33 | me, this empty space down here.
| | 02:34 | So I am going to click here and
double-click, boom! There it went up! A-ha!
| | 02:38 | How about this?
| | 02:39 | Here is one of my famous blobs.
| | 02:41 | I am well known for creating beautiful
blobs with the Pen tool. And then I turned
| | 02:45 | it into a text frame and filled it with
text and gave it a background color, and
| | 02:48 | of course, I couldn't stop
myself and I made a drop shadow.
| | 02:51 | If we look at this in Preview mode, you
can see how beautiful that is and if you
| | 02:55 | like, you can purchase that work of art from me.
| | 02:57 | But anyway, what I want to
show is how this even works with
| | 03:00 | nonrectangular frames.
| | 03:02 | Now, this is as nonrectangular as you can get.
| | 03:04 | If I swipe out a bunch of text, switch
to my Selection tool, and double-click
| | 03:09 | the text frame, boom! I love that!
| | 03:13 | Look at that!
So, a cool little feature.
| | 03:16 | Some people really don't care; some
people like me really care a lot. And I love it.
| | Collapse this transcript |
|
|
6. EPUB and HTMLUsing advanced EPUB 2 export controls| 00:00 | Well, the good news is that Adobe has
paid a fair amount of attention to the
| | 00:03 | needs of EPUB publishers, e-Book
designers, that is, exporting your InDesign
| | 00:09 | document to the EPUB format so that
it can be read on EPUB readers like
| | 00:13 | iPad iBooks or the Barnes & Noble
NOOK or the Kobo and lots of other
| | 00:19 | e-readers out there.
| | 00:20 | A couple of new features that we can
look at right here while the book is open
| | 00:24 | in front of us--let's see. Down here in
is here we have an inline frame that I
| | 00:31 | added and I've applied an
object style to it called quote.
| | 00:36 | What is new is that this background
color and the width of the frame and the
| | 00:40 | fact that it's an object style called quote,
this will all make it through into the EPUB.
| | 00:45 | In previous versions, we would have to
have re-created this in the CSS, which
| | 00:50 | I showed in my InDesign to EPUB titles,
that you have to edit the CSS to add a
| | 00:55 | background, to set a border, to set an
inset, and now all of that is included.
| | 01:01 | So inline and anchored text frames
carry their attributes for fill color,
| | 01:06 | margin, padding, border style, and width all
the way through to CSS, which is excellent!
| | 01:13 | Another new feature is--let's see,
I have the graphing in out there--
| | 01:16 | is that if I have a graphic that I've
anchored into the text flow and I go to
| | 01:23 | Object > Object Export Options, we have
new options here under Custom Layout.
| | 01:29 | So before it was just Alignment and
Spacing. Now we have the ability to float it.
| | 01:34 | Float me baby. Float Left or Float Right,
meaning that it can act like as though
| | 01:38 | they were a text wrap.
| | 01:39 | It's going to push the text away;
| | 01:41 | it's not going to be
inline, which is pretty cool.
| | 01:43 | So we don't even have any text wrap on
here, and we'll see what it looks like
| | 01:46 | once we export to EPUB.
| | 01:49 | Let's go right to the Export to EPUB dialog box.
| | 01:52 | It's still under File > Export.
And we will call it art history, save it on
| | 01:56 | the desktop. The first thing that's
new you will see is that there was a
| | 02:00 | Version dropdown menu.
| | 02:02 | The default is EPUB 2.0.1, which is
probably the most widely supported format by
| | 02:06 | all e-reader devices and software,
but you could also export this to EPUB 3
| | 02:12 | format, which I will be showing in the
next video, as well as an experimental
| | 02:16 | format called EPUB3 with Layout.
| | 02:18 | They've cleaned up the General panel a bit.
| | 02:21 | There's really no new features here,
other than the fact we can now set separate
| | 02:25 | margin settings for the page.
| | 02:27 | So top, bottom, left, and right,
rather than one setting all the way around,
| | 02:31 | which is what we had before. And Text
Options are all together in this category,
| | 02:36 | nothing new there. Same thing
for Image, really nothing new.
| | 02:40 | In Advanced, we do have a couple new things.
| | 02:43 | First of all, we have a Split Document
dropdown, and we are choosing to split
| | 02:48 | the document right now at the chapter
number, which I don't think we are showing
| | 02:53 | one, but there is a chapter number
at the beginning of each of the three
| | 02:56 | chapters in this book.
| | 02:57 | You could also choose Do Not Split or
you could choose Based on Paragraph Style
| | 03:03 | Export Tags, and to me, this one the
best new features of CS6 for EPUBs.
| | 03:07 | Let me show you what that means.
| | 03:10 | Let's cancel out of here for now ,and
let's say that of course I do want to split
| | 03:15 | the document, to have it create a new
HTML file when it comes to chapters so
| | 03:21 | that they all start at the top of the page,
| | 03:23 | so you can link to them from the
navigational table of contents, but I would
| | 03:29 | also like other paragraph styles
to cause a split, to force a split.
| | 03:33 | This is something we can never do before.
| | 03:35 | For example, I like this title page to start
on its own page and have a link on the left.
| | 03:40 | If I click inside this paragraph--
I can see the paragraph style here is
| | 03:43 | called titlepage--and now simply by
double-clicking and going down to Export
| | 03:49 | Tagging, you will see that they have
a new checkbox called Split Document.
| | 03:53 | So on a paragraph-style-by-style
basis you can tell InDesign to force it to
| | 03:59 | chunk up the document, to split it
and start a new document whenever it
| | 04:03 | encounters this paragraph style, and
there's no limit to the number of paragraph
| | 04:07 | styles you can do that with.
| | 04:08 | It is so much easier than
working with earlier versions of CS.
| | 04:12 | You don't have to do any of that
yourself or any of the crazy workarounds
| | 04:15 | that we were doing.
| | 04:16 | So I wanted to split the document for
title page and I also wanted to do it
| | 04:20 | for chapter number.
| | 04:22 | So let me find Chapter Number, and we will go
down to Export Tagging and turn on Split Document.
| | 04:30 | Now, when I go to Export to EPUB--we didn't
make any changes here or here under Advanced--
| | 04:38 | under Split Document, I'm going to
choose Based on Paragraph Style Export Tag. Woohoo!
| | 04:44 | Under CSS there is a new feature that
you can add additional style sheets, so you
| | 04:49 | can see right here I added one called
simplereset.css, because in addition to
| | 04:55 | the style sheet that I want InDesign
to create for me that is based on my
| | 04:59 | paragraph and character styles,
I often want to include another style sheet in
| | 05:03 | every EPUB that I create that kind of
resets all of the defaults that a device
| | 05:08 | might have for its CSS.
| | 05:10 | It's a pretty common feature for web
design and increasingly so for EPUBs.
| | 05:15 | You also might have a style sheet that
you use across every kind of book in a
| | 05:19 | certain series that you want to add.
| | 05:21 | There is no limit to the number of
style sheets that you can include here, and
| | 05:26 | InDesign will of course link every HTML
file that it exports to those CSS files.
| | 05:32 | You see that there's also the ability
to link to one or more JavaScripts, but
| | 05:37 | that's not available to us in EPUB2.
| | 05:39 | That's not supported by EPUB2.
| | 05:41 | If we export to EPUB3, that would
become available to us, and I'll show you
| | 05:45 | that in the next video.
| | 05:47 | So with all of our settings, let me
make sure that we are going to view the
| | 05:50 | EPUB. Yep, let's click.
| | 05:55 | There's our lovely document, and now
there is "A History of Art" starting on
| | 05:58 | its own page, and then the other ones are the
chapter numbers that started on their own page.
| | 06:03 | Now this doesn't really look really
nice, but remember, we are using Adobe
| | 06:06 | Digital Editions. Not really the best
previewer of effects, but you should test
| | 06:11 | it out on your devices.
| | 06:13 | Here is the Float Left, so you see
that it pushed the text over to the right.
| | 06:18 | So the only issue might be that that
there's no space here, and you could always
| | 06:22 | edit that in the CSS file when you're done.
| | 06:24 | In fact, let's take a look at these files.
| | 06:27 | I am going to close this
up and go to my Desktop.
| | 06:31 | I've included a couple scripts.
| | 06:33 | These are AppleScripts for Macintosh users
that help you unzip EPUB files and validate them.
| | 06:40 | I talk about these scripts in more
detail in my EPUB video titles here at
| | 06:43 | lynda.com, but I am going to use the
unzip one on the Mac, because otherwise
| | 06:48 | it's very difficult to
see the innards of an EPUB.
| | 06:50 | I am just going to drag and drop it
there, and here are the insides.
| | 06:54 | So this was an EPUB 2.0.
| | 06:57 | So there's our toc.ncx, and our images
are in here. Here are the two CSS files.
| | 07:04 | One thing that's new is that Adobe
now names the default CSS file that
| | 07:08 | it creates according to the name of the EPUB
file itself, rather than just template.css.
| | 07:14 | Keep that in mind.
| | 07:15 | Also, it has reverted back to exporting
XHTML extensions on their files, rather
| | 07:21 | than HTML, which it did with CS5.
| | 07:24 | This is for compatibility with all e-readers.
| | 07:28 | Let's take a look, like here's
the one with the inline frame.
| | 07:32 | I am just going to double-click it
and open this up in a text editor.
| | 07:35 | I like to use TextWrangler on the Macintosh.
| | 07:39 | So the tags look relatively clean.
| | 07:41 | We still have a character override here,
because I guess I have a drop cap for some reason.
| | 07:46 | Here is the quote frame, and here is
the pull quote. That's the style for the
| | 07:51 | text inside here. And then div class
for quote frame, if we look at the CSS
| | 07:56 | file, is actually right here.
| | 08:00 | It was frame three.
| | 08:02 | Here is our background color and the padding.
| | 08:04 | So I had set this up as insets for
that text frame and they came through as
| | 08:08 | padding in the CSS, and the width of the
frame came through as well, so did the height.
| | 08:14 | I love that.
| | 08:15 | Let's make sure that this EPUB validates.
| | 08:18 | I'm going to the desktop. I'm going to
drag and drop our EPUB right onto EPUB
| | 08:23 | check 1.2, which is a little
AppleScript that runs the validation checker.
| | 08:27 | And that's always a happy thing to see.
| | 08:30 | I love that, because InDesign
wasn't always able to create those.
| | 08:33 | So there are also a number of bug fixes
that Adobe added to InDesign for EPUB.
| | 08:39 | You will see some fixes that has to do
with the ordering of groups and objects
| | 08:43 | style names, em values, the sizing of
superscript, and subscript text. It does a
| | 08:49 | much better job of maintaining
table styles and cell styles.
| | 08:53 | So you will see a lot of little
things that have been added as well.
| | 08:56 | We will be covering a lot of this in an
upcoming title on using InDesign CS6 to
| | 09:02 | export to EPUB, iPad, and the Kindle.
| | 09:05 | In general, I'm really happy to see the
improvements they've made to exporting
| | 09:09 | to EPUB2 from InDesign CS6.
| | Collapse this transcript |
| Exporting an EPUB 3| 00:00 | In addition to beefing up the
capabilities of exporting to EPUB in general, that
| | 00:05 | I talked about in a previous video,
Adobe has also added the ability to Export
| | 00:11 | to EPUB 3, which is the newly
ratified format for EPUB documents.
| | 00:15 | And I'll show you some of
the specifications in a bit.
| | 00:18 | But for now, let's just take a look at
it in the Export to EPUB dialog box.
| | 00:22 | Go to File, down to Export, and we are going
to export this as arthistory to the desktop.
| | 00:30 | In the EPUB Export Options dialog box,
at the top, all you need to do is switch
| | 00:34 | the version from EPUB 2 to EPUB 3.
| | 00:38 | And you will get a little tooltip
here that says this is a standard that was
| | 00:41 | approved in 2011. It supports lots of
great stuff like audio, video, JavaScript,
| | 00:46 | Japanese vertical text and more, but you
cannot read these EPUBs on devices that
| | 00:52 | only support EPUB 2.01.
| | 00:54 | And as I record this, I don't know
of devices that read you EPUB 3.
| | 00:58 | But assumably they will be out shortly.
| | 01:01 | So you can include Japanese vertical
text and audio and video in your InDesign
| | 01:06 | documents and when you export to EPUB 3,
those will be supported and translated
| | 01:11 | correctly into the resulting files.
| | 01:14 | You can also include JavaScript.
So if I go to the Advanced menu here, I can
| | 01:20 | include not just multiple CSS files, as
I described in the previous video--and
| | 01:25 | actually I don't want to include this
I am going to select it and delete it--
| | 01:27 | but you can include JavaScripts for doing
things like simple animations or pop-ups.
| | 01:32 | So if you had a JavaScript that you
had tested already, you could click Add
| | 01:36 | Script and do it right here.
| | 01:37 | I don't happen to have any, but it would work.
| | 01:41 | Under Split Document, I have already set
up this document to split according to a
| | 01:46 | couple paragraph styles. And I demo this
new feature--I love this new feature--in
| | 01:51 | a previous, so I am going to choose that.
| | 01:54 | And now let's go ahead and export this.
| | 01:57 | So, this is Adobe Digital Editions,
supporting the EPUB 3 format a bit. It looks
| | 02:03 | pretty good. It's a very simple book.
| | 02:05 | More interestingly, let's
actually close this and unzip the files.
| | 02:09 | So I'm going to go to the Finder and
take that arthistory file and just drag and
| | 02:14 | drop it on top of my unzipped script, and
I included this in the exercise files, so
| | 02:19 | it's just a convenience for Mac users.
| | 02:22 | If you're working on a PC, you don't
need a script; just change the extension
| | 02:27 | from that .epub to .zip and then
right-click on the .zip file and choose Extract All.
| | 02:33 | Then you'll be able to look at the
contents in a folder, just like on the Mac.
| | 02:39 | And if we open up the OEBPS folder, you
can see that it included an EPUB-2-friendly
| | 02:46 | NCX document. This is what is often
called the navigational table of contents.
| | 02:50 | So this can be viewed on an EPUB 2 reader, but
it also included the new EPUB-3-only XHTML toc.
| | 02:59 | Let's go ahead and open this up.
| | 03:01 | So it's simply a list of all the different
sections, and it uses the HTML5 tag called nav.
| | 03:10 | Let's make sure that this validates.
On the desktop, I do have a validation
| | 03:15 | checker for EPUB 3, right here, epubcheck_3.
| | 03:17 | So I am going to drag and
drop it right on there. Yay!
| | 03:22 | My favorite kind of alert.
| | 03:24 | If you're on Windows, you can validate
your EPUB 2 or EPUB 3 files by going to
| | 03:29 | the online EPUB check service
hosted at validator.idpf.org.
| | 03:36 | I don't know of any drag-and-drop EPUB
check scripts for Windows, but that's
| | 03:40 | what I like to use on a Mac.
| | 03:42 | Now if I try to validate it for
EPUB 2--drag and drop it here--
| | 03:47 | we have bunch of errors.
| | 03:50 | So this is specifically for EPUB 3.
| | 03:53 | Now there is one other format that
I want to call your attention to.
| | 03:58 | If we go back to Export to
EPUB--let me just add a 2 here,
| | 04:03 | and that is this last one EPUB 3 with layout--
| | 04:06 | and if you choose that
one, you get the scary red X.
| | 04:09 | And it's a very interesting thing.
Now this is not EPUB 3 with fixed layouts,
| | 04:14 | which is a different title that I did at
lynda.com on how to create fixed-layout
| | 04:18 | EPUBs like cookbooks and children's books.
| | 04:21 | That's now this is talking about.
| | 04:23 | This is EPUB 3 with a different kind
of layout, and probably something more
| | 04:27 | like an adaptive layout,
| | 04:29 | if you have been watching the other
videos all about liquid layout rules and
| | 04:32 | alternative layouts.
| | 04:34 | I think what's happening is that the
industry is sort of merging between EPUBs
| | 04:38 | and digital publishing for tablets.
| | 04:40 | So we are all trying to move toward a
future where you create one adaptive document
| | 04:46 | that can work on lots of different things.
| | 04:48 | That's sort of what this is really
get across. It says it's an experimental
| | 04:51 | format, Adobe is working on it.
There's nothing that can read it yet.
| | 04:55 | I'm not even sure why they included it.
My guess is that's at some point in the
| | 05:01 | next, you know, few months maybe or a
year, there is going to be something that
| | 05:05 | we can do with this; otherwise, they
would have saved it for another version.
| | 05:08 | It says, "NOTE: Currently, this
version will only work with specific Adobe
| | 05:12 | viewer technologies," but as far as
I know, there is none of those viewer
| | 05:15 | technologies available,
yet. But let's try something anyway, shall we?
| | 05:20 | Let's go ahead and use it and just go crazy.
| | 05:22 | We are going to export to that format.
| | 05:25 | Apparently, you can't use split documents here.
| | 05:28 | We can include CSS if we had an idea
were doing. Let's just go ahead and export
| | 05:32 | it and take a peek inside, shall we?
| | 05:34 | So that was saved down to the desktop,
arthistory2, and if we open up in Digital
| | 05:41 | Editions, what might happen?
| | 05:42 | Well, I sort of see it.
| | 05:47 | It looks kind of weird though.
| | 05:48 | I am not quite sure
what's happening on the inside.
| | 05:54 | So let's unzip it, drag and drop it on
top of the scripts, take a peek inside.
| | 06:02 | We have the same two table of
contents files, one HTML file.
| | 06:08 | Interesting. There is two
CSS files. I didn't include to.
| | 06:11 | But here is the default, and here's one
that ends with PGT, which I'm guessing is
| | 06:17 | for page template, which is a
technology that I have been reading about.
| | 06:22 | Let's take a look at the XHTML file.
| | 06:26 | And this is interesting, a whole
bunch of classes for basic text frames
| | 06:30 | and anchors and so on.
| | 06:33 | I am scrolling all the way
down to the bottom, xfootnotes.
| | 06:36 | So you can go ahead and investigate it
as much as you like, and I've been having
| | 06:42 | fun actually experimenting
with different kinds of books.
| | 06:44 | Like, for example, if I export
Lost_Highway, which was the book that I used for my
| | 06:49 | fixed-layout EPUB, I export that one to
EPUB using their EPUB 3 with Layout.
| | 07:00 | And let's unzip that one. Go back to
the finder. There is Lost_Highway and then
| | 07:06 | drag and drop it onto
unzip and open up Lost_Highway.
| | 07:10 | Now we see even more interesting things, so
all these classes with pics and pos and image.
| | 07:20 | Hmm. There is just a little bit of text
toward the end and then page anchors.
| | 07:28 | If we look at the CSS file--
let's see what this PGT one says--
| | 07:32 | epub transforms, translates, epubx
-wrap-flow so they're working on
| | 07:38 | something interesting here.
| | 07:40 | I would direct your attention to a
couple of articles that you might find
| | 07:44 | of interest, if you want to learn more
about what's happening with EPUB 3 with Layout.
| | 07:48 | Well, first sure is an EPUB 3
overview that you should know about.
| | 07:51 | So when you're exporting to just
regular EPUB 3, here is all the different
| | 07:55 | specifications for EPUB 3.
| | 07:56 | This is at the ibpf.org, if you just
look for EPUB. Now, the specification for
| | 08:01 | EPUB 3 is a link right off their website.
| | 08:04 | But on epubsecrets.com, which is a blog
that I help manage, the editor Matthew
| | 08:10 | Diener wrote a very good article
recently all about CSS page templates in EPUB 3.
| | 08:16 | And it appears that he is writing
about all the information he can find with
| | 08:21 | what's happening in the future for
EPUB 3, for EPUB 3 documents to be able to
| | 08:27 | have adaptive layouts.
| | 08:29 | And I know that there is a team
working on this at the IBPF. And here he's
| | 08:36 | giving more examples and links to where
you can learn more about it on the IBPF
| | 08:42 | website also. They did a workshop in
advanced adaptive layouts with more
| | 08:47 | information on this topic.
| | 08:49 | So, a couple of interesting things to
play around with in InDesign, when you
| | 08:53 | export to EPUB 3. We all know what
EPUB 2.0 is about, hopefully, and lots of
| | 09:00 | great new features in InDesign for that.
EPUB 3, once we get devices that can read
| | 09:05 | EPUB 3, InDesign will be ready to
export books for them. And then I guess
| | 09:10 | something happening coming down the pike,
EPUB 3 with Layout. Very interesting
| | 09:15 | and something to keep an eye on.
| | Collapse this transcript |
| Inserting HTML and Edge content| 00:00 | Just as CS6 handles the exporting to
EPUB better with better-constructed CSS and
| | 00:07 | HTML and more support for things that we
add in InDesign like table styles, cell
| | 00:12 | styles, inline frame backgrounds, and so on,
| | 00:15 | all those things carry through
to straight HTML export as well.
| | 00:19 | So if I went to the Export dialog box,
for example, chose HTML, and saved this
| | 00:26 | document, you can see it looks a lot
like the Export to EPUB dialog box,
| | 00:30 | because essentially, EPUB is HTML files.
| | 00:33 | But I want you to notice if you are
doing a lot of exporting to HTML, that under
| | 00:38 | Advanced, you also have the new feature
of being able to link to multiple CSS
| | 00:43 | files, as you can with EPUB.
| | 00:45 | And one or more JavaScripts
can be attached to this as well.
| | 00:49 | I am going to cancel out of here,
because one of the more exciting aspects of
| | 00:54 | HTML with CS6 is how and you're able
to embed HTML and include it when you
| | 01:01 | export out to anything that
supports HTML, like digital publishing,
| | 01:07 | you know, exporting to tablet app.
| | 01:09 | I mentioned in the very beginning of
this title that I'm not covering Digital
| | 01:14 | Publishing Suite and all the new features;
| | 01:16 | however, I have installed the optional
digital publishing elements because there
| | 01:22 | are a couple things that I've
been showing you that rely on that.
| | 01:24 | And I'm about to show you something else.
| | 01:26 | So, for example, when I go to Digital
Publishing workspace, you can see that I
| | 01:31 | have Folio Overlays and Folio Builder.
| | 01:34 | Also, under my File menu, I have Folio
Preview and Folio Preview Settings.
| | 01:40 | If you don't have that and you would
like to install it, you need to download it
| | 01:43 | separately install it.
| | 01:45 | I don't know which version will be
the one that you need to use by the time
| | 01:49 | you get CS6 installed,
| | 01:51 | but for now, your best bet would
be to go to the Adobe Digital Publishing
| | 01:55 | software website in adobe.com, find
the Adobe Digital Publishing Suite Family,
| | 02:02 | and if you scroll down here, you'll
see you can choose product updates for
| | 02:07 | Mac or product updates for Windows.
This is where you actually download the files.
| | 02:12 | So they're called the Producer tools and
Folio Builder panels. These are what you
| | 02:17 | want to download and install, and they
would just be installed right on top of
| | 02:21 | InDesign CS6. It knows where
everything is supposed to go.
| | 02:24 | And then when you restart InDesign, you'll
see that you have these kind of panels.
| | 02:28 | So what I want to talk about is the
ability to insert HTML and then to have that
| | 02:33 | be part of your publication
when you export out to a folio.
| | 02:37 | And it might very well be that you'll
be able to embed HTML for other kinds of
| | 02:42 | projects too, something coming
down the pike in the future.
| | 02:46 | But even if you're not doing
that, it's really fun to play with.
| | 02:49 | The command that we are talking about is
here: under Object, you choose Insert HTML.
| | 02:54 | Now I did not create a folio.
I am just showing you those tools.
| | 02:59 | I have a normal print document like,
you know, this brochure that I have been
| | 03:02 | using the whole time.
| | 03:03 | If I choose Insert HTML, it has this
is a placeholder. This is HTML Snippet.
| | 03:09 | And I could ask the edit this and write
HTML in here if I wanted to. So I could
| | 03:13 | say this is Anne-Marie's
HTML snippet and I click OK,
| | 03:20 | and give it a second to rasterize.
That's what that fun little watch is about.
| | 03:24 | It's not really exciting, is it? This is
Anne-Marie's HTML snippet. This is actual HTML.
| | 03:30 | What we're seeing here in our
document is a very low-res print preview, and
| | 03:34 | that's all you going to get if you
are going to print or export to PDF.
| | 03:38 | Let's delete that, and let's do
something a little bit more exciting.
| | 03:41 | For example, I am going to jump back
to Safari, and let's say that I want to
| | 03:46 | include a Google map.
| | 03:48 | You can include a live interactive
Google map or YouTube video or any place that
| | 03:54 | you can grab some embed code,
you can use that in your documents.
| | 04:00 | So this Chicago, Illinois is boring.
I love Chicago--it's my hometown--but let's
| | 04:05 | do something more
interesting, like Paris, France.
| | 04:08 | There is Paris, France.
| | 04:11 | Let's say that we want to embed a
map of Paris, France in our publication.
| | 04:15 | So you find the place in the
interface on the website that you're looking
| | 04:18 | at where you can link.
| | 04:20 | And you're looking for something
that says Embed, so embed in website.
| | 04:24 | So this would be good, but I think I
want to customize this and see what
| | 04:27 | I'm going to get first.
| | 04:29 | So let's see. This is a little too big,
I am going to say small. That's better.
| | 04:34 | Well, let's just leave it as it is.
Just copy and paste this HTML into your website.
| | 04:39 | So I am going to grab this all the way down
to the bottom, copy it now to my clipboard.
| | 04:46 | Let's jump back over to InDesign, and
now we will choose Object > Insert HTML
| | 04:55 | and then I will paste within my
clipboard replacing the placeholder.
| | 05:00 | That looks good. Click OK.
| | 05:02 | It starts out by saying this is an HTML
snippet, and then it thinks about it for
| | 05:06 | a while--give it a second--and there's
the map, in the low-res preview. Trying to
| | 05:11 | make it high-res will not help.
| | 05:13 | So let's put it right here, and you can
put a frame and stuff like that around,
| | 05:19 | but this is basically an iFrame.
| | 05:20 | So I think I am going to put a thick frame
around it. Let me switch back to Advanced.
| | 05:27 | And get the swatches, make it a black
frame, maybe make it a little curvy. And I
| | 05:37 | don't like it to, that part lying right on
the rule there, and I think I will give it
| | 05:42 | a background color too.
| | 05:44 | Let's just give it background of paper, there.
| | 05:45 | So this is what it would
look like in Preview mode.
| | 05:50 | You could print or export this to PDF;
| | 05:52 | it just wouldn't be very high res or thing.
| | 05:54 | It's similar to just
taking a screenshot of this.
| | 05:57 | But if we actually look at it on a
tablet app--and you can actually get a
| | 06:01 | preview, if you've installed those
Digital Publishing Suite tools, by going to
| | 06:06 | File and choosing Folio Preview--
| | 06:09 | it's going to start up the local
desktop folio previewer, called Content Viewer.
| | 06:15 | And there it is. It opens up. So there is a map.
| | 06:18 | Now, this is completely interactive.
Look at--if I click Satellite, there is the
| | 06:25 | satellite view, or the Terrain.
| | 06:28 | Now I don't have the
plug-ins to view Google Earth.
| | 06:32 | Let's go back to map. And I guess I can
see I need some tweaking with my frame
| | 06:37 | here, but I think you get the general idea.
| | 06:40 | But wait, there's more. Look at, haha! This is
interactive. It's just like I am dragging
| | 06:47 | around on maps.google.com.
| | 06:50 | Pretty cool. Or you would have complete
control over the YouTube video, if you
| | 06:55 | embedded a YouTube video as well.
| | 06:57 | Let's go back here, and let's say
that you wanted to edit this file.
| | 07:00 | You can right-click on the
map and go down to Edit HTML.
| | 07:06 | And now you can actually type in
something else if you wanted. If you want to
| | 07:09 | change a frame width or height or you
know what you are doing with this code,
| | 07:12 | you could change it here as well.
| | 07:13 | So you can edit the HTML
after you place it, which is cool.
| | 07:17 | Another way that CS6 integrates HTML
is by being able to place animations
| | 07:23 | created with Adobe Edge.
| | 07:25 | I don't know if you've played with
Adobe Edge at all, but it's a cool,
| | 07:28 | neat little program
| | 07:29 | that I believe is actually still in
beta as I speak. But I know that they
| | 07:33 | have a couple videos, or at least one
video here on getting started with the
| | 07:37 | Adobe edge at lynda.com.
| | 07:39 | And essentially, it's a program that
lets you create animations that you can use
| | 07:44 | in websites or any place where you
use HTML, maybe even EPUBs, EPUB 3s.
| | 07:50 | But it uses HTML5, CSS3, and
JavaScript to create the animation.
| | 07:55 | So it's all open source.
It's not proprietary like Flash.
| | 08:00 | You can take the code, you know, the
actual HTML and CSS code that Edge creates
| | 08:06 | and combine it with your website, but
also, it will soon be able to save its own
| | 08:11 | proprietary file format and you
can place those right into InDesign.
| | 08:16 | Now I was able to create one of those
files with the workaround, but soon we
| | 08:21 | will be able to just save it out.
| | 08:23 | So I have this on my desktop as header 2.
| | 08:27 | And this is that one of files that Mordy
Golding created in his Edge video here.
| | 08:32 | It was for an early beta, so I don't
know if it's still going to be alive by
| | 08:36 | the time you see this video.
| | 08:38 | And then I am just going to click
and place, and it's just basically a
| | 08:42 | rectangular frame containing something.
If you didn't see what it was in Edge, you
| | 08:47 | are really not going to be
able to see a good preview here.
| | 08:50 | You've got to take my word for it,
that there's something here.
| | 08:53 | Let's go ahead and fill this frame--
I don't like having all this empty space
| | 08:58 | here--with black and I think at
75%. Yeah, that's pretty good. That's fine.
| | 09:05 | So here is our brochure and then when only
preview it in folio preview, this might be
| | 09:12 | a brochure that we would have students
download from the App Store for free.
| | 09:16 | And here it is, open in the Adobe
Content viewer on my desktop, and this is
| | 09:22 | actually an animation.
| | 09:24 | So if I click, this all happens, very
simple animation. Of course it could be a lot
| | 09:29 | more exciting, but you can sort of see
how you can start to combine HTML and CSS
| | 09:35 | from outside sources right into
InDesign. And then when you export it to a
| | 09:39 | format that supports HTML and CSS,
like, for example, folios and media overlays
| | 09:44 | and I'm sure other technologies in the
near future, then you have the best of
| | 09:48 | both worlds. You are able to stay
in InDesign and create and design your
| | 09:52 | publications as you see fit, and then
distribute them in the format that your
| | 09:57 | customers would want to see them.
| | Collapse this transcript |
|
|
7. Interactive Form DesignReviewing the new Form tools| 00:01 | By far, one of my favorite features in
InDesign CS6 is the ability to completely
| | 00:06 | create forms right in InDesign, not
just the pretty backgrounds, but also the
| | 00:11 | form fields themselves.
| | 00:13 | Now I am going to be getting to
the form field tools in a minute,
| | 00:16 | but what I want to show you is how
it used to be. And maybe you've never
| | 00:20 | actually created an interactive form.
| | 00:22 | I am talking about those PDF forms
that you could fill in online and then you
| | 00:25 | can print out or submit.
| | 00:27 | Up until now, this is what we had to do.
| | 00:29 | First of all, all forms that you see in
Reader or Acrobat that you fill in had
| | 00:34 | to be designed somewhere.
You can't design them in Acrobat.
| | 00:36 | So they are either designed in Microsoft
Word or InDesign or a similar kind of program.
| | 00:41 | So if you are in InDesign, you
might, for example, design this form that
| | 00:46 | prospective students of Roux Academy
could download from the Roux Academy
| | 00:50 | website and fill in to schedule a campus tour.
| | 00:54 | So we created all of these holders for
their name and email address and so on,
| | 01:00 | but we can't actually create the fields
in any version of InDesign, up until CS6.
| | 01:05 | What you are supposed to do would
be to design this and then rely on the
| | 01:08 | Acrobat Form Wizard, which has
been around for a couple of versions.
| | 01:12 | And I talk about it at length in my
Acrobat 10 Essentials Training and also
| | 01:16 | Acrobat 10 Tips and Tricks,
but let's see how this works.
| | 01:19 | I am going to export this to PDF.
| | 01:21 | From the Export menu, choose PDF
Interactive, right up onto the Desktop.
| | 01:25 | We are just going to accept the default
values, okay, and I am going to click OK.
| | 01:31 | And here it is, open up in Acrobat 10.
| | 01:34 | It basically works the same
way in earlier versions as well.
| | 01:37 | So it's just a normal PDF; it's not a form.
| | 01:39 | You're supposed to then go to
the Form area and choose Create.
| | 01:44 | And it says, how do you want to do this,
should we use the current document, yes,
| | 01:47 | please, yes, the current document.
And then it scans it and it says, okay, I'm done.
| | 01:52 | Now you're in Form Editing mode.
| | 01:54 | And how many fields was it able to detect?
| | 01:56 | One, one whopping little radio
button right here. See, it found the
| | 02:00 | XLarge radio button,
but not Name or the E-mail address or
| | 02:03 | Comments or this Submit button.
You would have to re-create these yourselves
| | 02:08 | with the form tools in Acrobat.
| | 02:09 | Now reason that it didn't recognize it
is because it's too beautiful. Acrobat is
| | 02:13 | used to very plain and simple kind of forms.
| | 02:16 | So there are many video tutorials,
including mine and blog posts and articles, all
| | 02:21 | about how to create a form in
InDesign that the Form Wizard will recognize.
| | 02:27 | Basically, you have to create a
really simple form, like this one.
| | 02:30 | You put boxes or lines next to the
labels, and then we export again to PDF
| | 02:36 | Interactive. I just press
Command+E or Ctrl+E. It's a shortcut.
| | 02:39 | We'll accept the defaults. Click OK.
| | 02:43 | Fit in window and go to the Create
Forms Wizard. Next. Yes, I said this one.
| | 02:50 | And now it did a much better
job of recognizing the fields.
| | 02:54 | So designers were resigned to creating
very simple forms in InDesign if they
| | 02:59 | wanted to be able to
leverage the wizard in Acrobat.
| | 03:03 | No, I don't want to save you.
| | 03:04 | Now let's see what's new in CS6.
| | 03:07 | Here is another form that looks just
like that first form. Remember the one that
| | 03:11 | Acrobat didn't recognize?
| | 03:13 | Except this one has fields in it, fields
that I created with the tools in InDesign.
| | 03:19 | Let's export this guy to PDF. You use
the same defaults. And check that out.
| | 03:26 | It's already a form. We don't have to
run the Form Wizard; it is a form.
| | 03:30 | We can enter our name here,
AM Concepcion. We can tab to the next field, where I
| | 03:38 | can enter my E-mail address, and it was
outlined in red because it's required.
| | 03:41 | That was something that I set up in InDesign.
| | 03:43 | I can say yes, I'm interested in seeing
the classrooms and the dorms or the library.
| | 03:48 | There we go, classrooms and library.
| | 03:49 | My T-shirt size is extra large.
I have a bunch of comments I might
| | 03:53 | want to enter, and I write really long,
so you I get a little scrollbar.
| | 03:57 | This, again, I did in InDesign.
| | 03:59 | The year that I'm going to be attending
Roux Academy is, and I can choose from
| | 04:03 | this list, and even that tooltip.
When do you expect to enroll?
| | 04:06 | I did that in InDesign.
2014. And then I can Submit.
| | 04:10 | And this Submit button I added in InDesign.
| | 04:13 | And it's going to submit the filled-out
PDF form via an attachment to an email,
| | 04:18 | so it's asking, which email program do I run?
| | 04:20 | So I am not going to go that far right
now, but I just want to show you how much
| | 04:23 | we were able to do right in InDesign.
| | 04:26 | Now, there are still some tweaks that you
might want to do in Acrobat, and I'll be
| | 04:28 | getting to that in
another video in this chapter.
| | 04:31 | But let's jump back to InDesign, and let
me show you where all the miracles happen.
| | 04:35 | So I'll change the view to normal mode.
| | 04:38 | First let's switch our Workspace from
Essentials to Interactive for PDF, where
| | 04:42 | most of our tools will be located.
| | 04:44 | And you can see down here that the Buttons
panel has been renamed to Buttons and Forms.
| | 04:49 | So when you make something into a
button, just by dragging it out of shape or
| | 04:53 | selecting an object on the page, and you
come to Buttons and Forms and you click
| | 04:57 | the friendly little icon to convert it
to a button, you can go under the type of
| | 05:02 | button and choose these form fields.
| | 05:04 | So I want this thing to be a combo box, for
whatever reason, or a text field or a radio button.
| | 05:13 | It's nice that you can just switch
from one to the next. You don't have to
| | 05:16 | remove it, you know deconvert it from
being a button and re-apply it. You can
| | 05:20 | just switch among types of buttons. I love that.
| | 05:23 | In addition, InDesign has added a few
more actions, such as Clear Form, so you
| | 05:28 | might make a button that says Reset
and then assign this action to it.
| | 05:32 | Print Form and Submit Form,
that's the one that I used down here.
| | 05:37 | Part of the Interactive for PDF
workspace has this library that's been around
| | 05:41 | ever since we had an
Interactive for PDF workspace.
| | 05:44 | It used to be called Sample Buttons, and
now it's called Sample Buttons and Forms.
| | 05:48 | They have some preset form buttons up at
the top. All the regular buttons are below.
| | 05:53 | So if you want to create a series of
radio buttons really quickly, you can just
| | 05:57 | use these if you wanted to.
| | 05:59 | I could select this one and then just
drag them out here and drop them on the
| | 06:04 | pasteboard and resize them as I'd like.
| | 06:06 | And they have already been set up, if I
select one and go to Buttons and Forms,
| | 06:10 | as a radio button with a Normal and a
Rollover On and a Normal Off, so whether
| | 06:15 | it's selected or not selected. It's really nice.
| | 06:18 | A couple of other places that have
been updated to deal with the new forms
| | 06:22 | features are up here under the Object menu.
| | 06:24 | So if you go to the Interactive
flyout menu, that's also a place where you
| | 06:28 | can take any kind of button and convert
it to a form sort of button, or convert
| | 06:33 | it back to an object.
| | 06:35 | And the Set Tab Order now applies
to the actual fields that you add.
| | 06:40 | In your forms, you can set the tabbing
order right here and it's maintained.
| | 06:44 | And then that export to PDF dialog box,
let me bring that back up, call this 2,
| | 06:49 | you see right here that under Media, it
used to just say Media and now it says
| | 06:53 | Forms and Media. So you want to
Include All, rather than Appearance Only.
| | 06:58 | So if you are at all familiar with
working with buttons in your InDesign files,
| | 07:02 | then changing those to actual
form fields is very easy to do.
| | 07:06 | And even if you've never created an
interactive form in either InDesign or
| | 07:10 | Acrobat, it's really simple.
| | 07:12 | So, one of my top features of InDesign
CS6 is this one right here, creating form
| | 07:18 | fields, interactive forms, right in InDesign.
| | Collapse this transcript |
| Creating and previewing a basic form| 00:01 | Now let's actually dive in and see how
we create interactive forms in InDesign.
| | 00:06 | Now, I am going to give you an
overview and give you a tour of all the
| | 00:09 | different kinds of form fields, point
up some important settings that I think
| | 00:13 | you should know about,
| | 00:14 | but for detailed information and for
all kinds of special tricks that you can
| | 00:18 | do with these form fields, I think that
you should keep an eye out for a title on
| | 00:22 | using InDesign CS6 to create interactive
documents that lynda.com should have shortly.
| | 00:28 | First of all, you need to make sure that
you have Acrobat to preview, because it
| | 00:32 | doesn't help if you have just the free
preview app, for example, that comes with
| | 00:38 | all Macintosh computers. You really
need to have Acrobat Pro to be able to edit
| | 00:43 | these form fields and to preview them
accurately, and to save them in a way for
| | 00:47 | your reader users, for them to be
able to save form data, for example.
| | 00:52 | I'll be covering that in
more detail in a next video.
| | 00:54 | But you'll see that as we construct
this form in this movie, that I'm frequently
| | 00:58 | jumping over to Acrobat to preview,
to see what I have, because there's no
| | 01:02 | built-in preview for interactive
form fields in InDesign, unfortunately.
| | 01:07 | They do have something called a SWF Preview.
| | 01:10 | This is the same as the Preview panel
from CS5 and 5.5. They just believe that
| | 01:15 | it's more accurate to call it SWF Preview,
because it's using Flash to give you the preview;
| | 01:20 | it's not an actual PDF preview or HTML preview.
| | 01:24 | And it will show you a preview of the
page, but you couldn't fill in any forms.
| | 01:28 | So just make sure that
you have Acrobat installed.
| | 01:30 | Now the first thing you want to do
is create the artwork, which I've done
| | 01:33 | here, and then go ahead and start making your
labels and places for people to enter type.
| | 01:39 | Now when I first started playing with
this new feature, I thought, oh great!
| | 01:43 | I am going to create this cool-looking
text frame, and then I'll just turn this
| | 01:47 | right into a text field.
| | 01:48 | So I created a text frame.
| | 01:50 | Now this isn't a normal text frame
right from InDesign; it is just a
| | 01:54 | rectangular text frame to which I've
replied a fill and a stroke and a fancy
| | 02:00 | Corner effect. That's all.
| | 02:04 | And then to turn this into a text
field, you just select it. And one of the
| | 02:09 | easiest ways is to right-click, go
down to Interactive, and choose Convert.
| | 02:13 | And you can see that all the form fields
are here, and this would be a text field.
| | 02:17 | Anytime you want people to enter generic
information, then you want a text field.
| | 02:21 | So if I convert that to a text field,
Buttons and Forms automatically opens it
| | 02:25 | up. And I don't need to add any action.
I just want people to be able to type in text.
| | 02:29 | Now what I'm saying is, this is the
wrong way to go, because watch. I'm going to
| | 02:33 | export this to PDF, and you can only
use the Interactive PDF Export. You can't
| | 02:38 | use the Print PDF Export for
this; it won't retain fields.
| | 02:41 | So you have to use the regular old
Export command and make sure that you choose
| | 02:46 | Adobe PDF Interactive, not Print.
I'm going to save this out to the desktop.
| | 02:51 | And the one setting that you want to
make sure is turned on is Forms and
| | 02:54 | Media, Include All;
you don't want Appearance Only.
| | 02:57 | By the way, while I am here, I know a
new feature in InDesign is that you can
| | 03:00 | now say interactive PDFs should
be exported as individual pages.
| | 03:05 | They forgot to add that. Up until now,
everything came out as a spread, unless
| | 03:09 | you used a special script.
| | 03:10 | So I already chose Pages as my default.
| | 03:13 | Right, so I am going to go ahead and click OK.
| | 03:15 | And look what they've done to my field.
| | 03:20 | Acrobat is able to support fills and
strokes, so it does have that correctly set.
| | 03:26 | And by the way, I turned off Highlight
Existing Fields. If you turn it on, it
| | 03:29 | will look like this, and you'll be like I,
didn't say blue background. Nut this is
| | 03:32 | just a default of more recent
versions of Reader and Acrobat.
| | 03:36 | So you can turn that off.
| | 03:37 | So it did retain the yellow background
and the stroke around it, but it didn't
| | 03:41 | retain the fancy outline.
| | 03:42 | So if you want something
like that--let's close this up--
| | 03:45 | you're going to have to just add it as
a background and then put a normal no-
| | 03:50 | stroke, no-fill text frame on top of it, which
is what I ended up doing with this brochure.
| | 03:55 | So I don't want this to be a field anymore,
so how do I convert it back into a text frame?
| | 03:59 | Very simple. I can just do it right
here at the bottom of the Buttons and
| | 04:03 | Forms panel. And I could also do
it with a right-click or from the
| | 04:06 | Object > Interactive flyout.
| | 04:07 | I want to convert it back to an object,
and then now it's just a regular frame.
| | 04:13 | So it actually wasn't even a text field; it
was just a regular object. Take a text frame.
| | 04:18 | I am just going to drag it out up
here, because I think I am going to get
| | 04:20 | confused if I put it right
inside the yellow box to begin with.
| | 04:24 | And then I'll drag that on
top of here, just like that.
| | 04:28 | And now this frame, I have selected
with my Selection tool, and I want to turn
| | 04:32 | it into a text field.
| | 04:34 | This time I think I'll go up to
Object menu, go down to Interactive, and say
| | 04:39 | Convert to Text Field.
| | 04:41 | So buttons and fields get a dashed
outline around it, and a little icon
| | 04:46 | indicating what kind of
button or field they are.
| | 04:49 | So InDesign has helpfully said this is a
text field. You can call it whatever you want.
| | 04:53 | You probably want to give it a name
of what people are supposed to enter,
| | 04:56 | so I'll say Full Name.
| | 04:59 | This is not something that people see,
but when you get the form data, what they
| | 05:03 | entered is preceded by this label,
so it's important to put that in here.
| | 05:07 | You can put a description. Now this
is a tooltip that people see when they
| | 05:10 | hover over this field.
| | 05:11 | So I can say, "Please enter your full name."
| | 05:15 | If you want to allow a person to print
what they've entered, you can turn that on.
| | 05:19 | And if they enter something really
long, then you can turn on Scrollable.
| | 05:24 | And Scrollable just means, especially if
you don't turn on Multiline, Scrollable
| | 05:28 | means it's going to move from left to
right, and if you have a really long name,
| | 05:32 | they are not going to be able to see
the stuff on the left, as they are typing, and
| | 05:35 | the stuff on the right.
So it's kind of a pain,
| | 05:37 | especially if you specify a font size,
like right here it specified to be 12 point.
| | 05:43 | And the thing is that as designers,
we don't really have control over the type
| | 05:46 | size and the front of what people are
going to be using in Reader or Acrobat or
| | 05:51 | whatever PDF reader they're
using to fill out the form.
| | 05:54 | If you insist on 12 point, then
you're going to end up with text that might
| | 05:58 | actually be running out of the field.
| | 06:00 | What I would recommend is
that you leave it at Auto.
| | 06:03 | But a lot of people hate
this setting. I like it.
| | 06:06 | Auto means it starts out at whatever
is the default type size that the person
| | 06:09 | has set or accepted in their
preferences in Reader or Acrobat, and if they type
| | 06:14 | something that needs more room, then
the type size starts getting smaller and
| | 06:17 | smaller and smaller as they
type, so that it can all fit.
| | 06:20 | Who cares what the data looks like?
But if you do care, and I guess as a designer,
| | 06:24 | you probably will care,
you can leave it at 12 point.
| | 06:27 | If you want to require that the
person fill in this field before clicking
| | 06:32 | Submit, then turn on Required,
and that's going to add a red line around the
| | 06:37 | field in Reader and Acrobat.
| | 06:39 | That means when they click Submit,
if they didn't feel in any required fields,
| | 06:42 | they'll get an alert saying the Name
field or Full Name Field is required.
| | 06:47 | It will put a red line around the
fields that the person forgot to fill in,
| | 06:50 | and I am sure you've seen that before
when you've filled out a form online and
| | 06:53 | you forgot to enter something.
| | 06:55 | Another field that you
should know about is Multiline.
| | 06:57 | If you want to be able to have
multiple lines in the same field, then you
| | 07:01 | have to turn that on. Otherwise, it will never break the
line and it will just create one long
| | 07:05 | horizontal line of text.
| | 07:07 | Normally you don't use Multiline
unless for like a larger text field, not a
| | 07:11 | one-line text field.
| | 07:12 | You don't need to add any kind of
action to this. The Event is On Release or
| | 07:16 | Tap, is fine. And now we are going to do
the same thing with E-mail address, and
| | 07:20 | what you could do would be to select
this existing field and then just Option+Drag or
| | 07:25 | Alt+Drag it down to Email address.
| | 07:28 | And then change of name, because the
name of every field has to be unique, so
| | 07:31 | I added the number 1.
| | 07:33 | But this field, we want it to stay a
text field, but we want it to be Email.
| | 07:36 | So, really easy to do that kind of thing.
| | 07:38 | Now let's talk about two special kinds of
buttons: those are check boxes and radio buttons.
| | 07:43 | Check boxes are used in a list when
somebody can choose one or more. So the
| | 07:48 | person might be interested in seeing
just classrooms or classrooms and dorms, so
| | 07:52 | you use check boxes.
| | 07:53 | So you can just drag out your own box
if you want. I can just drag out a little
| | 07:57 | box and say, hey buddy, this--I am
going to convert to button--is a check box.
| | 08:05 | You see that when you choose Check Box
it automatically defaults to what check
| | 08:08 | boxes look like, which is kind of nice,
And it shows you what it's going to look
| | 08:12 | like when somebody checks it and when
somebody unchecks it. And then you can just
| | 08:15 | Option+Drag or Alt+Drag multiple copies
and put them next to your listings.
| | 08:20 | Now, the ones here I've already set.
| | 08:22 | So this one is called Box1, Box2 and
so on, but what's important about check
| | 08:26 | boxes is that you add a value, because
otherwise when somebody submits the form,
| | 08:31 | you're not going to know what
was the checkbox that they want.
| | 08:34 | So that one says Housing, this one says
Library. So not every kind of field has
| | 08:39 | a value area, but check boxes definitely do.
| | 08:42 | Radio buttons are for list of
things belonging to a category where only
| | 08:46 | one choice is possible.
| | 08:48 | Somebody can get one T-shirt, either
Medium or Large or X-Large or XX-Large, not
| | 08:53 | two, so then you'd use radio buttons.
| | 08:55 | And you can make a radio button the
same way that we made check boxes.
| | 08:58 | You can just take the Ellipse tool.
| | 09:00 | And it can be any shape you want;
| | 09:01 | it can be even a piece of
artwork if you wanted it to.
| | 09:04 | But I am just going to make a real
simple one, and say that is a button and
| | 09:08 | it is a radio button.
| | 09:11 | But what's even better--I am going to
undo--is before you even turn it into
| | 09:15 | button, is to make all of your radio
buttons. So I am going to Option+Drag or Alt+
| | 09:18 | Drag down to make copies and then select all
of these and turn them all into a radio button.
| | 09:27 | And when you do that, then InDesign
correctly makes them into one set so that
| | 09:32 | only one can be chosen, and you can
just drag and drop that over here.
| | 09:36 | So this first one is called Radio Button 8,
button value choice, whatever the choice is.
| | 09:42 | So notice that their names are all
the same, Radio Button 8. This is
| | 09:46 | important for radio buttons.
| | 09:48 | But again, the value, you have to actually
choose X-Large, XX-Large, Medium and so on.
| | 09:53 | Let's go back here. This one would
be X-Large, and this one would be Large.
| | 09:59 | So with radio buttons, the name should
be the same for them all. It doesn't have
| | 10:03 | to be Radio Button 8; it could be T-
shirt size for all of them, but the values
| | 10:07 | need to be different.
| | 10:08 | Here the button names and the
values need to be different.
| | 10:11 | Again, remember that you can come up
here to the Sample Buttons and Forms and
| | 10:15 | a lot of these radio buttons and
check boxes already set up for you with
| | 10:19 | different selected states.
| | 10:21 | You can just drag and drop
them right onto your page.
| | 10:24 | So what are these things? These are
radio buttons with names R14, radio
| | 10:29 | button 14, and then you just change the
choice for each one and resize them as you'd like.
| | 10:35 | The Comments field here is just a
large text field, so here I've made a text
| | 10:40 | frame and we would turn this into a text field.
| | 10:44 | But we want to turn on Multiline for
this one. That's what adds the scrollbar
| | 10:48 | that I showed in the previous video,
and the fact that it is scrollable.
| | 10:53 | And this is called a combo box right here.
| | 10:55 | So this field, which I gave a little
background to, if I select it and choose
| | 10:59 | Combo Box, this was a dropdown list of
years, if you remember from the previous
| | 11:04 | video, so you need to add the list
items here. Let's say it's a different kind
| | 11:08 | of list, like a list of fruit.
| | 11:09 | All right, so I'll say Pears and
then you click the Plus symbol.
| | 11:12 | But here is a tip: if you press Shift+
Return, then it adds it, but puts your
| | 11:16 | cursor back in the list item field, so
you can continue typing. Pears, Apples
| | 11:21 | Shift+Return. What else? Oranges.
Let's just do those three kinds of fruit.
| | 11:27 | If you hover your cursor on any of
these list items that have been entered,
| | 11:31 | you'll see a useful tooltip that
tells you to select an item on the list and
| | 11:36 | make it the default choice, so that
instead of being blank, you could say this
| | 11:41 | one. Or you might say, Choose a fruit.
And then I want this one to be first, so I
| | 11:48 | am going to drag it to the top, and I am
going to leave it highlighted, because
| | 11:51 | when you highlight something, as you can
see select an item in the list, you can
| | 11:54 | make it a default choice. If you want any default choice,
then you wouldn't select any item.
| | 11:59 | So we'll leave that there.
| | 12:01 | If you want them sorted alphabetically or
numerically, then you turn on Sort Items.
| | 12:06 | We could do that and then bring this
up to the front so it can be--let's turn
| | 12:10 | off Sort Items and be neat about it.
| | 12:12 | Finally, I know we are going long here,
we have the special kind of buttons
| | 12:16 | like Submit and Print and Reset, and for
those, you can take any bit of artwork--
| | 12:21 | here I used one of the buttons from the
Library and I added the word Submit on
| | 12:25 | top and then grouped it.
| | 12:27 | So for the Button type, I am going to
leave it as a button, but for the Events
| | 12:30 | I don't want it to be Go To Next Page,
which was the default event that came
| | 12:34 | with this. So I am going to delete that and
instead, the event was going to be Submit Form.
| | 12:41 | And if I want to, I can put a
tooltip here in case I think people don't
| | 12:44 | understand what this means.
| | 12:46 | Click to send this completed form as a PDF.
| | 12:52 | Now the last thing you need to do for
these Submit buttons is, where do you
| | 12:54 | want the form to go?
| | 12:56 | So if you already have something set
up on your web server or with Acrobat to
| | 12:59 | collect form data, you'd put that in here.
| | 13:01 | If you just want somebody to be able to
attach it to an email, you can put it
| | 13:04 | in your email address, like I might
put in mail to:info@rouxacademy.com.
| | 13:11 | One more kind of field and then we are
done, and that is a signature field.
| | 13:14 | Yes, you can add a signature field here.
| | 13:16 | You can take any existing object or drag
out a frame yourself, just like for any
| | 13:21 | kind of button creation. So I'll drag
out a frame. We'll put something right
| | 13:25 | here and then select that.
| | 13:27 | Let's use the Object >
Interactive > Convert to Signature Field.
| | 13:33 | Sign here, in case it's not obvious.
| | 13:36 | You don't need to do anything else.
| | 13:37 | Now let's export this to PDF
and see what it looks like.
| | 13:40 | Version 2, and let's highlight
the existing field so you can see that
| | 13:48 | everything that is an interactive field is
now highlighted in the default blue color.
| | 13:52 | And I can click in here and type in a
name, email address. I want to go to both
| | 13:58 | the dorms and the library. I want a
Large T-shirt. No, I'll change my mind,
| | 14:04 | Medium T-shirt. You see
Large becomes deselected.
| | 14:07 | I can add lots of comments
and it starts scrolling as I go.
| | 14:11 | I can choose. It says--oh I didn't
make my field large enough to say Choose a
| | 14:14 | Fruit, and I forgot to change the name, you
see it's a combo box. So I want it be Oranges.
| | 14:20 | And I could submit it or I could click
in the Signature field and then I get the
| | 14:24 | usual Reader or Acrobat prompt to,
how do you want to add your digital ID?
| | 14:29 | So I just think it's amazing that you
can add all the stuff right in InDesign.
| | 14:33 | Now, there are still some tweaks and
fixes that you might want to do that you
| | 14:36 | can't do in InDesign, and I'll be
covering that in the next video.
| | Collapse this transcript |
| Testing the form in Acrobat| 00:01 | Here is our InDesign document in CS6
where all of the fields are completed.
| | 00:05 | Let me switch to normal editing mode so
you can see, here is our button for the
| | 00:11 | text field for the Name and E-mail address.
| | 00:13 | We have down here a combo box listing
year, and a Submit button that's going to
| | 00:18 | mail to:info@rouracademy.com.
| | 00:21 | The thing is that if you use SWF
Preview here, if we preview this--and I am
| | 00:26 | just opening up the SWF Preview panel
and clicking the little triangle at the
| | 00:29 | bottom to preview it, and
| | 00:30 | let's detach it and make it larger--
you can see it, and you can see that there is
| | 00:36 | a button, so buttons and rollovers,
you can test those kind of things, but you
| | 00:40 | can't actually enter
anything inside the Preview field.
| | 00:43 | So to actually test your interactive
forms, you need to export to Acrobat.
| | 00:49 | In addition, there are a bunch of other
little tweaks that you might want to do
| | 00:52 | to some of your fields that just
aren't yet available in InDesign.
| | 00:56 | This is version 1.0 of
the interactive form field.
| | 00:59 | I am going to close this up, and we'll go
ahead and export it PDF by going to the
| | 01:03 | File > Export menu or pressing Command+E
or Ctrl+E--my favorite way--and we'll
| | 01:07 | call it visit-form.pdf. Save it on the Desktop.
| | 01:11 | A couple of things you might want to
change here is you might want to change
| | 01:15 | the default view, like I always like to view
it so that it fits the page in the window.
| | 01:20 | This is something you can do in
Acrobat as well, and it's not a new feature in
| | 01:23 | CS6, but you might have missed it if you
skipped to CS5, for example. And then the
| | 01:29 | Layout View, this is just a single
page, so it's not going to make any
| | 01:31 | difference, so we'll just
leave it at the default.
| | 01:33 | You want to make sure that it includes
all of your form data, and I always turn
| | 01:39 | on Tagged PDF if it happens to be off,
which helps to create an accessible PDF.
| | 01:44 | So let's say OK. And then there it
opens in Fit-in-Window, which is what we
| | 01:49 | specified. It opens in Acrobat, which
is my default PDF viewer. And again, you
| | 01:54 | need to be using Acrobat in order to
do a lot of these tweaks that I'm going
| | 01:57 | to be talking about.
| | 01:58 | By default, forms in later versions, and
I believe that the version 8 and later--
| | 02:02 | right now we are using version 10 of
Acrobat--by default forms open with this
| | 02:07 | horrible purple ribbon going
across the top that I hate.
| | 02:10 | This is not something that you can
control as the form designer, not in
| | 02:14 | InDesign, not in Acrobat.
| | 02:16 | It is a complete preference setting for the
reader or Acrobat owner for the recipient.
| | 02:23 | The same thing with the highlighting on
existing fields is turned on by default.
| | 02:27 | You can't turn that off at all.
| | 02:29 | You can't change the color that it uses.
| | 02:31 | You can't change the fact
that it's a red outline.
| | 02:33 | This is completely up to the
preference setting of the recipient, and Acrobat
| | 02:37 | just doesn't allow any access to
those preference settings because that's a
| | 02:40 | security risk, is what they have told me.
| | 02:42 | I suppose if you think it's really
going to bother your recipients, you can
| | 02:45 | tell them, you know, you can click this
button up here to hide that purple ribbon,
| | 02:49 | or you can turn off Highlight
Existing Fields before you hide the Ribbon.
| | 02:53 | This is how I would prefer my forms to open.
| | 02:56 | By the way, if you go to Acrobat's
Preferences, which on a Mac are under
| | 02:59 | the Acrobat name, on a PC under the Edit name,
you can actually turn that off permanently.
| | 03:05 | This is your own preference setting.
| | 03:06 | Go to Forms over here, and up here,
choose Always hide forms document message
| | 03:11 | bar, and this is where you would change
or hide your fields highlight color and
| | 03:16 | the required fields highlight color.
| | 03:19 | To edit any of these fields, you go to
the tools area in Acrobat 10 and go to
| | 03:25 | Forms and choose Edit.
| | 03:28 | So what might you want to edit?
| | 03:30 | Well, for example, let's
say in the Comments field.
| | 03:32 | I am going to right-click on the
Comments field and choose Properties, and for
| | 03:37 | most of these kind of fields if you
right-click and choose Properties, you will
| | 03:41 | see a whole lot of settings that you
can do per field that we just don't have
| | 03:45 | available to us in InDesign.
| | 03:47 | We do have the name and tooltip that
we have in InDesign, and whether the
| | 03:51 | form fields is visible, read-only required,
but we can actually rotate it if we wanted to.
| | 03:57 | Under Appearance, we can change the
border and fill color, which remember, I said
| | 04:01 | you could set in InDesign, but if you do
set a border color then you are able to
| | 04:06 | change the line thickness and the line style.
| | 04:09 | So there are different kinds of line
styles that you can have. These just aren't
| | 04:13 | in sync with those fun little
corner options that we have in InDesign.
| | 04:17 | I am going to change the Border Color
back to No Color because I don't want any
| | 04:20 | color on this little frame.
| | 04:22 | You can set the default font and size.
| | 04:24 | Now this is being picked
up from we set in InDesign.
| | 04:28 | Remember, that I recommended that you
choose Auto, which means that it will
| | 04:31 | automatically resize. Well, I take that back;
for the Comment field, you don't need that.
| | 04:35 | You can leave it at 8 or 10 or 12 or
whatever you originally had. But for a
| | 04:39 | field like say the Name field--and I
can't get there yet until I close out our
| | 04:43 | here--you might want to change it to
Auto so that if somebody is entering a name,
| | 04:47 | if it won't fit in the field, it will
just get a little smaller as they add more
| | 04:50 | characters, so that you can see
the complete name in the field.
| | 04:53 | What I really like that we can't get in
InDesign yet is the ability to add a default value.
| | 04:58 | So like in the Comments field I could
say enter your comments here or you have
| | 05:02 | 500 characters, and in fact, that
brings me to the next thing is that you can
| | 05:06 | limit the characters.
| | 05:07 | So you can say you have a
limit of 500 characters to type.
| | 05:10 | That way you avoid people like
pasting tomes in here, just as a joke.
| | 05:13 | You can also turn on Allow Rich Text
Formatting, which is something we can't
| | 05:17 | yet do in InDesign, so somebody can make
something bold or italic and it will come through.
| | 05:23 | I think, though, that those, what I just
went through, are the most common kinds of
| | 05:26 | edits that you might want to make to
some of your fields. To make them, you just
| | 05:29 | select them and then right-click and
choose Properties, and depending on the kind
| | 05:33 | of field, you might have slightly
different kinds of properties that you can set.
| | 05:37 | And these go into a lot of detail.
| | 05:38 | I believe that there is another title at
lynda.com all about creating forms with
| | 05:43 | Acrobat that I'm sure can help you
with all of these different panels.
| | 05:47 | But in general, I just want to say
that though you can create, say, 95% of all
| | 05:51 | your form fields' work in InDesign, you
are very likely going to have to open it
| | 05:55 | up in Acrobat to at least test
entering text in the form and using the Submit
| | 05:59 | button, plus tweaking the look and
behavior of a lot of your fields.
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|
|
8. Production HelpersAligning selections to a key object| 00:00 | Little production helpers like
aligning. Here is something that InDesign
| | 00:05 | users have been wanting ever since they
saw their Illustrator colleagues use it,
| | 00:09 | about a bazillion versions ago.
It's called Align to Key Object, and if you are
| | 00:13 | not familiar with this phrase,
let me show you what I mean.
| | 00:16 | Now, because of the resolution of the
video, I can't see the Align icons in the
| | 00:20 | Control panel, which is
what I would normally use.
| | 00:22 | So I am going to have to open up the actual
Align panel, which is under Object & Layout > Align.
| | 00:28 | Let's say that I want to
align these guys all vertically.
| | 00:32 | So I am going to select these
four squares. And you can see from the selection
| | 00:36 | rectangle encompassing them that if I
use the default, which is Align to the
| | 00:42 | Selection, and let's say that I want
them all right-aligned, so I'll come over
| | 00:46 | here and click Align the right edges,
they are going to be aligned there.
| | 00:49 | I am going to undo, because
that's not where I want them aligned.
| | 00:51 | Let's say for whatever reason, I like
the position of this object, and I want all
| | 00:57 | four objects to be right-aligned with this guy.
| | 01:00 | To designate this as the key object,
it's very difficult. I hope you
| | 01:04 | are watching closely.
Do I have your full attention?
| | 01:06 | Good, do this. There, the end.
| | 01:09 | Just click it and then you see that new
little interface thing that CS6 has in
| | 01:13 | various locations, of a heavy outline in
the layer color surrounding the object.
| | 01:18 | This is the now the key object and if
I click Align right edges, everything
| | 01:22 | aligns to that. Yay!
| | 01:23 | I am going to undo.
| | 01:25 | It still stays selected as the key
object, because I wanted to call your
| | 01:28 | attention to the Align To menu.
| | 01:30 | Do you see the cute little key?
| | 01:31 | A little skeleton key, Align to Key Object.
| | 01:34 | So it's another choice in
the Align To dropdown menu.
| | 01:38 | Now what if you change your mind.
You are like, you know what, I want everything
| | 01:40 | aligned to this thing.
Very simple, just click there. That's all.
| | 01:43 | When you have a selection, clicking
again on something that's selected will
| | 01:47 | make it the key object.
| | 01:49 | If you don't want it to align to the key
object, you just want it to align to the
| | 01:53 | selection, or perhaps to something like
align to margins or page, just click it
| | 01:57 | again to deselect it.
| | 01:59 | That's all. Nice and easy.
| | 02:00 | Or, if you must, you can go over to the
Align panel menu and choose Cancel Key
| | 02:05 | Object, maybe even assign a
keyboard shortcut to that.
| | 02:09 | To align things to a key object after you
make your selection of all the objects
| | 02:13 | you want to align, click once more
on the object that should be key.
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| Using Save As to create a file for earlier versions of InDesign| 00:00 | Adobe InDesign have heard our pleas
about how to back-save InDesign documents,
| | 00:07 | and they've done as much as they could.
| | 00:09 | They can't make a miracle, but what we
do have is the Save As menu, and we are
| | 00:14 | going to save this out to the desktop.
| | 00:16 | Format, look at this. InDesign CS4 or
later. In other words, it's going to
| | 00:22 | export an IDML file, but this is much
friendlier, I think, especially for like the
| | 00:26 | new hires in your group or something.
| | 00:28 | You already know as an experienced
InDesign user that if you want to share your
| | 00:32 | InDesign file with somebody with an
earlier version, you have to export it to
| | 00:36 | IDML and they open it.
| | 00:38 | And you can still export to IDML in CS6.
| | 00:41 | That's one of the choices
in the Export dialog box.
| | 00:43 | But you can also simply go to Save As
and choose InDesign CS4 or later, because
| | 00:48 | 4, 5, 5.5 and 6 all can convert
the IDML file to the current version.
| | 00:54 | So let's go ahead and do that. We'll save this as
IDML and we get a little note. Information. "This creates an .IDML file
| | 01:01 | that you can open in InDesign CS4 or later.
| | 01:04 | The active InDesign document will not be saved."
| | 01:06 | Reminding you that you are simply
exporting a copy of this and any changes that
| | 01:10 | you make to the current document are
not saved. And we still have our original
| | 01:15 | document with unsaved changes, but now
let's go ahead and close this and open
| | 01:20 | up the IDML that's on the desktop.
And it opens up as an untitled copy of the
| | 01:26 | document and then we can save it, and this
is how it would open up in earlier versions.
| | 01:30 | So, that's all! When you need to share your
InDesign CS6 document, you don't have to remember to
| | 01:35 | go to Export menu; just go to Save
As and save it as IDML from there.
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| Retaining table headers and footers| 00:00 | If you do a lot of work with tables in
InDesign, then you'll be happy to hear
| | 00:04 | that now header rows and footer rows
are maintained after you update from
| | 00:09 | linked Excel files. And if that sounds
like a bunch of gibberish, or it sounds
| | 00:13 | vaguely familiar, let me recap what that's
all about, and then I'll show you how it works.
| | 00:17 | First of all, you have always been able
to import Excel spreadsheets, like this
| | 00:21 | simple one right here.
| | 00:23 | You can just place that table
data.xlsx file and then format that
| | 00:27 | spreadsheet into a table.
| | 00:29 | If you remember to turn on the
linking option, Link to Imported
| | 00:33 | Spreadsheets and Text Files, which is
an option in Preferences, then when you
| | 00:36 | place it, it becomes link
to the table that you format.
| | 00:39 | So here you see we have a link to that
table data, and that's why we have the
| | 00:43 | little link badge here on our table.
| | 00:45 | Let's zoom in a bit.
| | 00:46 | So this is still all old news, and the
beauty of linking to the Excel files, as
| | 00:52 | any table person will tell you, is that
when somebody updates that Excel file,
| | 00:56 | you know, the boss or the person in
charge of updating all the data, and they
| | 01:00 | save changes, then you're notified that
your table is out of date in the Links
| | 01:05 | panel. That's where you'd have to look
in the old versions, and now that we have
| | 01:08 | our link badges, we can
see it right on the object.
| | 01:11 | Now the problem was that if you
formatted your table correctly using cell
| | 01:15 | styles and table styles and you also
had a header row--you know, one of those
| | 01:20 | rows that appear at the top of every
table--if it's threaded among multiple
| | 01:23 | text frames, then when you would update
the Excel file, you would lose the fact
| | 01:27 | that this is a header row, and it would
revert to really bad formatting, because
| | 01:31 | you actually have to select that row
and specify that it's a header row from
| | 01:35 | here, which it already is. All right!
| | 01:36 | So we got that, and we are clear on that?
| | 01:39 | Now the deal is that it doesn't happen anymore.
| | 01:41 | Our header rows will be
maintained after we update.
| | 01:44 | Again, none of this works if you use
local formatting to format everything.
| | 01:49 | You have to remember to go to the Styles
panel and create table styles. This is
| | 01:54 | a materials table that uses cell styles, and
all these have been formatted with cell styles.
| | 02:00 | So as long as you're using a style-
driven workflow, you will be able to maintain
| | 02:03 | all of this work, even after you update the data.
| | 02:06 | So let's try it out.
| | 02:07 | I am going to go to Excel, and let's
change the Day for Fashion Design to Tuesday
| | 02:15 | and Thursday, and then I'll save my
changes. And now let's go back to InDesign, and
| | 02:21 | we see that it's out of date.
| | 02:23 | I can click on the out-of-date badge
with my Selection tool. And the first time
| | 02:28 | that you do this, you are going to
get this warning that says, are you sure,
| | 02:31 | because you have made some changes to
this data since you have first imported it,
| | 02:35 | and you're going to lose these edits,
with the exception of changes applied to
| | 02:38 | spreadsheets through cell or
table styles, when you update.
| | 02:41 | So you can ignore this if
you've been using styles. Click Yes.
| | 02:45 | There it is. Nice and
simple. All right, no-brainer.
| | 02:48 | You will be able to move a little bit
more quickly through your table updating
| | 02:52 | by not having to constantly reapply
header and footers to your tables in CS6.
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| Importing RTFD and exporting to PNG| 00:00 | I think it's kind of funny that Adobe
spent some time in supporting even more
| | 00:05 | file formats in InDesign CS6. I mean
the program already supports just about
| | 00:09 | everything known to man--text and GIFs
and JPEGs and movies and QuickTime and
| | 00:16 | Photoshop-native files, Illustrator-
native files. I could go on forever.
| | 00:20 | But now we have two new file formats
that we can work with: one is RTFD and
| | 00:25 | the other one is PNG.
| | 00:27 | RTFD stands for Rich Text Format
Directory, and there is, basically as far as I
| | 00:35 | know, only one program on the planet
that can save out as our RTFD, and that is
| | 00:40 | the Mac OS X program called Text Edit.
| | 00:43 | You can't really save out from
Windows to RTFD and you can't really open
| | 00:48 | anything in Windows from RTFD, but
you can place the RTFD into InDesign.
| | 00:53 | So, what is an RTFD?
| | 00:54 | It is essentially an RTF file, Rich
Text Format file--I think we are all
| | 00:58 | familiar with that--that also has
images, because with an RTF file in Text
| | 01:02 | Edit, you can choose to attach files,
which will actually be saved with this
| | 01:07 | file kind of like a PDF portfolio. And then
it's one file, but inside, it's got a bunch of files.
| | 01:13 | And also you can use drag and drop
images right from the Finder right in
| | 01:16 | here. It's pretty neat.
| | 01:18 | So I've got one already.
| | 01:19 | I have saved it in the Exercise folder
and I also have it on my desktop, called
| | 01:24 | brochure intro.rtfd.
| | 01:28 | And the idea is, here is the text with
the logo, and here in InDesign, I am the
| | 01:34 | designer waiting to place this. And so
the writer who has a Mac is working on
| | 01:37 | this, and they might say, "You know, this
text looks a little small. Let me make
| | 01:41 | it a little larger."
| | 01:42 | So it's, you know, a pretty well equipped
little word processor here, and I think maybe
| | 01:45 | I will make this bold and italic.
| | 01:48 | So I'm going to save it and close it, and
I will go over to InDesign and we'll place it.
| | 01:54 | So I go to File > Place, and
there it is on the desktop.
| | 02:00 | Now the RTFD itself you can't open our
place, but notice that when I select it,
| | 02:05 | it automatically gives
us a peek at the contents.
| | 02:08 | An RTFD file is divided into at
least two files. One is the text itself.
| | 02:13 | So if I select it, our friendly little
preview window will show us the text we were
| | 02:16 | working with. And then the
rest is all the attachments.
| | 02:19 | You can include movies, pictures. Even PDF
files can all be placed into an RTFD file.
| | 02:26 | First, let's place the text. Let's grab that,
and I am going to keep Show Import Options on.
| | 02:32 | So it's the usual RTF
Import Options. Just click OK.
| | 02:37 | There is the text. Let's now get that graphic.
| | 02:40 | So I will go to File > Place again or
press Command+D or Ctrl+D, get that JPEG.
| | 02:45 | Not many options here.
| | 02:49 | Place that. There it is, Just a
JPEG that's got a white background.
| | 02:54 | That is a new file format that you
can import, and now the other one that
| | 02:58 | actually could be more useful to
people is the ability to export to PNG.
| | 03:02 | So we know that we can export graphics
already to EPS and to JPEG, but now if I
| | 03:08 | select a graphic and go to
File > Export, another option is PNG.
| | 03:14 | And what's so great about PNG?
| | 03:16 | Well, PNG is a web format that's also
used in tablet publishing and other places.
| | 03:23 | What makes it better than JPEG
is that PNG supports transparency.
| | 03:28 | So if I want to use this selected
graphic and I want it to be transparent, just
| | 03:33 | like it appears here--I think this was
the native Illustrator file that I placed--
| | 03:37 | and I want to be able to retain the
transparency when I use it in another
| | 03:41 | InDesign document or you know, I am going
to send it to our web developer, then I
| | 03:45 | want to export it as PNG.
| | 03:47 | So we'll call this flower.png and
click Save, and we get the little dialog
| | 03:53 | box with our options.
| | 03:54 | Now I just want to export this
selected thing, so I am going to remember to
| | 03:58 | keep Selection turned on; otherwise, it's
going to export the entire page as one big PNG.
| | 04:03 | So, be careful of that.
| | 04:05 | Down here under Image Quality, I want it
maximum at 300, and remember to turn on
| | 04:10 | Transparent Background if that's
what you want, and then click Export.
| | 04:14 | Now let's turn right around and place
that PNG file. I pressed Command+D. There
| | 04:19 | is flower. That looks pretty.
| | 04:22 | Show Import Options. We do want to
use the transparency information, and
| | 04:26 | then just click Ok.
| | 04:29 | If we just place it and then bring
it over here, you can see that it is
| | 04:32 | definitely transparent.
| | 04:34 | So two new file formats: RTFD and PNG.
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| Using smart math in fields| 00:00 | Another little handy production
helper is the ability to do smart math in
| | 00:05 | calculation fields, in dialog
boxes, and panels in InDesign.
| | 00:10 | Now as an intrepid InDesign user, I am sure
that you already know that you can do basic math.
| | 00:16 | For example, when I select this image
here, I see in the Control panel that it
| | 00:22 | is 18 picas, six points from
the left edge of the page.
| | 00:26 | And if I want to move it over so that it
is to 2 picas more from the left edge of the
| | 00:32 | page, I don't need to add
2 to 18 and retype this;
| | 00:37 | I can just type +2 and it jumps over.
| | 00:42 | So you just need to type plus
or minus. Or if you want to use
| | 00:47 | multiplication, that is the
asterisk, or division is the slash.
| | 00:51 | So if I want to, or move it more to the
right twice as much so I can just type an
| | 00:56 | asterisk and 2, so now it's 41 picas.
| | 01:00 | You don't need to add the p or anything
like that if you're staying in the same units.
| | 01:04 | If I wanted to move it over--let me undo--
1 inch, I could just type +1 inch or
| | 01:10 | in, and it would move over 1 inch,
and recalculate it out to picas.
| | 01:15 | If I wanted to move this box over, say
three eighths of an inch, I can say +3/8,
| | 01:21 | and I will put my little inch
mark in, and it recalculates it.
| | 01:28 | We are essentially doing two math
fields at once. We are doing addition and division.
| | 01:33 | That's the slash.
| | 01:35 | Let me switch the ruler, and you
know that you can just right-click on the
| | 01:39 | intersection here and change both rulers at
the same time, so I will change to inches.
| | 01:45 | Let's change the width of
this frame half the size.
| | 01:48 | So we come to the Width field and
type times--that's the asterisk--1/2. You can do this, by
| | 01:55 | the way, before or after the field,
like I could type here one half, times, 1
| | 02:02 | inch and it goes 50% less, and this works in any
field that takes any kind of math calculation.
| | 02:08 | So there you go, a little bit
smarter math in InDesign CS6.
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| Exporting interactive PDFs as pages| 00:00 | InDesign CS6 has a fix that makes
life a lot easier for people who are
| | 00:04 | creating interactive PDFs, like I do
quite a bit, and that is that you no
| | 00:09 | longer need to laboriously split your
spreads into single pages after they've
| | 00:14 | been exported to PDF.
| | 00:16 | That was a little glitch in CS5
and 5.5 that they finally fixed.
| | 00:20 | Let me show you what I'm talking about.
| | 00:22 | Right now we are looking at a three-
page-brochure kind of thing, and it's been
| | 00:26 | set up as facing pages, because
that's a default for print documents.
| | 00:30 | Now, let's say that I was creating an
interactive brochure, and I want to export
| | 00:35 | this as single pages so that I can have Next
buttons and Previous buttons work correctly.
| | 00:41 | In previous versions, I couldn't do that,
but in InDesign CS6 if you go to File
| | 00:47 | and choose Export and select
Interactive PDF, like this right here, you'll
| | 00:54 | notice that there are two new radio
buttons up here for pages and spreads.
| | 01:00 | You can choose whichever one that you
want, and we can finally create single-page
| | 01:05 | interactive PDFs, even if the
document was set up as facing pages.
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| Previewing and exporting grayscale PDFs| 00:00 | Adobe InDesign has always been about CMYK
and RGB and Lab colors, but what about gray.
| | 00:09 | InDesign has never had it, until now.
| | 00:12 | In CS6, we have grayscale support.
| | 00:15 | First of all, before we go to the Print
dialog box, where I'll show you how you
| | 00:19 | can specify the one to output gray,
it's very useful if you can actually see
| | 00:24 | what your document is going
to look like as grayscale,
| | 00:26 | and you do that from the View menu.
Go to Proof Setup, and right now, it's
| | 00:31 | set up to be Documents CMYK--whatever
I set up in my color settings--but we
| | 00:35 | want to go to Custom and under Device
to Simulate, you choose one of these,
| | 00:39 | Dot Gain or Gray Gamma.
| | 00:41 | So I am going to leave the Gray Gamma
1.8, and then just click OK and we are
| | 00:47 | looking at grayscale.
| | 00:49 | So Proof Colors has automatically been turned on.
| | 00:52 | And notice interestingly that the Pages
panel remains in the Document CMYK, but
| | 00:59 | if we go to page 2 and 3, that's
what this looks like in grayscale.
| | 01:02 | I am going to go back up to the
View and turn off Proof Colors.
| | 01:07 | There it is, in bright RGB.
Turn back on, Grayscale.
| | 01:14 | So whatever reason that you might have
for wanting to print to grayscale from a
| | 01:18 | color file or create a grayscale PDF,
remember that the first thing you probably
| | 01:23 | want to do is proof it in grayscale.
| | 01:26 | By the way, it's not 100% grayscale-
savvy yet, because, for example, under the
| | 01:32 | Edit menu, you can't assign a
grayscale profile to anything.
| | 01:37 | Grayscale doesn't appear in this
list, and it's not part of any of the
| | 01:41 | other color settings.
| | 01:42 | It's only up here under View > Proof Setup
by choosing it for the Custom list and
| | 01:46 | then turning on Proof Colors.
| | 01:48 | Now whether or not you are proofing in
grayscale--I am going to turn that off--
| | 01:52 | you can always print or export to PDF.
| | 01:54 | I will just use the Print
dialog box as an example.
| | 01:57 | Go to File and choose Print and here in
Output, under Color, here is where you
| | 02:06 | can choose Composite Gray.
| | 02:07 | There you go. And then you'll see that
if you then go to Color Management, you
| | 02:12 | see the output color is going to be
Composite Gray. There's not much else that
| | 02:15 | you can choose here.
| | 02:17 | That's how you use the new
grayscale features in InDesign CS6.
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| Using the new world language support| 00:00 | InDesign engineers have brought the World-
Ready Composer out into the open in CS6.
| | 00:07 | What is the World-Ready Composer?
| | 00:08 | Well, that is the paragraph composer
for world languages or international
| | 00:14 | languages: Arabic, Hebrew, Indic languages.
| | 00:18 | And just to give you an example, let
me show you what the paragraph composer
| | 00:22 | does with English text and
then with some Hebrew text.
| | 00:25 | Then I am also going to show you a
couple of other related features that are
| | 00:28 | useful, even if your not
setting type in those languages.
| | 00:32 | So here we have some placeholder text.
Let me zoom in a bit. And if I go to the
| | 00:38 | Control panel, you can see that the
default Adobe Paragraph Composer is in
| | 00:42 | effect, which we all know. It is the
smart way to set text, rather than a single-
| | 00:47 | line composer like everybody else does.
| | 00:49 | So we went Paragraph Composer.
| | 00:52 | But you see here that we also have
World-Ready Single-Line Composer and
| | 00:56 | World-Ready Paragraph Composer.
| | 00:58 | Now these were available if you bought
the ME edition, Middle East edition of
| | 01:03 | InDesign. Or since CS4 they, have been
part of the program but only accessible via
| | 01:09 | scripting or plug-ins.
| | 01:11 | So in CS6, they are now right here,
and you can actually select them and
| | 01:14 | include them in styles.
| | 01:15 | But, for example, down here I have some
text set in Hebrew, and it's automatically
| | 01:21 | entering from right to left.
| | 01:22 | And if I click here, it is set in the
Adobe Paragraph Composer, but if I choose
| | 01:28 | the World-Ready Paragraph
Composer, it's subtly shifts.
| | 01:32 | That's because the World-Ready
Composer uses different internal structures,
| | 01:37 | looking for different letter
combinations in the way words are strung
| | 01:41 | together, because some letters get
combined into single glyphs and so on.
| | 01:46 | And the World-Ready Composer knows all about
that, even if it's not right-to-left text.
| | 01:50 | There are a lot of left-to-right
alphabets, like from Thailand and Laos, that also
| | 01:56 | need the World-Ready Composer.
| | 01:58 | So it's pretty cool that it's right
there and able to be selected directly in
| | 02:02 | InDesign without any need for
any kind of scripting support.
| | 02:07 | Sort of related to that is that we
are now using an open-source dictionary
| | 02:11 | called the Hunspell dictionary.
| | 02:13 | If I go to Preferences, which on my Mac
is underneath the InDesign menu and on
| | 02:18 | PC, underneath Edit menu, and go down
to Dictionary, you can see the default
| | 02:24 | dictionary is now Hunspell, which is
an open-source platform for creating
| | 02:29 | dictionaries from all sorts of languages.
| | 02:32 | So if you have a dictionary in a
special language that does not come with
| | 02:36 | InDesign, you can add it.
| | 02:38 | Now, it's not really simple. There are
multiple steps, and you have to, like, tweaks
| | 02:42 | and settings, but it's definitely
doable, and you can find more information if
| | 02:46 | you click this button right here.
| | 02:48 | And then we have something fun, and I
guess useful as well, but I like the
| | 02:53 | fun part, in that there is a hidden
feature--let me move this over--in fill
| | 02:58 | with placeholder text.
| | 03:01 | Grab this and I go to the Type menu
and I choose Fill with Placeholder Text.
| | 03:05 | It comes in the usual Lorem Ipsom stuff.
| | 03:08 | But let's get rid of that.
| | 03:09 | This time, if you will down the Command
key on a Mac or the Ctrl key on Windows,
| | 03:15 | keep it held down, and then go to Type
and choose Fill with Placeholder Text,
| | 03:20 | with that button held down. Then you
can release the button. Look at this.
| | 03:23 | You get Placeholder options. Fill With Roman
text, that's what we've been using, but
| | 03:28 | look, you also have these kind of
languages, which is pretty cool.
| | 03:31 | So like you could fill this with Korean.
Or let's undo and let's feel that with Hebrew.
| | 03:38 | Fill with Placeholder Text, Hebrew.
That's what I chose before to get the
| | 03:42 | sample text right here.
| | 03:44 | In addition, if you fill your frame
with text that's right to left, whether you
| | 03:49 | do it yourself or you do it from the
placeholder text, if you go to the Story
| | 03:53 | Editor, look at that. Right to left
text is now supported in the Story Editor,
| | 03:58 | so that's new as well.
| | 03:59 | So there are a bunch of different
technologies that help make setting text in
| | 04:04 | world languages much easier in InDesign.
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ConclusionNext steps| 00:00 | If you want to keep up with what's
happening with in InDesign CS6 or you want to
| | 00:04 | contact me, feel free to go to my
website at senecadesign.com, where you will
| | 00:09 | find resources for all sorts of
stuff having to do with InDesign and the
| | 00:14 | Creative Suite. And you can email me,
sign up for my newsletter, et cetera.
| | 00:18 | And you must go to indesignsecrets.com,
which is the blog/podcast/videocast
| | 00:24 | conference seminar that I run with the
David Blatner, who is the author of all of
| | 00:29 | the InDesign Essentials titles here
at lynda.com, along with many others.
| | 00:34 | So you can be sure that we will be
writing a ton about InDesign CS6 and new
| | 00:39 | features and fixes and workarounds
and scripts, all sorts of fun stuff.
| | 00:44 | If you're on Facebook, stop by our
page at facebook.com/indesignsecrets, and
| | 00:49 | feel free to like us.
| | 00:51 | And you can go ahead and post
questions right there, and we check it daily and
| | 00:54 | respond as quickly as possible.
| | 00:57 | So there are lots of great resources
out there for InDesign, and I think
| | 01:00 | you can tell that I sort of live and breathe
it every day, and I'd love to hear from you.
| | 01:05 | Bye-bye!
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